Beneath the glossy sheen of Zac Efron there exists the makings of quite a fine actor glimpses of which were seen in both the blockbuster comedy 17 Again and the indie drama Me and Orson Welles. His transition out of the Disney-fied teen-dream world and into more adult-oriented projects is a gradual uneasy one as is evidenced by his latest film the metaphysical drama Charlie St. Cloud which finds him perched squarely in between the two camps. Efron it appears is in that awkward stage.
In Charlie St. Cloud Efron plays the title character a carefree college-bound sailing star whose bright future is torpedoed when an awful auto wreck takes the life of his beloved kid brother Sam (Charlie Tahan). Charlie at the wheel of the car at the time of the crash briefly dies himself only to be wrested from a flatline by a particularly stubborn and spiritual EMT (Ray Liotta).
Years later Charlie’s body has made a full recovery but his mind remains plagued by some nasty after-effects of the tragedy. He’s given up sailing ditched his college plans gotten a job at a cemetery and taken up the habit of holding regular conversations with dead people — specifically his brother Sam with whom he meets daily in a forest clearing to play catch. Usually such mental deterioration coincides fairly closely with physical deterioration which is why you don’t encounter a lot of well-groomed paranoid schizophrenics on skid row. But Charlie has kept up with his workout and grooming regimens earning a reputation among the residents of his sleepy Pacific Northwest town as a sort of beautiful nutcase.
Unable to escape his all-consuming grief Charlie seems doomed to retreat further into isolation and despair until salvation arrives wrapped in a cardigan: Tess (Amanda Crew) a feisty pro sailor and no stranger to tragedy herself can see beyond Charlie’s unhinged persona to the sensitive troubled and irresistibly hot man that lies beneath. As their relationship deepens Charlie is increasingly torn between his imaginary friends and his real-life love.
It’s a noble aim giving tweens questions deeper than just “Edward or Jacob?” to contemplate and Charlie St. Cloud’s principal message “life is for living ” is a worthwhile one. But director Burr Steers having learned from the success of 17 Again clearly knows where his bread is buttered and so he takes care to sate the demands of Efron’s screeching fanbase by stocking the film with ample glowing shots of his star lovingly lit and clad invariably in a light blue solid color shirt and emoting against a picturesque coastal landscape. (Lest you think I'm exaggerating check out this studio-supplied promo clip featuring an interview with a shirtless Efron.) The awkward mix of existential drama and Abercrombie & Fitch commercial combined with a healthy dose of loopy Sixth Sense-esque supernatural shenanigans tossed in toward the end makes for an experience only the most fawning of Efron’s fans could enjoy.
Based on E.B. White’s enduring children’s story we meet Wilbur the Pig (Dominic Scott Kay) a runt who is saved from the axe by a little farm girl named Fern (Dakota Fanning). She raises Wilbur from infancy but eventually she has to send Wilbur over to her uncle’s neighboring farm since there’s no room for a pig in her house. There in the barn Wilbur meets the assortment of colorful animal characters: Betsy (Reba McEntire) and Bitsy (Kathy Bates) two pessimistic cows; motherly goose Gussy (Oprah Winfrey) and her henpecked hubby Golly (Cedric the Entertainer); Samuel (John Cleese) an uptight sheep; the skittish horse Ike (Robert Redford); the self-serving rat Templeton (Steve Buscemi); and of course sweet Charlotte (Julia Roberts) a spider with a heart of gold. When the naïve Wilbur finds out he might be Christmas dinner Charlotte makes a promise to her new friend that she’ll do everything in her power to make sure Wilbur sees the Christmas snow—and everyone ends up helping her out. What could be more fun than to voice a barnyard animal? Winfrey and Cedric’s geese banter is like an old married couple. Cleese gives Samuel the sheep a certain upper-crustiness. Redford is actually pretty funny as a horse who’s deathly afraid of spiders (“I’ll listen to you but I just can’t look at you”). Buscemi is a particularly nice choice as the sneaky rat Templeton who only thinks about filling his belly with food (no typecasting there we swear). For pure comic relief there are also two crows voiced by Andre Benjamin and Thomas Haden Church who just can’t quite get around the whole scarecrow thing. And as Charlotte Roberts has a truly soothing and loving tone sort of how you’d imagine it from the book. As for the human aspect Fanning continues to do what she does best playing Fern with the right amount of youthful innocence spunkiness and determination. Just wondering how we are going to handle it when this amazing little actress grows up and starts doing like adult things. Actually it is sort of a shame they couldn’t get a live-action version of Charlotte's Web made before Babe. Sure there was the 1973 animated cutesy film but a live-action adaptation of this timeless tale really should have been the standard by which all computer-generated talking farm animal movies would follow don’t you think? Instead Charlotte's Web pales ever so slightly in comparison. Oh well water under the bridge. Director Gary Winick (13 Going on 30) still manages to invoke the wonderful and uplifting spirit of the novel keeping faithful to the text in all ways. Visually the film is crisp and flawless in its execution particularly in the beauty and splendor of how Charlotte spins her webs and emotionally hearts will indeed swell and tears will flow. Charlotte's Web is the perfect family movie to inspire the next generation of young readers and viewers as well as for the rest of us who fondly remember the childhood classic.
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.
The original Seuss story is a wonderful--albeit simple
--children's tale about two bored kids left alone in their house on a cold wet day. They're visited by a six-foot-tall talking adventure-seeking feline who's looking for a little fun (OK maybe a lot of fun). Against the warnings of the children's seriously repressed pet goldfish the Cat (with the help of a couple of troll doll look-a-likes called Thing One and Thing Two) turns the house upside down then puts it all right-side-up again before the kids' mother gets home. The question for Hollywood is how to turn a story like this one that's left an indelible impression on millions of readers young and old since 1957 into a major motion picture? While the film thankfully keeps to this original's plot talking fish and all it obviously tries to flesh things out adding some new characters and tacking on a few life lessons. The kids now have very distinct personalities: Wild older brother Conrad (Spencer Breslin) plays fast and loose with the rules while sister Sally (Dakota Fanning) an uptight control freak has driven all her friends away with her rigidity. Their mother Joan (Kelly Preston) works at the town's real estate office run by the anal retentive Mr. Humberfloob (Sean Hayes) and she's dating the guy next door Quinn (Alec Baldwin) a superficial scumbag who wants to send Conrad to military school. On the particular cold wet day in question Joan leaves instructions not to mess up the house since she's having an important business meet-and-greet there later that night. When the Cat (Mike Myers) arrives he quickly assures Sally and Conrad they can have all the fun they want and nothing bad will happen. Ignoring vocal opposition from the Fish (voiced by Hayes) the Cat quickly puts into motion a series of events that will a) prove his point b) destroy the house and c) teach the kids a sugary-sweet but valuable lesson about being responsible while living life to the fullest.
Just as Jim Carrey immortalized the Grinch Mike Myers seems born to play the Cat in the oversized red-and-white striped hat--he has the sly slightly sarcastic wholly anarchistic thing down cold. Myers' impersonations of a redneck Cat mechanic (with requisite visible butt crack) an infomercial Cat host and a zany British Cat chef are outrageous as are the hilarious little asides he spouts although they'll probably go over kids' heads: "Well sure [the Fish] can talk but is he really saying anything? No not really." But even though Myers has some fun moments he just isn't the Barney type and when he turns on the come-on-kids-let's-have-fun charm and adopts a dopey laugh he seems uncomfortable. As for the kids Fanning and Breslin (Disney's The Kid) do a fine job reacting to the wackiness the Cat surrounds them with although Fanning basically plays the same uptight character she created in the recent Uptown Girls. Of the supporting players Baldwin has the most fun as the villainous Quinn a bad-guy role that while a little superfluous gives Baldwin plenty of opportunities to chew the scenery. Hayes is also good in his dual role; he stamps Humberfloob indelibly on our brains then kicks butt as the voice of the beleaguered Fish.
It must have been a no-brainer for producer Brian Grazer to do another Dr. Seuss adaptation after all the fun magic and profits the 2000 hit How the Grinch Stole Christmas generated. With Cat in the Hat however he didn't collaborate with his usual directing partner the Grinch's Ron Howard. Instead Grazer took a chance on first-time director Bo Welch who previously served as production designer on Tim Burton's Beetlejuice and Edward Scissorhands and has three Oscar nods to his credit for production design on other films. Welch certainly takes his quirky cue from Burton when it comes to the look of Cat in the Hat especially Sally and Conrad's suburban Southern California neighborhood with its lilac frames and blue roofs. The gadgets are cool too from the Cat's Super Luxurious Omnidirectional Whatchamajigger or S.L.O.W vehicle to the Dynamic Industrial Renovating Tractormajigger or D.I.R.T. mobile for cleaning up the house. When we enter the Cat's bizarre world though the film's Seussian look starts to have problems possibly because there's nothing of this place in the original book. Hidden within the feline's magical crate the Cat's world can produce "the mother of all messes " and in keeping with that purpose there's some effort at making it look like a fragmented Cubist painting. But it's more plastic than Picasso and in the end it's about as interesting as a Universal Theme Park ride (a fact the movie actually mentions).