The remake of Total Recall never escapes the shadow of its Arnold Schwarzenegger-led predecessor — and strangely it feels like a choice. With a script that's nearly beat-for-beat the original film Total Recall plods along with enhanced special effects that bring to life an expansive sci-fi world and action scenes constructed to send eyes flipping backwards into skulls. Filling the cracks of the fractured film is a story that without knowledge of the Philip K. Dick adaptation's previous incarnation is barely decipherable. Those who haven't seen Paul Verhoeven's 1990 Total Recall? Time to get a few memory implants. 2012 Recall makes little sense with the cinematic foundation but it does zero favors to those out of the know.
Colin Farrell takes over duties from Schwarzenegger as Douglas Quaid a down-on-his-luck factory worker hoping to escape his stagnate existence with a boost from Rekall a company capable of engineering fake memories. Quaid calls the damp slums of "The Colony" home (one of two inhabitable parts of Earth) but he dreams of moving to the New Federation of Britain a pristine metropolis on the other side of the planet. When the futuristic treatment goes awry — caused by previously existing memories of our blue collar hero's supposed past life as a secret agent — Quaid emerges from Rekall with lethal power hidden under his mild-mannered persona. He quickly goes on the run escaping squads of soldiers robots and his assassin "wife " Lori (Kate Beckinsale) all hot on his tail. Total Recall turns into one long chase scene as Quaid unravels the mystery of his erased memories.
But when it comes to answers and heady sci-fi Total Recall falls short. Farrell isn't a hulking action star like Schwarzenegger but he's a performer that can sensitively explore any human crisis big or small. Director Len Wiseman (Underworld Live Free or Die Hard) never gives his leading man that opportunity. Farrell makes the best of the films occasional slow moment but the weight of Recall's mindf**k is suffocated in a series of fist fights hovercar pile-ups and foot chases pulled straight out of the latest platformer video game (a sequence that sends Quaid running across the geometric rooftop architecture of The Colony looks straight out of Super Mario Bros.). When Jessica Biel as Quaid's former romantic interest Melina and Breaking Bad's Bryan Cranston as the power-hungry politico Cohaagen are finally woven into Farrell's feature length 50 yard dash it's too late — the movie isn't making sense and it's not about to regardless of the charm on screen.
The action is slick and the futuristic design is impeccable but without any time devoted to building the stakes Total Recall feels more like a HDTV demo than a thrilling blockbuster. The movie's greatest innovation is the central set piece "The Fall " an elevator that travels between the two cities at rapid speed. The towering keystone of mankind is a marvel but we never get to see it explore it or feel its implications on the world around it. Instead it's cemented as a CG background behind the craze of Farrell shooting his way through hoards of bad guys.
Science fiction more than any other dramatic genre twist demands attention to the details. New worlds aren't built on broad strokes. But Total Recall tries to get away with it in hopes that audiences will recall their own movie knowledge to support its faulty logic. The movie repeatedly prompts viewers to think back to the 1990 version with blatant fan service that's absolutely nonsensical in this restructured version (no longer does Quaid go to Mars but there's still a three-breasted alien?). The callbacks may have given Total Recall a "been there done that" feel but rarely is it coherent enough to get that far. By the closing credits you'll be struggling to remember what you spent the last two hours watching.
Take This Waltz is beautiful maddening and sexy just like its protagonist Margot (Michelle Williams). Margot speaks like a toddler to her husband Lou (Seth Rogen). She's moody but playful and she has cutesy and symbolic neuroses like insisting on taking a wheelchair at the airport because trying to make her flight is the sort of limbo that makes her anxious. As she explains to a handsome stranger named Daniel (Luke Kirby) she's afraid of connections she's afraid she'll get lost and no one will ever find her. Almost everything about her is childish from her bright yellow raincoat to her junior high insults ("retard " "gaylord") to her shrieking embarrassment when she pees in the pool during a water exercise class.
"What's the matter with you " asks Daniel "generally?" That's the crux of the movie. What is the matter with Margot? Even Margot doesn't know the root of her restlessness. It seems the only person willing to call her on it is her sister-in-law Geraldine an alcoholic in recovery who is already anticipating her own failure.
Take This Waltz relies heavily on chance and metaphor but the emotional intensity can make you willing to take that leap. Williams carries the film as Margot while Rogen gets an excellent chance to show his emotional side as Lou a lovable bear of a man. Kirby plays Daniel with an easy heady sexuality that makes Margot's decision understandably difficult. Sarah Silverman drops her bad girl comedian persona and really shines as acerbic but insightful Geraldine.
After Daniel and Margot meet at a historic village (she's rewriting the tour book for the tourist destination and he's who knows a fan of colonial history) Daniel is seated next to her on the plane. He also happens to live down the street from her and Lou. By the time he's began to wonder what Margot's deal really is they're knee deep in a heated emotional affair. Their attraction is immediate and palpable an irresistible force felt off screen. Daniel verbally consummates their affair with an unforgettably hot monologue.
Lou on the other hand isn't quite on the same page as Margot when it comes to their sex life or future children. He's knee-deep in a chicken cookbook so the couple and their family and friends eat almost nothing but different chicken dishes at every mean. You can only eat so much chicken right? Daniel on the other hand is new. "New things are shiny " Geraldine tells her in the communal gym shower as the women are soaping up after that pool incident. "New things get old " comments a woman nearby. This is one of the strongest scenes in the movie where women of all ages shapes and colors scrub down unapologetically and talk amongst themselves in a private/public space.
Take This Waltz is a more realistic portrayal of an erratic young woman who in a different writer's hands would be one of those Manic Pixie Dream Girls. Even though Margot wears adorable onesies and has the playfulness of a child she also hurts a lot of people and is screwed up for no apparent reason. It's not always clear why these men are attracted to her and you can tell they aren't sure themselves but it's interesting and painful to watch it all unfold. Take This Waltz is beautifully shot full of buttery sunlight and lush parks and sweetly decorated abodes. Polley rolled the dice on a difficult protagonist and comes up a winner.
A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
In Unknown a generic conspiracy thriller from director Jaume Collet-Serra (Orphan House of Wax) the protagonist played by Liam Neeson emerges from a four-day coma to find himself in the midst of a kind of reverse-identity crisis: He’s fairly certain who he is but everyone else around him seems to have forgotten as if they’ve contracted a kind of collective amnesia. The filmmakers hope dearly that this amnesia will extend to the audience that you won’t remember the Bourne trilogy The Fugitive or any number of other thrillers from which Unknown borrows heavily. Its main strategy for achieving this is to churn out action-thriller clichés at such a breathless pace that you won’t pause to ponder the film’s unoriginality.
Moments after arriving in Berlin for a biotech conference world-class botanist Martin Harris (Neeson) nearly dies in a traffic accident. Stranded in a foreign country without any form of identification he angrily asserts to everyone he encounters he is “Martin Harris Doctor Martin Harris ” to which he mainly receives puzzled looks from confused Teutons. Events take a more sinister turn when even his wife Elizabeth (Mad Men’s January Jones)* claims not to recognize him and another man purporting to be Martin Harris takes his place by her side.
Is this all some elaborate ruse or just the after-effects of the car accident? As Martin (Neeson’s version) probes the mystery of his lost identity he becomes enveloped in a grand conspiracy involving agribusiness conglomerates Arab sheiks a beautiful Bosnian immigrant (Diane Kruger) a sickly ex-Stasi member (Bruno Ganz) and a pair of stereotypically menacing German hitmen. The film’s setup is intriguing and its plot features a few clever twists but for the most part it's a predictable affair and one which gradually loses its grip on reality. As a piece of mindless entertainment Unknown has its moments – there are a handful of well-choreographed action sequences including the obligatory urban car chase – just don’t try to engage it on a logical level or you might end up in a coma yourself.
*I thought for sure Jones' character would at some point be revealed as an android but alas I was wrong.
From the moment Hailee Steinfeld enters the frame in Joel and Ethan Coen’s magnificent western True Grit an adaptation of Charles Portis’ 1968 novel (or re-adaptation — John Wayne's 1969 version got to it first) the film belongs to her. This is no easy feat especially for a 13-year-old actress making her feature-film debut but Steinfeld not only holds her own alongside such heavyweights as Jeff Bridges Matt Damon and Josh Brolin she often upstages them.
The film which is set in the 1870s stars Steinfeld as Mattie Ross a pigtailed 14-year-old sent to the frontier town of Fort Smith Arkansas to settle the affairs of her deceased father an honorable man murdered for two gold pieces by a monstrous simpleton named Tom Chaney (Brolin). Mattie also comes seeking justice: Chaney is still at large having escaped to the dangerous foreboding expanse of the Indian Territory and she intends to see to it that he is captured and brought to trial.
Frustrated by the local authorities’ ambivalence toward tracking down her father's killer Mattie turns to Rooster Cogburn (Bridges) a slovenly alcoholic U.S. Marshal renowned for his cruelty and itchy trigger finger. Were there a Miranda warning in 1870s Cogburn would have little use for it; chances are few of his perps would understand it through his grouchy guttural slur anyway.
Pleading to join their makeshift posse is LaBoeuf (Damon) a pompous upright and overly chatty Texas Ranger — the Good Cop to Cogburn’s Bad Cop — who covets Chaney’s Texas bounty which holds more value than his Arkansas bounty. Cogburn agrees reluctantly to take him on recognizing that Chaney now likely holed up with his criminal gang a vicious bunch headed by a spittle-spewing snaggletooth named Lucky Ned (Barry Pepper) is too formidable to approach alone. Cogburn and LaBoeuf are natural rivals and long rides on the trail of Chaney afford them ample time for dick-measuring contests which invariably necessitate the intervention of their teenage mother hen Mattie.
Mattie may be the most mature member of the posse but she is nonetheless still a child — eventually the job of exacting final vengeance must fall upon the men with guns. Here Mattie’s stout heart has an ennobling effect on Cogburn who after briefly giving up during a booze-fueled bout with self-doubt stiffens his resolve to see things through.
Compared to its predecessor the Coen Brothers’ version of True Grit is both funnier and less sentimental. There is little room for tenderness or romance on the Coens’ frontier but opportunities abound for the kind of black humor for which the writer-directors have become so famous. As in Fargo they have a great deal of fun with language; characters speak in a laughably rigid formalized manner almost Shakespearian in its tongue-twisting complexity. The film's ironic conceit that such codes thrive in a land ruled by violence and chaos is best illustrated in Mattie’s constant almost charmingly naive threats of legal action against her adversaries. They react to her threats with a kind of befuddled amusement; the phrase "I'll see you in court" is still several decades away from joining the popular lexicon.
Critics often bemoan the abundance of remakes in modern risk-averse Hollywood. A more productive strategy at least for the cause of quality filmmaking might be to properly exalt the better ones. This True Grit may be the best of them combining the look and feel of a classic western with a distinctly Coens brothers tone. And Ms. Steinfeld is nothing short of a revelation.