With age comes wisdom and experience. With youth, the ability to metabolize quickly and a profound misunderstanding of irony. Each is an invaluable asset to any duo, be they crime-fighters, time travelers, dance partners or what have you. That is why so often in movies, we see this formula. Power Duos: one older member—the hardened sense who has “seen things you couldn’t even imagine,” and one younger—the agile, fearless, yet untamed rookie who brings a new vigor to the operation.
The new action-thriller Safe House employs this formula with its stars Denzel Washington and Ryan Reynolds. Washington plays a well-worn fugitive being sought by African vigilantes, and Reynolds is the novice CIA agent put in charge of looking after him. The generation gap lends both to the efficiency of their crack team and to the fun of the film—and we’ve got more examples of Power Duos: Young and Old right here.
Bruce Wayne and Alfred (Batman movies)
With Age Comes: Some Hall of Fame deadpan, and a whimsical perspective on the world and its people.
With Youth Comes: Death-defying moves and a god complex.
Together: They maintain peace (relatively) in the city of Gotham.
Kevin Brown and James Darrell Edwards III (the Men in Black series)
With Age Comes: A deft understanding of alien life forces and how to keep them from overtaking the planet Earth.
With Youth Comes: High quality swagger. And one of the most memorable rap anthems of the 1990s.
Together: They put a stop to menacing life forms. Several times, actually.
Doc Brown and Marty McFly (the Back to the Future trilogy)
With Age Comes: A genius-level intellect for physics, time-travel theory, and outsmarting terrorists.
With Youth Comes: Superhuman abilities in skateboarding, guitar-playing and Frisbee.
Together: They set up the latter's parents in an age before Pepsi Free...whatever that is.
William Somerset and David Mills (Se7en)
With Age Comes: A somber state of being that drags with him until the end, thanks to a career of dealing with horrible, horrible crimes.
With Youth Comes: A pep in his step and a passion for solving mysteries! Oh, and a wife. A poor, poor wife.
Together: They apprehend Kevin Spacey just in time to keep him from...oh, no, wait, he already killed everyone that he was going to kill. Kind of a downer ending.
Maude Chardin and Harold Chasen (Harold and Maude)
With Age Comes: An appreciation for life’s unremitting joys, and a knack for stealing cars.
With Youth Comes: Apparently, invincibility. That kid killed himself like three dozen times in that movie.
Together: They fall in love. And isn't that the most Powerful thing a Duo can do-o?
Lt. Col. Frank Slade and Charlie Simms (Scent of a Woman)
With Age Comes: Perfect handling of a Ferrari—despite a slightc case of visual impairment. And the ability to sway entire rooms with loud, antagonistic speeches.
With Youth Comes: At least marginal people skills, and—more than anything else—patience. Kid’s a saint.
Together: They solve each other's problems. Frank stands up for Charlie in front of his entire student body, and Charlie keeps Frank from shooting himself. Hoo-ha.
William Forrester and Jamal Wallace (Finding Forrester)
With Age Comes: A writing style that would make Fitzgerald, Hemingway and Moody green with envy.
With Youth Comes: The ability to leave his own house. He’s also good at writing, though.
Together: There's a whimsical bike ride involved.
Carl Fredricksen and Russell (UP)
With Age Comes: Classic Ed Asner misanthropy, but a passion for mysterious destinations. And a flying house.
With Youth Comes: Just the right amount of twinkle in his eye to melt that old man’s frozen heart!
Together: They defeat a mad explorer, befriend a loving dog and a squawking Kevin, and earn a coveted boy scout badge.
Nathan Muir and Tom Bishop (Spy Game)
With Age Comes: Some star-quality irreverence and “Smoking Guns Syndrome.” And the looks.
With Youth Comes: Military training and a by-the-book mentality. And the looks.
Together: They show the world's greatest superpowers that nothing can stop a Power Duo with this aesthetic durability.
As the fifth year at Hogwarts begins most of the wizardry world is having a hard time believing Voldemort (Ralph Fiennes) has returned further propagated by the Ministry of Magic who refuses to recognize anything evil is brewing and blames all the hullabaloo on Harry (Daniel Radcliffe) and Dumbledore (Michael Gambon). The Ministry even interferes with Hogwarts business by making Ministry employee Dolores Umbridge (Imelda Staunton) the new Defense Against the Dark Arts professor whose outwardly sweet demeanor hides a sadistic streak a mile wide. She thinks the children should only learn about the Dark Arts “theoretically” and tortures all those who disagree. But the Voldemort threat is a reality and Dumbledore has re-formed the Order of the Phoenix a group of witches and wizards that prepares to battle the Dark Lord. Harry is unfortunately being kept in the dark for his protection of course even as his connection to Voldemort grows stronger and he’s royally peeved at being ignored. Urged on by Hermione (Emma Watson) and Ron (Rupert Grint) he forms his own order of Hogwarts students called Dumbledore’s Army to teach them what defenses against the Dark Arts he has already learned. Oh yeah Harry also shares his first kiss but make no bones about it—love is the furthest thing on Harry’s mind when the crap hits the fan. War is imminent. Everyone steps up their game in Order of the Phoenix. Radcliffe Watson and Grint have shed their adolescent whininess and aw-shucks goofiness to give their characters the greatest depth so far. They are forced to grow up pretty quickly in Order with little time for any playfulness and the three actors handle the seriousness with aplomb. Of course both Radcliffe and Grint have already ventured out of the Potter world—Radcliffe shed more than just adolescence on stage in a production of Equus while Grint lost his virginity in the indie Driving Lessons--and their extra experience shows in Order. Also good are Matthew Lewis as the usually clumsy Neville Longbottom who shows his mettle in more ways than one and newcomer Evanna Lynch as the slightly off-kilter Luna Lovegood who proves to be a loyal member of Dumbledore’s Army. But the kids have to keep up with the talented adult cast especially Oscar-nominated Staunton (Vera Drake) as Umbridge. The veteran actress’ interpretation of one of J.K. Rowling’s nastiest characters so far in the Potter lore is spot-on down to the pink wool suits and irritating twitter “ahem” she uses when she wants your undivided attention. Helena Bonham Carter also makes an impression however over the top it is as the evil Voldemort follower Bellatrix Lestrange. Does she ever want to look pretty onscreen? Then there’s the laundry list of Brits whose time onscreen may be short but is nonetheless memorable including Alan Rickman as the sneering Prof. Snape; Gambon as the wise but flawed Dumbledore; Gary Oldman as the kindly Sirius Black Harry’s only real family; and of course Fiennes as He-Who-Must-Not-Be-Named. His late-in-the-game appearance once again throws you for a loop. It stands to reason that at five movies in moviegoers would have a favorite Harry Potter flick by now. Those who love those Triwizard Tournament special effects might feel The Goblet of Fire was the best; or Prisoner of Azkaban for its time-bending action. Yet The Order of the Phoenix may be the one movie that speaks directly to the fans of the books. Without as much wide-eyed wonderment or wizardry flash the story is still chockfull of compelling details that are absolutely pivotal to the continuing Harry Potter saga. Screenwriter Michael Goldenberg (Peter Pan) and director David Yates (HBO’s The Girl in the Café) manage to wade through this volume of information and cut successfully to the chase with great effect. Yates who has signed on to do the sixth movie Harry Potter and the Half-Blood Prince even shows an affinity for action in the final dramatic confrontation between good witches and wizards and bad ones. But overall Order of the Phoenix may leave audiences not as well-versed in the novels a little itchy for some good old-fashioned wand-waving and Disney special effects. Thing is it’s just going to keep getting darker and darker for Harry and his crew. The days of happy fun playtime are over.
Set in a world inhabited only by motor vehicles Cars is sort of a cross between Michael J. Fox's Doc Hollywood and NASCAR. The main hero is a hotshot rookie race car named Lightning McQueen (Owen Wilson)--an obvious homage to the late fast-driving Steve McQueen--whose one goal in life is to win the Piston Cup and bask in fame and glory. Yet on his cross-country trip to the Piston Cup Championship in California to compete against two seasoned pros (real-life legendary racer Richard Petty voices the reigning champion The King) Lightning finds himself unexpectedly detoured in the sleepy--and forgotten--Route 66 town of Radiator Springs. There he meets its colorful denizens--including Sally (Bonnie Hunt) a snazzy 2002 Porsche who owns the local “rest” stop; Mater (Larry the Cable Guy) the town’s rusty but trusty tow truck; and Doc Hudson (Paul Newman) a 1951 Hudson Hornet who rules the town with a steady hand er wheel. Together they all help the cocksure Lightning realize that there are more important things than trophies fame and sponsorship. If Pixar calls you come running so it isn’t at all surprising how impressive the Cars vocal line-up is starting with legendary screen icon Newman as the Doc. Come on being the race car driving nut that he is you think the 81-year-old actor would say no to voicing a 1951 Hudson Hornet who has his own mysterious past in the racing world? Hell no. The rest of the cast also seem to have a good time channeling their inner car from Wilson’s snarky speedster to Hunt’s cute and sexy Porsche a big-city lawyer who decides to get out of the fast lane. Supporting voices include Cheech Marin and Tony Shalhoub as Radiator Springs’ low-riding body shop and Italian Fiat tire shop owners respectively. Even George Carlin gets into the act as a groovy ‘60s VW wagon who sells “organic” fuel. Good stuff. Of course what Pixar flick would be complete without its comic relief? Although he’s no Ellen DeGeneres as a short-term memory impaired fish Larry the Cable Guy fills in nicely as the dim but sweet Mater the ultimate hick tow truck. Having been out of the directing loop since his 1999 sequel Toy Story 2 Cars marks Pixar’s golden boy John Lasseter return--and this is his big love letter to the splendor that is the automobile. Of course his demand for perfection took its toll. The animators had to come up with a new technique called “ray tracing ” which allows the car stars--that are metallic and heavily contoured--to credibly reflect their environments. Even with a sophisticated network of 3 000 computers and state-of-the-art lightning-fast processors that operate up to four times faster than they did on The Incredibles the average time to render a single frame of film was 17 hours. Still all that time spent pays off. Cars is a real visual treat with another firm grasp in storytelling. Sure it’s a bit of a vanity project and may shoot way over the kiddies’ heads making them squirm a little during the “slow” parts. But as one of the recently appointed top guns at Disney Lasseter can do just about anything he wants these days--and we are going to love it dammit.
Dodgeball is the classic big guy vs. little guy
can-do tale featuring your least favorite P.E. activity. Peter La Fleur
(Vince Vaughn) is the irresponsible manager of Average Joe Gymnasium a
low-end workout center that is losing business to Globo Gym America Corp.
run by former fatty food fetishist White Goodman (Ben Stiller). Peter
discovers that he has 30 days to come up with $50 000 of payments or else he
will lose his gym to Goodman. With the help of the bank's lawyer Kate Veatch
(Christine Taylor) and a ragtag team of gym regulars Peter plans on
winning the Las Vegas International Dodgeball Open and its first place
prize money. Yes folks all of your favorite sports clichés are here: the
salty experienced coach (Rip Torn) with his inspirational
non-sequiturs the nerd with a girl to impress a love triangle between the two
rivals and of course pirates. What? You were expecting a high concept and clever plot twists perhaps? C'mon.
If you want character development go see the folks at Merchant-Ivory. This
is irreverent comedy folks. And truth be told it's nothing we haven't seen
before. Vince Vaughn hones his too-cool-for-school good-guy persona against
Ben Stiller's lycra-covered over-the-top overachiever with a '70s porn
moustache. Stiller's performance is colored with shades of the dim-witted
Zoolander and the granny-thrashing nurse from Happy Gilmore but it
works. The two actors play off of each other and their co-stars quite well.
(Stiller's codpiece alone deserves its own screen credit.) But like a good drummer carries a band the movie's costars are what keeps the audience's attention. And as always Rip Torn does crazy
like no one else as dodgeball manager Patches O'Houlihan. He
chews the scenery spouting nuggets of wisdom such as "If you can dodge a
wrench you can dodge a ball" before heaving a tool at one poor kid. As for the team of Average Joes Stephen Root Justin Long and Joel Moore keep the gags rolling as do the actors who make cameo appearances. This laugher has more guest stars than a
two-hour Love Boat special. With a list that includes David
Hasselhoff Chuck Norris Jason Bateman Hank Azaria I was almost expecting
Burt Reynolds and Dom DeLuise to show up in a red Ferrari. The
highlights? Well Gary Cole shines in his bow to the great Vin Scully but
nothing could beat Lance Armstrong who laid down the best guilt trip I've
seen since I moved to the dorms.
This is Rawson Marshall Thurber's first time out playing with the big boys.
Quite a burden for a Tinseltown newbie but Thurber pulls it off agreeably.
All of your favorite sports movies will be mocked and you will enjoy it.
Thurber uses everything he can to get a laugh. Whether he's clowning Tony
Robbins parodying '50s instructional videos or using pizza in a perverse
and unholy manner Thurber keeps his audiences attention with enough
breakneck shtick to make Mel Brooks proud. But most importantly he never
forgets the fundamental rule to slapstick comedy: hitting people with stuff
is very very funny especially if it's in the nether regions or some area
of the human body that could potentially hurt or bleed a whole lot.