Part Mean Girls part Heathers—hell there’s even a little bit of Hilary Duff’s ridiculously stupid The Perfect Man thrown in there—John Tucker Must Die fits the genre nicely. But the word “die” is a little harsh. Actually when three high school girls—wannabe journalist Carrie (Arielle Kebbel) head cheerleader Heather (Ashanti) and vegan activist Beth (Sophia Bush)—find out they are all dating the delectable John Tucker (Jesse Metcalfe) the school’s basketball star they decide to get even. After several embarrassing tactics backfire the girls come up with the perfect idea. They’ll recruit pretty but anonymous new kid Kate (Brittany Snow) doll her up and get Tuck to fall in love with her so she can ceremoniously dump him. Wow I can’t see anything going wrong with that plan. Not at all. Talk about some pretty people John Tucker has got them in spades starting off with the insanely handsome Metcalfe who literally had women weak in the knees as the hot gardener who woos Desperate Housewives’ Eva Longoria. It’s not a big stretch to see him as the sexy Tuck the most popular er player in school. Then there’s the trio of revengeful hotties: tall lean and blonde Kebbel (Aquamarine) as the “smart” girl; curvy singer/actress Ashanti (Coach Carter) as the bring-it-on “cheerleader”; and luscious and exotic Bush (TV’s One Tree Hill) as the “experienced” one. But really its the perky Snow’s (The Pacifier) show effectively playing the “invisible” girl no one knows or even cares to know who moves around a lot whenever her mother (Jenny McCarthy in a nice bit part) breaks up with a “John Tucker” herself. What’s wrong with these single moms dragging their daughters all over the place after their hearts get broken? Betty Thomas best known for her turn as Sgt. Lucy Bates on Hill Street Blues doesn’t have the best track record in town as a director (I Spy is hers for example). But she’s helmed enough passable comedies (The Brady Bunch Movie Dr. Dolittle) to grant her admittance into the club. Problem here is Thomas isn’t teamed up with a sharp writer like Saturday Night Live alum Tina Fey whose Mean Girls script simply zings. John Tucker is pretty standard fare taking bits and pieces from the already established high-school formula. Still the coveted teen market will more than likely enjoy all the antics in the film—especially the whole “thong” bit in which Tuck caught wearing a thong in one of the girls’ schemes makes it cool for guys everywhere to wear thongs. Yeah you get the picture.
Dave Chappelle is a Hollywood anomaly. Not only because the comedian felt his soul was worth more than $50 million (the reported amount he walked away from when he left his Chappelle's Show) but also because he lives worlds apart from the place--literally and figuratively. In Block Party not a moment is spent trying to go deep inside the man behind the comedy yet that much is ascertainable. The documentary tells instead of his September 2004 mission to organize a rap/R&B block party/concert in Brooklyn and hand out the event’s "golden tickets" at random to people in his Dayton Ohio community. It cuts back and forth between concert footage with his standup and the often-funny events that precipitated it. Those hoping for some sort of mea culpa will be disappointed (and should be ashamed); rather it's Chappelle's show seemingly the way he wanted Chappelle's Show. While Block Party obviously contains no acting there is a bevy of performers. The catalyst of course is Chappelle and as he did so well on his show he turns mundane observations into knee-slapping hilarity—thanks in no small part to his infectious laugh that follows everything he says. He also plays the part of hip-hop goodwill ambassador both reuniting groups and diversifying the lineup. His tastes and schoolboy enthusiasm might even be enough to endear the hip-hop naysayer. See he prefers artists who are progressive--artists who say something punctuated by actual live music! Acts like The Roots Kanye West Common Erykah Badu Jill Scott Mos Def Talib Kweli Dead Prez and a reunited Fugees--the film’s climax if you will--make theater dancing all but unavoidable and massacre stereotypes. And they're all Chappelle-approved for an extra layer of authenticity. Block Party perfectly pairs subject with director. Michel Gondry--best known as director of Eternal Sunshine of the Spotless Mind--has a voyeur’s curiosity an artist’s eye for aesthetics and an ear for left-of-center music (he is also an acclaimed music-video director). He is not interested in somehow exposing Chappelle to his legions of fans and few detractors but he does touch on something that might surprise: Chappelle with his genuine benevolence seems just as content to get a smile as he does a laugh. Such is the case when he invites an entire college band to come play at his block party and pays their way; or when he pleases the crowd by assembling the aforementioned eclectic mix of musical acts groups which might’ve gone their careers without appearing together. But what Gondry captures best is this freak of nature who’s so maddeningly candid in front of a camera.
Once respected NYPD detective Jack Mosley (Bruce Willis) is now pretty much on his last legs literally and figuratively. He drinks is relegated to a desk job and walks with a limp. One morning after a long shift he’s corralled into transporting a petty criminal Eddie Bunker (Mos Def) to the courthouse 16 blocks away so he can testify by 10:00 a.m. What Jack doesn’t know is that Eddie is one of the key witnesses in a case against crooked cops--that is until the two start getting shot at. Then it becomes crystal clear. The main bad guy Jack’s former partner Frank (David Morse) basically lets Jack know Eddie will never testify to just go ahead and hand him over but Frank underestimates Jack’s desire to finally do something good. So Jack and Eddie fight their way to the courthouse block by gut-wrenching block. Oh no there’s nothing formulaic about 16 Blocks not at all. In a film as predictable as this the only thing that’ll make it stand out is the performances. 16 Blocks nearly succeeds--but not quite. It would seem Willis is playing a character he’s played a hundred times before--the misunderstood and slightly unorthodox cop with a heart of gold. But as Jack the actor does a nice job trying out some new things namely playing fat bald and grizzled. You can almost smell how bad Jack’s breath has to be. Rapper/actor Mos Def who usually brightens any film he’s in also tries his hand at something different but his choices aren’t as smart. As the talkative and affable Eddie Mos comes up with one of the more annoying nasally accents ever recorded. After about five minutes of screen time you desperately want him to stop and say “Just kidding! I don’t really talk like this.” But he doesn’t. It’s too bad something like an accent can ruin an otherwise decent performance. Old-school director Richard Donner best known for his Lethal Weapons is a consummate professional when it comes to making these kind of movies. In other words he pretty much paints by numbers. We watch Jack and Eddie get out of one tight situation after another as the gaggle of bad cops try to gun them down. I mean 16 blocks doesn’t seem that far to go so they better throw in as many highly implausible obstacles as they can. Chinese laundries alleyways rooftops subways. And yes even a city bus which the pair--who have by now bonded big time--has to hijack. Donner also employs a popular but nonetheless annoying technique of zooming in when the action heats up so you can’t really see what’s going on. Even if you’re addicted to action movies--a Bruce Willis action movie no less--16 Blocks just doesn’t deliver the goods.
Based on a series of six Marvel Comics created by writer Stan Lee and artist Jack Kirby in 1962 The Hulk revolves around a scientist named Bruce Banner (Eric Bana) who following a laboratory snafu absorbs a normally deadly dose of gamma radiation. Bruce thinks he has escaped unscathed--until he gets mad ... real mad which causes him to turn into a huge rampaging green monster known as the Hulk. In order to make this 40-year-old gamma theory somewhat more believable for today's science-savvy moviegoers screenwriter James Schamus and his team decided to arm the script with a somewhat more convincing scientific rationale. The story follows Bruce's father David Banner (Nick Nolte) who as a young scientist conducted prohibited genetic experiments on himself thus changing his son's life before he was even out of the womb. While modernizing the scientific reasoning behind Bruce's transformation makes sense it's a pity it had to be done in such a heavy-handed way. By adding such an elaborate layer to the story The Hulk becomes more about Bruce and David's tormented past and any semblance of a plot is buried in melodramatic dialogue between the characters. The result is a comic book adaptation that is much too serious for its own genre.
Despite the theatrical discourse don't expect complex characters to emerge from The Hulk. Although Bana (Black Hawk Down) is a good choice for the lead of the nerdy scientist and reluctant hero his character is so busy pretending he doesn't have any problems that the audience never gets to see his emotional side. Bana's character grimaces convincingly as he represses his anger for example but he fails ever to open up on a personal level to his love interest in the film his co-worker Betty played by Jennifer Connelly (A Beautiful Mind). Betty is Bruce's old flame but the two are obviously still in love: she is obsessed with fixing whatever is broken about him. As the Hulk Bruce need only look at Betty once for his anger to subside and allow him to morph back into human form. They have weighty discussions about the significance of their dreams and Bruce's past yet they never seem to connect on any level. One of the film's best performances comes from Nolte (The Good Thief) in the role of Bruce's mad scientist father David. Almost Shakespearean at times Nolte--scraggly hair and all-- completely immerses himself in the role. The cast's performances however are muted by the general heaviness of this would-be actioner. Look for quick cameo appearances by Lou Ferrigno (from the 1970s TV series The Incredible Hulk) and Marvel legend Stan Lee.
For his follow-up to Crouching Tiger Hidden Dragon Ang Lee has turned to bigger greener matters. The Hulk the director's visual effects-intense picture (with a little help from Industrial Light & Magic) is stunning and startlingly well done. The green beast's computer generated movements from his heaving chest to the single leaps that spring him well into a different zip code are convincingly real. Not only does the ground shake when this goliath lands but his momentum even throws him off balance at times sending his lumbering arms flailing. But while the CGI Hulk has been meticulously honed Lee's homage to the world of print comic books--using multiple screens to present concurrent storylines and alternate angles of the same scene--is off-putting: Rival researcher Glenn Talbot (Josh Lucas) suspiciously walks out of the lab Betty reacts in one panel Bruce sits back in another. The simultaneous screens don't necessarily show anything pertinent going on making the far and wide close and medium shots of the character's reactions a distraction rather than a helpful storytelling technique. But the most disconcerting thing about the film is that in its leap from the four-color paneled pages to the big screen it lost its wit.
February 18, 2003 10:38am EST
At the tender age of 12 Matt Murdock (Ben Affleck) was splashed in the eyes with radioactive waste and lost his sight--but his other four senses developed with superhuman sharpness. He grew up to become a bleeding-heart lawyer running a law practice with his best friend Foggy Nelson (Jon Favreau) and chasing beautiful women including the bright and fearless Elektra Natchios (Jennifer Garner). By night he is the masked vigilante Daredevil using his incredible senses and abilities to defend the downtrodden in New York City's Hell's Kitchen. Daredevil the movie stays true to all the elements that are pervasive in the Marvel Universe: drama love action violence revenge a spiteful police department and best of all the probing reporter on a quest for the truth. Here moviegoers will become familiar with events that become catalysts in Daredevil's crime-fighting career including the death of his father (David Keith) at the hands of the mob and the victimization of those close to him. The villainous underworld figure Wilson Fisk a.k.a. Kingpin (Michael Clarke Duncan) and his hired hand the psychotic killer Bullseye (Colin Farrell) are also introduced as Daredevil's foes--and the battle between good and evil is born in this gritty urban borough.
Daredevil's appeal is that he does not possess any superpowers which made Affleck (Sum of All Fears) a good choice to portray this rather vulnerable crime fighter. While he beefed up for the role Affleck still retains that guy-next-door quality that makes both Murdock and Daredevil so relatable. His love interest in the film Elektra is played by Garner better known as Sydney Bristow on ABC's Alias. Elecktra is as brawny as she is brainy and Garner is the perfect fit for the character: she's gorgeous in a non-Hollywood kind of way and convincing as skilled fighter. Playing Murdock's lifelong friend and partner Foggy Favreau's (Made) role here is the most low-key of the bunch but he delivers some comic relief with some really funny lines. As far as villains go no one could be better suited for the role of Kingpin than the larger-than-life Duncan (The Scorpion King). This massively muscled character had to be played by someone with a powerful presence and sophisticated intellect making Duncan the ideal candidate. Rounding out the malefactors is Farrell (The Recruit) who churns out a powerful performance as the psychotic killer Bullseye complete with the nervous twitches and shifty eyes.
The decision to place Mark Steven Johnson at the helm of Daredevil was a little surprising. His 1998 directorial debut Simon Birch and his screenwriting credits Grumpy Old Men and the astoundingly bad Jack Frost hardly seemed on a par with an action adventure feature like this. The fact that Johnson hasn't worked extensively with digital effects becomes apparent in some of the film's action sequences that include a CGI Daredevil running upside walls and taking giant leaps from rooftop to rooftop. The completely animated version of Daredevil doesn't behave naturally and lacks details such as muscles texture highlights and shadows. But Daredevil didn't have a huge budget (compared to Spider-Man at least) and what it lacked in f/x it made up for with a gripping and gritty story line. Daredevil's mission is to rid Hell's Kitchen--not the universe--of as much crime as he can and his vendettas are personal--and grotesquely violent. More importantly Johnson's screenplay stays true to the comic book characters and their attributes. Fans of the comic book will appreciate his truthful touches such Bullseye's maniacal talents which include being able to turn a paperclip into a deadly weapon and Kingpin's ritualistic removal of his blazer before pounding the snot out of adversaries.
Zak Gibbs (Jesse Bradford) finds what looks like a wristwatch while scavenging through a box of his father's junk. What he doesn't know is that the watch is actually a device that makes its wearer move so quickly that the rest of the world appears to be moving in slow motion. The device was sent to his father (Robin Thomas) a science professor and dilettante inventor by a former student (French Stewart) who is being held captive by an evil corporation. Now the evildoers want their watch back and kidnap the professor while Zak unaware that his father is in grave danger runs around town with a cutie pie exchange student (Paula Garces) freezing time. Of course the two teens eventually join forces and save the day. Not only is the film's plot is so unbelievably implausible the characters are ridiculously typecast. The most insulting is Zak's black friend Meeker (Garikayi Mutambirwa) who dreams of winning a DJ competition. Eager to help him win Zak and his gal pal go into hypertime and make like puppeteers moving Meeker's arms and legs so that in real time it appears as though he's a good dancer.
Jesse Bradford (Bring It On) is the most redeemable thing in this film. His character Zak is a conventional teen who is smart but not brilliant and clever without being a hero. But unfortunately Bradford is stuck in this mess of a movie acting alongside the pretty but frothy Paula Garces. Like most girls in the movies nowadays her character Francesca de la Cruz is a vixen that cleverly puts guys in their places and can single-handedly beat up a villain. French Stewart is Dr. Earl Dopler the watch's creator. Although his brainy character is the opposite of his airheaded Harry on Third Rock From the Sun Stewart seems like he is the same persona simply reading a different script. Robin Thomas (The Contender) and Julia Sweeney (Whatever It Takes) play Zak's parents. Both are pretty standard fare: Thomas the parent married to his work at the expense of his relationship with Zak while Sweeney is a regular June Cleaver type.
Why Jonathan Frakes better known as Commander Riker on Star Trek: The Next Generation or anyone for that matter would put their names on this project is unfathomable. From the hideously flashy and noisy opening credits to the predictable denouement Clockstoppers is about as entertaining as nails scraping against a chalkboard. The ridiculous story accompanied by flimsy special effects was penned by too many writers to mention. This may explain the massive plot inconsistencies--are they not supposed to count because this film is aimed at younger viewers? At one point Zak comes to the realization that for others to come in and out of hypertime they must be touching him. But there are several instances throughout the film that clearly contradict this. The watch also makes its users age rapidly but seems to spare Zak his friends and the evildoers of this fate. And is there no gravity in hypertime? Zak and Francesca were able to toss Meeker around the stage like he was weightless. And is Meeker a typical cheery Jamaican caricature with thick dreadlocks in the film for no other reason than to offend? His character disappears halfway through the film after being redeemed by his white rescuers.
A few years back, Jet Li’s ass-kicking dexterity was known only to a select few -- namely, geeky Far East cinephiles immersed in a world of fanzines and fringe video stores. And in two major U.S. flicks' time, the Chinese martial artist turned movie star has joined the ranks of other imported Hong Kong cinematic icons -- such as Jackie Chan and Chow Yun-Fat -- in successfully making the crossover from the niche market of Asian cinema to the cash cow of Hollywood.
And the bucks (plus the roles) don’t stop there. Daily Variety reported today that the actor has just signed with Warner Bros. to co-produce and star in another action flick titled "The First King." Based on Li’s own idea, the film is said to be an action-adventure that’s inspired by the first monarch of China who comes back to life in modern times. And word has it that Li’s also in talks to co-star in the adaptation of "The Green Hornet" and in both of "The Matrix" sequels.
Certainly, the success of "Lethal Weapon 4" and "Romeo Must Die" and the bombardment of offers easily attest to Jet Li’s career longevity in Hollywood. But the fact of the matter is, the 37-year-old actor’s been around a helluva lot longer than the recent exposure explosion would have people think.
Li made more than 25 films (all action-oriented) before landing the against-type role of the villain in 1998’s "Lethal Weapon 4." Like many actors, Li started out doing something else -- in his case, Li was a four-time Chinese Men’s All-Around National Wushu Champion in China (vocabulary lesson: "Wushu" means "martial arts" in Mandarin) in the mid-70s. He segued into martial-arts flicks in Hong Kong and China with "Shaolin Temple," an old-school kung fu period piece in 1980.
During his prolific career, Li has worked with Hong Kong new wave director Tsui Hark, chubby martial-arts star Sammo Hung (TV's "Martial Law") and directed his own film (1986’s "Born to Defense").
But what’s more, he’s got what every supercool subculture icon’s got: a massive cult following and an interminable list of films to prove it (see filmography below).
The origin of the Jet Li cult phenomenon is unclear, but it can be traced to the fervor of avid Hong Kong cinema fans and in-the-know Asian expatriates.
"[The Jet Li cult following began with] the same people who’re into Hong Kong films -- just like Chow Yun-Fat and Jackie Chan. And it spreads with words of mouth. Of course, our magazine helps a lot also," Eric Nakamura, publisher and co-editor of Asian pop culture mag Giant Robot, told Hollywood.com.
And what is Li’s specific appeal? The bona-fide kung fu and the physics-defying moves, what else?
"I think [his appeal] is just that he’s a martial artist. He looks really good, and he’s more serious [than someone such as] Jackie Chan. Jet is a lot fresher," said Nakamura.
In even more flowery prose, another longtime Jet Li fan agrees.
"I don't think anyone (whether interested in martial arts or not) could sit through one of Jets films and not appreciate his outstanding form, speed and precision. Jet moves with the fluidity and grace of a true martial-arts expert," wrote the co-creator of the online Jet Li fansite The Ultimate Jet Li Website (www.jet-li.co.uk).
Here is Li’s complete filmography, courtesy of the Jet Li HQ Web bsite (http://www.geocities.com/Hollywood/Cinema/1320/film.html ):
Shaolin Temple (1982) Shaolin Temple 2: Kids from Shaolin (1984) Shaolin Temple 3: Martial Arts of Shaolin (1986) Marvelous Kung Fu of Shaolin (aka Abbot Hai Teng of Shaolin) (1986) Born to Defence (1986) Dragons of the Orient (1988) Dragon Fight (1988) The Master (1989) Once Upon a Time in China (1990) Once Upon a Time in China 2 (1991) Once Upon a Time in China 3 (1992) Swordsman 2 (1992) Fong Sai Yuk (1993) Fong Sai Yuk 2 (1993) Last Hero in China (1993) Kung Fu Cult Master (1993) Tai Chi Master (1993) Shaolin Kung Fu (1994) New Legend of Shaolin (1994) Bodyguard from Beijing (1994) Fist of Legend (1994) My Father is a Hero (1995) High Risk (1995) Dr Wai and the Scripture without Words (1996) Black Mask (1996) Once Upon a Time in China and America (1997) The Hitman (1997) Lethal Weapon 4 (1998) Romeo Must Die (2000)