Someone’s been killing off the criminals of New York City--the ones that the law can’t seem to put away via proper channels--and it’s up to veteran detectives Turk (De Niro) and Rooster (Pacino) to crack the case and bring the killer to justice by means fair or foul. As whodunits go this isn’t a terribly compelling or suspenseful one. There are red herrings and dropped clues galore but the script (by Russell Gewirtz of Inside Man fame) is both choppy and loopy--and not in good ways. The story is needlessly convoluted and despite a few tough-guy quotes from De Niro and Pacino this is a forgettable police potboiler. De Niro. Pacino. What more could anyone ask for? A decent script perhaps? There’s a palpable pleasure in seeing these two titans share the same frame but that sensation is quickly dissipated as the clunky storyline lurches toward its inevitable finale. Pacino appears to be having more fun than De Niro who’s almost sheepish in his role as a troubled New York detective. The supporting cast--and it’s a good one--fares little better although there’s more chemistry between John Leguizamo and Donnie Wahlberg as sort of a younger version of the De Niro/Pacino duo. Carla Gugino smokin’ hot as always bats her eyelashes and struts her stuff as a police pathologist with a kinky streak. Brian Dennehy clocks in as the obligatory hard-boiled police lieutenant while Curtis Jackson (better known as 50 Cent) sleepwalks through the stock role of a club owner of dubious disposition. It just goes to show that a great cast can’t do it alone. Jon Avnet who guided Pacino through his paces in the equally clumsy 88 Minutes (for the same producers no less) is simply not up to the task of overcoming the script’s vast and many shortcomings. Even for the most devout devotees of the two superstars Righteous Kill is merely a matter of killing time … and not in a particularly righteous way.
Oh where to begin the insanity? Let’s start with a serial killer breaking into two young women’s apartment killing one of them but getting scared off before he can finish off the other one. At the trial of Jon Forster (Neal McDonough) the possible serial killer testimony from celebrated forensic psychiatrist Dr. Jack Gramm (Al Pacino) sends the guy to the gas chamber--even though the lone witness didn’t get a clear look and all the other evidence is circumstantial. Jump to nine years later when Gramm is still celebrated--mostly by the females in his life including a few of his college students (Alicia Witt Leelee Sobieski) the dean of the college (Deborah Kara Unger) and especially his loyal assistant (Amy Brenneman). But Gramm’s cushy life is turned upside down when a woman he knows is found murdered by what looks to be the same serial killer Gramm thought he put away. Did the wrong man get accused? Oh and Gramm also receives a phone call that he has 88 minutes to live. Bad day for Gramm. Bad movie-going experience for us all. Al buddy what were you thinking? At least the over-the-top Pacino plays it to the hilt as only he can. His requisite screaming scene for example has his Gramm trying to “get into the head” of Forster (played by McDonough with all the malevolence he can muster) by yelling all his dialogue at him so the convict will crack. Right. The real kicker is Gramm describing his little sister’s murder years ago his voice cracking with emotion. It doesn’t even come close to sincerity. Pacino is also supported by a bevy of recognizable actresses who probably took the job just to work with the actor but who shouldn’t count this one on their resumes. Witt is reduced to playing wide-eyed terror as she follows Pacino around on his quest to find out who’s threatening him while Sobieski mostly moons over the professor. The usually good Brenneman’s super-assistant delivers all of Gramm’s CRAZY requests with much calm and precision. But all these women seem to have some kind of ulterior motive so which one has it in for the good doctor? I won’t tell. Director Jon Avnet whose best known for helming Fried Green Tomatoes and Red Corner does a fair enough job. There are enough jumps and starts to at the very least keep the action going. No truly the most laughable part of the film is the script by Gary Scott Thompson (The Fast and the Furious). From the moment Gramm gets the threatening phone call to how the killer can find him anywhere anytime with any communication device--none of it makes sense. You can’t even suspend disbelief just for a moment. And the dialogue? Wow. Thompson must have pilfered from all the bad thriller/cop/serial killer movies ever made. Rumor has it 88 Minutes was slated to go directly to DVD but somehow got the green light for a theatrical release. Let’s hope Al Pacino didn’t push for it--that would just be sad.
P.J. Hogan's Peter Pan follows J.M. Barrie's story almost to the letter. A girl on the brink of womanhood Wendy Darling (newcomer Rachel Hurd-Wood) loves telling her brothers John (Harry Newell) and Michael (Freddie Popplewell) stories of dastardly pirates as they sit in their nursery under the watchful eye of their St. Bernard Nana. Her 19th-century Londoner parents however believe the time has come for the young girl to grow up especially her father. Then a cheeky wild-haired boy named Peter Pan (Jeremy Sumpter) flies through the nursery window one night with his trusted yet jealousy-prone fairy Tinkerbell (Ludivine Sagnier) telling Wendy he can take her to a place full of adventure where no one ever has to grow up. She readily accepts the offer and with a few happy thoughts some fairy dust and her two brothers in tow she flies off to Neverland. (Not the ranch…the real place.) Once there Wendy encounters mermaids Indians and the Lost Boys (who refer to her as "mother") and gets the whole pirate experience in Peter's ongoing feud with arch-nemesis Captain Hook (Jason Isaacs). But Wendy soon becomes conflicted because on the one hand she likes hangin' with hottie Peter but on the other she misses her mother. She decides it's probably best to go back and grow up but in her hurry to leave she ends up in Hook's clutches. A rescue ensues. Swords clash ticking crocodiles are fed and fairies are saved as our clever fly boy zooms Wendy and company back to London on a giant pirate ship. But does he stay and grow up himself? Hell no he's a Toys 'R Us kid forever!
All the kid actors in Peter Pan are highly watchable and appealing with angelic faces peaches-and-cream complexions and pouty cherry lips. This is the first time Peter is being played by a real-life boy a fact much hyped by the filmmakers and 12-year-old Sumpter (Frailty) does his best to live up to the expectations. (He's soon to be swoon-worthy material for sure.) He's got a mischievous gleam in his eye and a great sly smile but he really lights up when he's looking into Wendy's adorable face. Hurd-Wood the first-time actress who plays the spirited girl earned her role after a long and involved casting process it's well deserved; she fits the typical English-girl profile perfectly and gets the hang of her craft quickly infusing the character with a natural cheerful energy. It's also refreshing to see the young actors play up Wendy and Peter's feelings of first love which prior films always hinted at but never fully realized. Isaacs in a dual role as the firm-but-loving Mr. Darling and the frightening comical lonely charming needy reprehensible Captain Hook draws on his experience at playing exquisitely awful baddies (The Patriot Harry Potter and the Chamber of Secrets) and really sinks his claws into Hook. In a stand out supporting role French actress Sagnier (Swimming Pool) is really fantastic as the vivacious non-speaking Tinkerbell portraying the fairy's conflicted emotions with a silent-film over-the-top technique.
Director/writer P.J. Hogan (My Best Friend's Wedding) and his team try to distinguish their film from the other Peter Pans of the world by using all the technical and special effects wizardry at their disposal. Hogan says his Peter Pan is the way its author Barrie intended to be when he wrote it as a play over a 100 years ago--full of fantasy and wonder. In a way he's right and production designer Roger Ford and visual effects supervisor Scott Farrar take his vision and run with it giving audiences a very lush Neverland with waterfalls fluffy pink clouds crystal-blue waters and a gorgeous fairy world. But despite the bells and whistles there really isn't anything original and different in this Pan. Even its look at the dark side of Neverland has been done in Steven Spielberg's 1991 semi-sequel Hook which showed the dangers of Neverland. In this version lives really are at stake and the pirates are not cute and fun. Even the mermaids are mysterious and malevolent with scary faces and murderous intentions a far cry from the beautiful if somewhat mean-spirited creatures of the 1953 classic Disney animated adaptation another inescapable influence on the audience. When the crocodile draws near for example tick-tocking away the croc's signature tune from the Disney film comes immediately to mind. People may love those Disney films for those cutesy catchy songs but Peter Pan really is a good story. Heck it's a great story. But it's just been done.
As Love Actually begins we are told that perhaps the world isn't such a dire and hateful place that "love actually is all around." Around London anyway. The film explores no less than seven different romantic scenarios within the bustling British capital--all of which interconnect and eventually resolve on Christmas Eve. There's the newly elected dashing Prime Minister (Hugh Grant) who is smitten with his secretary the earthy Natalie (Martine McCutcheon); Karen (Emma Thompson) whose husband Harry (Alan Rickman) has strayed with his seductive secretary Mia (Heike Makatsch); Sarah (Laura Linney) the American wallflower who has a crush on her colleague Carl (Rodrigo Santoro); Jamie (Colin Firth) who falls for his pretty Portuguese housekeeper Aurelia (Lucia Moniz)…there are lots more but you get the gist. As love goes things may not get tied up neatly in brightly colored packages for everyone but there's still enough good cheer to spread around.
Showcasing some of Britain's finest actors Love Actually doesn't have a bad banana in the bunch. Floppy-haired Hugh Grant turns in an endearing performance and proves there isn't a romantic comedy he can't handle. He has an uncanny knack for connecting with any actress he happens to be romancing; in this case it's the adorable McCutcheon best known for the hit British TV drama EastEnders. Rickman and Thompson are quite good as the couple whose long-term marriage is beginning to crack; Thompson especially does a nice job trying to hide her pain while being a happy mom. Linney too shines as Sarah who glows with excitement when she finally gets what she so ardently wished for. Veteran stage and film actor Bill Nighy (Underworld) however steals the show as a carefree aging rock star desperate for a comeback. His Billy Mack smacks of Mick Jagger Keith Richards and Rod Stewart all rolled into one.
"I'm worried that we don't have the word 'massacre' in the title " writer/director Richard Curtis fretted to Entertainment Weekly referring to how horror-loving American audiences might not take to his new romantic comedy that is already a huge hit in Britain. True perhaps a romantic comedy starring a multitude of A-list British actors might not bring in the required masses. But who cares about the money (did I just say that)? Curtis who has written some of the best romantic comedies of the last decade including Four Weddings and a Funeral Notting Hill and Bridget Jones' Diary steps behind the camera for the first time here and is able to give each story a unique point of view from the lovesick to the wacky. There actually may be too many stories in Love Actually but it's a small gaffe. Love Actually is a refreshing good old fashioned warm and gushy movie that takes your mind off the bad things for the holiday season and Curtis should feel confident about his directing debut.