Universal Pictures via Everett Collection
Seventeen years ago, Harrison Ford grumbled four simple words that defined a genre, a demographic, and a country: "Get off my plane." In a pre-9/11 world, there was no shortage of jingoistic glee in a movie like Air Force One, in which a man's man American president doled out justice to a militia of Russian loyalist terrorists who made the silly mistake of attempting to hijack his flight home from Moscow. In 2014, we don't have the luxury of facing a plotline like this with reckless merriment. There's a damp gravity to the premise behind movies like Non-Stop, which in another time would have been nothing more than Taken on a Plane. But rigidly conscious of the connotations that attach to a story about a hijacking of a civilian international flight into John F. Kennedy Airport in New York City, Non-Stop doesn't play too fast and loose. It still plays, and has some good fun doing so, but carefully.
From the getgo, we're anchored into the grim narrative of Liam Neeson's U.S. Air Marshall Bill Marks, who settles his demons with a healthy spoonful of whiskey. A dutiful officer even when liquored up, Marks eyeballs every nameless face in London's Heathrow Airport, silently introducing the bevvy of characters who'll come into play later on. After takeoff, Marks finds himself on the unwitting prowl for the anonymous party who's attempting to take down the red-eye through a series of manipulative text messages, well-timed threats, and clandestine killings. Chatty passenger Julianne Moore and flight attendant Michelle Dockery join Marks in his efforts to identify the mysterious criminal before the entire aircraft falls to his or her whims. So less Taken, more Murder, She Wrote.
Our roundup of suspects challenges our (and their) preconceived notions, and quite laughably — most vocal among Neeson's fellow passengers are a white beta-male school teacher (Scoot McNairy), a black computer engineer with an attitude of entitlement (Nate Parker), a softspoken Middle Eastern surgeon whose headwear gets more than a few focal shots (Omar Metwally), a middle-aged white businessman whose latest account landed him more than your house is worth (Frank Deal), an irate black youngster draped in irreverence (Corey Hawkins), and a white, bald, machismo-howling New York cop who secretly accepts his gay brother (Corey Stoll). Just a few talking heads short of Do the Right Thing, Non-Stop manages to goof on each man's (notice that they're all men — Moore, Dockery, and a barely-in-the-movie Lupita Nyong’o are kept shy of the action for most of the film) distaste for and distrust of one another as they each try to sidle up to, or undermine the harried Marks.
Non-Stop plays an interesting game with its characters and its audience, simultaneously painting the ignorance of its characters with a thick coat of comedy while pointing its finger straight out at us with accusations that we, too, thought it was whoever we just learned it wasn't, and for all the wrong reasons. "Shame on you!" Non-Stop chides, adding, "But let's keep going, this is fun!"
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It is fun — that's the miraculous thing. Without any "Get off my plane"s or "Yippee ki yay"s, Non-Stop keeps its action genre silliness in check (okay, there is a moment involving an airborne gun that'll institute some serious laugh-cheers), investing all of its good time in the game of claustrophobic Clue that we can't help but enjoy. It sacrifices some of its charm in a heavy-handed third act, tipping to one side of what was a pretty impressive balancing act up until that point. But its falter is not one that drags down the movie entirely. Fun and excitement are restored, sincerity is maintained, and even a few moments of sensitivity creep their way through. We might not live in a world of President Harrison Fords any longer, but Air Marshall Liam Neesons could actually be a step up.
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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.
At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.