While the original 1950s sci-fi cult classic pointed to the Cold War and the threat of nuclear war in a timely manner this The Day the Earth Stood Still is just a rehash. Do we really need Keanu Reeves to tell us how we’ve messed up the planet? In any case he plays Klaatu an alien being inside a human body who comes to Earth in a giant sphere to “talk” to our world leaders about our destructive behavior. In fact he’s the deciding factor on whether to destroy the human race in order to preserve Earth OR give us another chance. Of course no one is going to let Klaatu speak to the U.N. which leaves the alien no other choice. Until that is he joins up with a pretty scientist (Jennifer Connelly) and her stepson (Jaden Smith) and sees just exactly how warm and fuzzy humans can be. Oy. It might be too late though since Klaatu’s giant robot friend (“Gort” in the original) is already gearing up for his mission to kill and destroy. At least casting Keanu Reeves was a smart move. Klaatu’s lack of emotion and few words is right up the actor’s alley; he makes it look soooo easy. Connelly on the other hand is making the same mistake she did when she starred in Hulk -- playing a brilliant scientist of some kind who is inevitably wasted onscreen. Jaden Smith is kind of an impertinent little snot through most of the movie who wants Klaatu dead but suddenly changes his mind just at the right moment. And then there’s Kathy Bates as the Secretary of Defense who stonewalls Klaatu’s request to meet the world leaders. She nearly ruins the whole thing! It’s not that The Day the Earth Stood Still is a poorly made film. Director Scott Derrickson sets the right tone and aptly applies the state-of-the-art special effects when it’s needed -- especially when the robot starts to work his particular destructive mojo by unleashing millions of tiny mechanical bugs who eat through everything. The main problem with this remake is bad timing. The original was creepy and quiet and menacing with its alien takeover theme in a way moviegoers had never experienced in 1951; it hit a chord which has carried it through its cult status. But to redo it now when we’ve seen the same kind of movie done in so many better ways doesn’t make any sense. In trying to keep to the original’s spirit this Day comes off as derivative unimaginative and tedious. Should have left it alone folks.
Within the whole sports genre we really haven’t seen a Ping-Pong movie before—especially one portayed in such a spectacularly goofy way. Former child Ping-Pong prodigy Randy Daytona (Dan Fogler) who was unceremoniously defeated decades ago is now reduced to performing ball tricks on stage at a local bar. But Randy’s luck changes when FBI Agent Rodriguez (George Lopez) recruits him for a secret mission: to ferret out FBI’s Most Wanted arch-villain and Ping-Pong connoisseur Feng (Christopher Walken) the man who killed Randy’s father. But times have changed since Randy choked and Ping-Pong is now played in an unsanctioned underground and extreme kind of way. Randy has to get into shape with the spiritual guidance of a blind Ping-Pong master named Wong (James Hong) and his kickass niece Maggie (Maggie Q) in order to make it to Feng’s mysterious jungle compound to play in the most unique Ping-Pong tournaments ever staged. Randy has his work cut out for him though if he’s going to wield his paddle and triumph over rampant wickedness. Who is this Dan Fogler guy and why haven’t we seen him before? Apparently he’s been on stage winning a Tony Award for his work in the Broadway play The 25th Annual Putnam County Spelling Bee among other things. Now Hollywood is beckoning—and it looks like Fogler has the chops to stick it out. Sort of a cross between Jack Black and Meatloaf the actor totally makes Balls of Fury’s campiness work. He also has lots of help from his fellow players: Lopez is hilarious as the FBI agent who has been working a desk job but fancies himself a James Bond; veteran Asian actor Hong gets to use chopsticks in some interesting ways as the sage but cantankerous Wong; the hard-bodied Maggie Q (wonder what the "Q" stands for) who up to this point has only kicked butt in action movies like Live Free or Die Hard and Mission: Impossible III plays it light in Balls; and of course Mr. Walken as the evil Feng doing his own impression of any Bond villian you can think of while still being Christopher Walken. That man has WAY too much fun in this film. Also look for loads of cameos by recognizable folks. Director/co-writer Robert Ben Garant and his screenwriting partner actor Thomas Lennon (who plays Randy’s hysterical uber-Nazi Ping-Pong rival Karl Wolfschtagg) certainly have a peculiar sense of humor something they created while working on MTV’s The State’s sketch comedy back in the ‘90s and then cultivated on their Comedy Central show Reno: 911!. They’ve gone PG with writing credits such as Night at the Museum and The Pacifier but have gotten R-rated especially with the Reno 911: Miami big-screen effort. Balls of Fury falls somewhere in between (that would be PG-13)--a mixture of James Bond bad martial-arts films Matrix-like slow-mo effects and just about any sports movie starring Will Ferrell. In other words for as many tiny balls that get batted around in any number of silly ways if you buy into their particular brand of comedy (like me) Balls of Fury will keep you in stitches. Oh and if you're a Def Lepperd fan you'll also be pleased with the soundtrack.
Miss Potter is a biopic about Beatrix Potter (Renee Zellweger)—the literary phenomenon of the early 20th century who created the hugely popular Peter Rabbit books. The film examines how she rose to fame in Victorian England a time when women were only expected to marry and run a home. As the story begins Beatrix 32 is well-adjusted despite being unmarried and living with her well-to-do parents. An accomplished painter she dreams of publishing her pet animal drawings as well as the stories that go with them and in neat small-sized books perfect for children. Of course most publishers scoff but one decides to publish Beatrix’s “bunny book ” as a lark and soon sets in motion a publishing juggernaut. During the process Beatrix also falls in love with her young editor Norman Warne (Ewan McGregor) and agrees to marry him much to her mother’s chagrin (he’s a “tradesman ” after all). Basically Miss Potter ends up living the life she wants to lead bucking whatever rigid system put before her. Zellweger is playing yet another English rose but this time without the extra weight. Although not nearly as endearing and quirky as Bridget Jones Zellweger’s Beatrix is still plucky and outspoken willing to stand by her beliefs and forge ahead despite the opposition she faces. In other words Zellweger—who won her Oscar playing a similar part in Cold Mountain—could do this in her sleep. McGregor too seems comfortably fitted for the role of Norman an earnest fellow with good moral fiber a determination to succeed and love in his heart for Miss Potter. Veteran British character actors Barbara Flynn (HBO’s Elizabeth I) and Bill Paterson (Bright Young Things) effectively play Beatrix’s parents with Dad Potter being the more sympathetic and Mom Potter being the uptight battleaxe. And finally Emily Watson who does a nice turn as Norman’s spinster sister Millie. A brash intelligent woman who also speaks her mind Millie thoroughly enjoys life as an unmarried woman and quickly takes Beatrix under her wing. Director Chris Noonan waited a decade after helming the Oscar-nominated Babe before finding his follow-up project setting his sights on Miss Potter. There’s definitely some symmetry to his choice with both beautifully framed films having much of the same sweet-natured sensibilities as well as er animals. Much like Finding Neverland which showed how James Barrie came up with Peter Pan Miss Potter works best when Beatrix is standing up for her rights falling in love and drawing her adorable illustrations her “friends ” as she calls them who come to life and talk to her. Thankfully Noonan and screenwriter Richard Maltby don’t have the animated characters actually speak—only Miss Potter can hear them--but its still a clever device and definitely brings up feelings of hearth and home remembering those stories all over again. Unfortunately the film stalls a bit towards the end when the scenery shifts to England’s the Lake District where the real Beatrix Potter eventually retired to and helped preserve for future generations. Still overall Miss Potter is a charming look at one of the literary world’s more successful authors who was also a feminist and an environmentalist. Pretty amazing lady actually.
Richard Riddick (Vin Diesel) has a really bad rep and with good reason: Five years ago convicted killer Riddick escaped the galaxy's law enforcement during a botched interplanetary prison transfer and has been on the lam ever since. As The Chronicles of Riddick picks up our antagonist finds his relative freedom has been compromised when mercenaries out for the $1 million bounty on his head discover his location and hunt him down. Riddick escapes their clutches steals their ship and sets off for Planet Helion to find Imam (Keith David) the Muslim cleric he rescued in Pitch Black and the only person who could have squealed his location to authorities. But while Riddick's hunch about Imam are correct the cleric has a reason for luring the mammoth murderer out of hiding: Helion is falling to unholy armies of Necromongers--warriors who conquer by force in the vein of Star Trek's Borg. Of course Riddick doesn't give a damn about the Helions or their plight--until he gets wind that the Necromogers want to kill him because of an old prophecy that foresees their end at Riddick's hands. Like it or not Riddick is left with no other choice but to battle the Necromongers.
The character of Riddick is unquestionably what made Pitch Black one of the most sequel-worthy sci-fi films in years. And Riddick would not have been one of sci-fi's most intoxicating characters if it weren't for Diesel. Like his Dominic Toretto in the 2001 actioner The Fast and the Furious Riddick is a villain of few words but when he speaks his carefully chosen words have impact--even if the dialogue is at times overly theatrical. Riddick is the perfect antihero; a cold-blooded and indifferent being who somehow evokes more compassion than the film's so-called good guys. Joining Riddick are some recurring characters including David as Imam but Riddick benefits the most from the addition of some new characters particularly Colm Feore as Lord Marshal the Necromonger leader whose goal is to rid the universe of all human life. Feore channeling nuggets of Julius Caesar into his role makes for one of Riddick's most thrilling foes. Another prominent addition to the cast is Judi Dench who has a surprisingly small role as Aereon an Elemental captured by the Necromongers and used for her special powers including ESP.
Writer/director David Twohy took his horror pic Pitch Black which gained a cult following since it was released four years ago and managed to successfully turn it into an sci-fi actioner of epic proportions. Everything is grander here which is almost a given considering Twohy shot Pitch Black on a dime in Australia using colored filters. In Riddick the director distinguishes the film's different environments--the Necros' mothership Crematoria's cavernous prison and Helion--using warm to cool tones that are dazzling yet more subtle than its predecessor. The CGI effects get a little gamey at times but production designer Holger Gross' gargantuan sets are impressive and help craft Twohy's otherworldly vision into a plausible one. And although Twohy jumps genres from Pitch Black to its sequel his storyline evolves logically from the original premise. But while moviegoers unfamiliar with Pitch Black will be able to follow the story easily enough they may have a difficult time grasping what makes Riddick such a big deal; the film explains the legend but never fully captures its quintessence. This could hurt Riddick's chances to broaden its Pitch Black fan base.
Since they were young girls growing up in the Midwest Connie (Nia Vardalos) and Carla (Toni Collette) have shared the same dream--to become the next biggest thing to hit musical theater but so far performing in an airport lounge is the closest they've come. Their lives change however when they witness a murder by some nefarious drug dealers and in an attempt to escape end up in Los Angeles which has "no dinner theater no musical theater no culture at all." It's the perfect place for them to hide out and all goes to plan until Connie and Carla happen upon a local drag club. Suddenly they see an excellent way to elude their pursuers--and fulfill their need to be on stage at the same time. Pretending to be men dressed as drag queens Connie and Carla are soon headlining at the club belting out the show tunes they love. They become a huge hit getting the fame and recognition they've always wanted--but as time wears on the whole charade turns out to be a real "drag" ("pun intended " as the gals like to say) especially when Connie falls for nice guy Jeff (David Duchovny). Still with the killers hot on their trail Connie and Carla have to stay incognito--at least until they can find a way to come out of the closet without getting killed or disappointing their growing legion of fans.
The very charismatic Vardalos wowed audiences with her first feature the smash hit My Big Fat Greek Wedding and is probably feeling more than a little pressure to follow up with something just as good especially since the Big Fat Greek spin-off TV series failed miserably. Luckily she succeeds with Connie and Carla due in large part to her co-star Collette who finally--after a string of dramatic movies such as The Sixth Sense and The Hours--gets to use the comedic skills she deftly showed in her feature film debut Muriel's Wedding. Together the actresses' natural rapport and infectious charm permeate the film and despite a sometimes hackneyed script they keep things lively and boy can they sing! Vardalos and Collette make the most of their musical theater backgrounds working the stage and making the film's musical numbers truly memorable. Vardalos also displays a fair amount of chemistry with Duchovny as the straight Jeff desperately struggles with his burgeoning feelings for someone he believes is a man. The last little plus is C and C's supporting cast including the bonafide drag queens the girls befriend at the club. Led by the Tony-winning Stephen Spinella (Angels in America) as Robert/"Peaches " who also happens to be Jeff's estranged brother the supporting guys/dolls add that certain La Cage joie de vivre.
As she did in My Big Fat Greek Wedding writer/actress Vardalos' script speaks from the heart with genuinely fresh funny and down to earth dialogue. Apparently she did loads of dinner theater in her early years so she's familiar with the subject. Unfortunately she relies on a contrived Some Like It Hot plot about vengeful drug dealers to get Connie and Carla to L.A. but once the film gets into drag it zings. Connie and Carla is also in capable hands with director-actor Michael Lembeck (The Santa Clause 2) a former song-and-dance man himself at the helm. The broad comedic style he picked up directing countless television sitcom episodes serves well here and he turns the musical numbers into mini show-stoppers each one topping the next. The last is the best of course when the girls launch into "I'm Just a Girl Who Can't Say No" from Oklahoma capped by a special guest appearance from the musical theater goddess herself Debbie Reynolds. Classic.
A salty skipper sets sail with his motley crew on a three-hour tour ... oops actually on a commercial fishing expedition as storms collide to give the Andrea Gail and crew the cruise of their lives. Ten-story waves and a crumbling ocean cruiser threaten to cut those lives tragically short in this Weather-Channel-on-steroids disaster flick. Unfortunately "The Perfect Storm" starts with a drizzle dampened by cheesy subplots but strap yourself in because this film rocks when the waves get rolling.
Can we end the debate about George Clooney having what it takes to be a movie star right here? After kicking butt in "Out of Sight" and "Three Kings " the former "E.R." stud has amply proven himself. He's every bit the leading man here as a fisherman who's in over his head (literally). To say that Mark Wahlberg plays Gilligan to Clooney's skipper wouldn't be quite fair; he completely sheds his Calvin Klein-clad image as a seaman who's love of swordfishing could cost him his girl and his life. But beware: "Storm" is no "Titanic" disaster-glam here. Clooney and Wahlberg are seriously shaggy and grungy for the entire 2+ hours.
Wolfgang Petersen mercifully avoids the silliness of recent disaster spectacles such as "Twister" and "Volcano " instead attempting to tell this true story with dignity. He flounders with the maudlin "Men Who Fish Too Much and the Women Who Love Them" backstory but redeems himself with ocean storms so sensational you won't be able to cancel your Carnival Cruise quickly enough.
Peterson gives us glimpses of the boats deeper into the storm than the Andrea Gail showing us what's in store for our heroes and building a near-unbearable level of tension.