The majesty of the Emerald Isle is on full display in Leap Year an opposites attract romantic comedy starring Amy Adams (Julie & Julia Enchanted) and Matthew Goode (A Single Man Watchmen). Director Anand Tucker (Shopgirl Hilary and Jackie) shooting entirely on location in Ireland takes us on a whirlwind tour of the country’s breathtaking landscape reveling in its fabled fairy-tale charm.
Pity then that such a magnificent setting is so mercilessly defaced by Leap Year’s unrelenting mediocrity. The film’s dubious premise testing the already loose limits of rom-com believability casts Adams as Anna a type-A career girl who flies to Ireland intending to pop the question to her feet-dragging boyfriend on February 29th aka Leap Day. Why Leap Day? Because according to some idiotic old Irish tradition that’s when women are allowed to do such things. (Click here to watch Adams herself try to explain the plot.)
Unfortunately for Anna weather problems force her plane to land far away from Dublin and her would-be fiance. Trapped in a tiny coastal town with no reliable transportation at her disposal she enlists the help of a scruffy abrasive barkeep named Declan (Goode) to drive her cross-country so she can reach her destination by the 29th. And thus begins the traditional rom-com mating ritual of sexually-charged bickering followed by moments of abrupt awkward intimacy.
While watching Leap Year I swear I could hear the Irish countryside quietly weeping as it witnessed Goode and Adams slog through the film's succession of trite misadventures the talented actors straining in vain to manufacture some semblance of romantic chemistry as an assortment of jolly Waking Ned Devine types futilely spurred them on. Oh if only Greenpeace could have intervened and put a halt to such wanton environmental desecration. It's the worst thing to come out of Ireland since The Cranberries.
In the Dark Ages Arthur (Clive Owen) is the Roman commander of a band of Sarmatian warriors who after losing a key battle to the Romans were forced to join the Empire's Special Forces unit and sent to Britain to defend Roman holdings from the encroaching Saxons and the uprising Britons. Some 15 years later the Romans are pulling out but Arthur and his knights are sent on one final mission for the Empire before returning to Rome--rescue a Roman nobleman and his family from the other side of Hadrian's Wall before they get massacred by the Saxons. As with any final mission things don't necessarily go as planned. With the Saxons on their heels Arthur decides to not just rescue the family but hundreds of slaves at the same time--including Guinevere (Keira Knightley) and her mysterious shaman Merlin (Stephen Dillane) who convince Arthur to join the Britons in their fight against the Saxons instead of going home. Arthur balks until he realizes the Roman Empire has crumbled and he has nothing left to go home to. He leads his knights into the Battle of Badon Hill a clash that proved pivotal to the country's future and started Arthur on his path to become king of Britain.
Knights weren't exactly cuddly lovable guys; in fact the Sarmatian warriors were fearless killing machines--a concept the cast of King Arthur clearly grasps. Owen as Arthur is a brave charismatic leader who never lets his knights down. Owen also adds a smidgen of sensuality to the character a quality that draws others to him including his six knights and Guinevere wonderfully portrayed by Knightley. But with the exception of a brief love scene between the two co-stars the film steers clear of romance and Guinevere's attraction to Arthur seems more about the myth than the man. The young Knightley however stands her ground with the testosterone-laden cast and proves she can act fight and look absolutely spectacular in nothing but harnesses and armbands. Judging by the studio promotion you would think Guinevere is the film's main character but she is only introduced some 40 minutes into the film. Lancelot (Ioan Gruffud) is slightly less impenetrable than Arthur and Gruffudd crafts this quality in him by showing a little bit of fear every now and then. The actor gives Lancelot a vulnerability that helps to make the character a bit more human.
Director Antoine Fuqua (Training Day) and co-writer David Franzoni (Gladiator) call this film the "real" story behind the King Arthur mythology and trim away every ounce of the fantasy you associate with the legend in favor of gritty realism. The story as Franzoni tells it is based on an actual half-British Roman commander named Artorius who fought the Saxons in the 5th century. But setting up the people events and the entire history behind King Arthur and the Knights of the Round Table takes time--about 40 precious minutes and that doesn't even include the opening scrawl. Not only is it boring it's confusing. King Arthur however picks up steam when it gets to The Final Mission. At this point Knightley's character Guinevere is finally introduced and Fuqua gets to indulge the audience with an epic battle complete with captivating military strategies and intense fight sequences. Fuqua's sets are also impressive especially the replica of Hadrian's Wall complete with massive gates. But the film's noble set designs cannot make up for the lack of character development that plagues this Arthurian tale. As with Gladiator Franzoni is so preoccupied making the characters in King Arthur ferocious that he forgets we need to care about them too.
The Medallion sort of reads like a recipe of other film genres: a heavy helping of buddy cop mixed with a dollop of the supernatural and a dash of the protect-the-mystical-child-with-special-powers scenario (i.e. The Golden Child). The plot isn't the reason you're sitting in the theater but you go along with it for appearances' sake. Eddie Yang (Jackie Chan) a skilled Hong Kong detective is teamed up with Interpol agent Arthur Watson (Lee Evans) a snippy control freak to catch an evil crime lord known as Snakehead (Julian Sands) who has done some nefarious deeds. Their investigation takes them to a sacred temple where Eddie ends up saving a Dalai Lama-like kid named Jai (Alex Bao) from Snakehead's clutches. The ruthless criminal wants the boy because he possesses a mystical medallion that has powers of immortality only he can control. Snakehead evenutally nabs the boy and takes him to Ireland. Det. Eddie follows the villain to Ireland where he reunites with the insecure Watson and his former flame Nicole (Claire Forlani) also an Interpol agent. Soon though Eddie gets a firsthand account the medallion's awesome force when after dying while rescuing Jai once again the boy and his pendant bring Eddie back to life transforming him into an immortal warrior with superhuman abilities. Unfortunately for him the same thing happens to Snakehead. In typical fashion Eddie and company must battle many of the bad guy's minions and then Eddie takes on Snakehead in a final otherworldly confrontation. It doesn't take the mental strength of a superhero to figure how things will turn out.
No matter how derivative The Medallion is Jackie Chan's in it so you know it's got to work on some level. This Chinese marvel who excels in acrobatics stunts and martial arts truly has the uncanny ability to take the most tired of plots and make them more palatable just by karate-chopping onto the screen with a giant smile on his face. Although the visibly aging Chan is more serious here than in recent efforts such as Shanghai Knights he still can't hide the fun factor he brings to his films. Luckily he has found a worthy comic foil in Evans (There's Something About Mary) whose bumbling antics smack of Rowan Atkinson's as Mr. Bean and who brightens up the film on more than one occasion. The only real drawback to Medallion is giving Chan a love interest. Yep our favorite martial arts boy gets to kiss the girl but almost makes us cry; unfortunately Forlani (Meet Joe Black) who holds her own with the stunts has zero chemistry with the actor as hard as she tries to make us believe Nicole really loves Eddie. When a love scene comes up you clench your teeth hoping it'll pass soon enough and get back to the action. Thankfully it does. Sorry Jackie but you should just stick to kickboxing the enemy instead of kissing the girls.
What if Chan could use his uncanny skills on a supernatural level? Just imagine the possibilities. The same thought surely must have crossed the minds of those bringing Medallion to life. The thing is does Jackie really need all those special effects to pull off what he already does so well naturally? Not really. Hong Kong director Gordon Chan (no relation) is known for his slick filmmaking style that stays true to the art of a kung-fu movie; Medallion has this spirit running through it and when Chan is fighting hand-to-hand the film is exciting. Yet once Eddie and Snakehead gain their mystical powers it suddenly lapses into Crouching Tiger Hidden Dragon mode as the two foes fly through the air chase each other on top of trees and fight while dangling above ground. Ultimately these effects really don't do anything to elevate the film. In fact the camera is rather shaky the images gritty and at times it's hard to distinguish who is who. Gordon Chan should have just realized he didn't need all the highfalutin' gimmicks to make an enjoyable martial arts flick with the ever-nimble Jackie doing his stuff.