Playing second fiddle to a more famous sibling can be rough. Just ask Fred Claus (Vaughn) a regular guy who has had to grow up under the shadow of his little brother Nicholas Claus (Paul Giamatti) aka Santa. That’s a big shadow to say the least both figuratively and literally. As an adult Fred has pretty much steered clear of his family but when he finds himself in dire need of some fast cash he calls his brother. Pleased as punch to hear from him Nicholas nonetheless makes him a deal: If he comes up to the North Pole for a visit and to help out the few days before Christmas then Fred can have the money. Fred reluctantly agrees and soon he’s being whisked off in Santa’s sleigh by head elf Willie (John Michael Higgins). But once Fred gets to the North Pole nothing seems to go right and soon he is the cause of much chaos--which unbeknownst to Fred causes Nicholas even more stress since his North Pole operation is one step away from being shut down by a cold-hearted efficiency expert (Kevin Spacey). Can Fred quit being bitter in time to save his brother’s livelihood? Of course he can. Hmmm Vince Vaughn minus the R-rated Wedding Crashers/Old School irreverence? It’s a stretch. Seeing the comic actor playing it PG is a little weird but you might enjoy how Vaughn infuses his unique energy into Fred Claus. From getting all the elves to boogie down in Santa’s workshop to going on one rant after another (on his brother: “He’s a clown a megalomaniac a fame junkie!”) to pilfering money on the street and then being chased by Salvation Army Santas it’s all good. Giamatti too seems a little out of his comfort zone as the saintly St. Nick. The actor who usually plays such endearing sad sacks has already played against type to great effect this year as the maniacal bad guy in Shoot ‘Em Up but he isn't nearly as successful in doing the flipside of that in Fred Claus. And what the hell is Kevin Spacey doing in this? As the villain of the film he fills the shoes nicely but he is almost too good at it (natch) for such a feel-good family film. Even Higgins--a character actor who is usually so hilarious in films such as The Break Up and all of Christopher Guest’s movies—has to shed the cheekiness and sugar himself up for Fred Claus. There’s also Rachel Weisz as Fred’s beleaguered girlfriend (you heard right) and Kathy Bates as the Claus boys’ mother who always sees Fred as inferior to her other son to fill out a cast of big names doing family fare. Director David Dobkin is a Vince Vaughn favorite having directed him in Wedding Crashers and Clay Pigeons but like his muse Dobkin seems a little out of place guiding this material. Granted Dobkin creates a pretty magical North Pole complete with an entire city of little dwellings a Frosty Tavern and a huge domed Santa’s Workshop. The montage of Fred delivering presents on Christmas Eve—falling down chimneys stuffing cookies in his face zooming around in the sleigh—is also well done. But overall Fred Claus is a Vaughn vehicle—even as sugary sweet and family-friendly as it is--and all Dobkin really does is turn the camera on and let the man do his stuff. Dan Fogelman's script is also so very bland full of any number of holes and only picks up once Vaughn starts to improvise. Bottom line: If you’re looking to take the kids to a sweet Christmas movie and are a Vince Vaughn fan then Fred Claus is for you.
In this Britney-and-Beyonce-obsessed age 'tis a wonder anyone other than an art history buff knows who Rembrandt is let alone that other Dutch painter guy--what'shisname Vermeer. In fact very little is known about the 17th-century painter who died in debt at 43 and left most of his works including his most famous of a young girl wearing a pearl earring shrouded in mystery. Girl With a Pearl Earring is director Peter Webber's adaptation of the 1999 Tracy Chevalier novel that spun a gauzy fiction about the painter's unrequited obsession with a young maid who became his muse and the subject of said painting. The maid in question is Griet (Scarlett Johansson) whose tilemaker father's accident forces their family into poverty and her into servitude--and it's no picnic. Morose henpecked Vermeer (Colin Firth) hides in his studio away from the household which includes the puffy and pampered wife (Essie Davis) he keeps eternally pregnant; her tyrannical domineering mother (Judy Parfitt) who brazenly solicits work for Vermeer from patrons like rich lecher Van Ruijven (Tom Wilkinson); and a multitude of Vermeer brats. Full-lipped and nubile the servant Griet becomes the artist's secret obsession--he spies on her cleaning his studio teaches her about painting (or at least how to make his paints) and seduces her while painting her portrait behind his wife's back.
With little dialogue to speak Johansson's Griet is a study in silence. Her wide-eyed earnest stares and Mona Lisa smile do the talking for her proving a picture certainly can say a thousand words. She may get more attention for Lost in Translation but this is her vehicle. Johansson's quiet understated performance makes the others look that much more overstated--Wilkinson's vulgar mustache twirling art patron for example and Davis's jealous and ranting Catharina Vermeer for another although they too are very solid turns. Firth's Vermeer fades into the background surrounded by these big personalities understandably and fittingly so; he's the brooding artist who'd be far happier left alone to gaze upon his subject. Although the master and the servant never do much more than exchange looks the sensual energy between them is palpable.
This movie is beautiful absolutely stunning--it's as if cinematographer Eduardo Serra saw Vermeer's life through the artist's eyes and that vision comes through in exquisitely framed and lit shots. Some scenes--of young lovers walking along a tree-lined canal in fall light beaming across the girl's face as she cleans the studio's beveled windows--are literally breathtaking. Just as an artist's work is tactile so does this film feel--in the sounds of a heavy knife chopping vegetables and a spatula grinding pigment into paste…volumes are spoken in the clean white crispness of Griet's bonnet. First-time helmer Webber occasionally allows the camera to hang too long (a lip-licking scene in extreme close-up for example) but he creates a fully enveloping period and confidently leads his cast through this fairly thin story. You can pretty much guess what you're in for with a movie about a 17th-century Dutch master; knowing that if there's any criticism to be made it's that the pic feels every bit of its 95 minutes long. A lovely score by Alexandre Desplat also deserves a mention although it sometimes overwhelms scenes with unwarranted portentousness.
Go ahead and throw logic out the window on this one folks. A mysterious Tibetan monk with no name (Chow Yun-Fat) has spent a lifetime protecting an ancient document known as the Scroll of the Ultimate--a parchment that will yield unlimited power to anyone who reads it. After running around the globe for 60 years the Monk knows it's time to hang up his robes and find a new guardian but spotting a successor isn't easy in the hustle bustle of the 21st century where Tibetan traditions and rituals are almost non-existent. Maybe the next protector should be the crafty rebellious pickpocket Kar (Seann William Scott) who learned martial arts from watching kung-fu movies; after all Kar helps the Monk escape from the scroll's most avid pursuer Strucker (Karel Roden) a sadistic old Nazi who wants to use the its power to rid the planet of inferior races. Or maybe the Monk's successor is the elusive but beautiful bad girl Jade (James King) whose skills are numerous and who seems to pop up to help Kar whenever he gets in a jam. Whomever the Monk eventually chooses they must first unite to battle the ultimate enemy--and keep the scroll safe.
If it weren't for Yun-Fat Bulletproof Monk would be pretty hopeless. The charismatic actor finds a nice balance no matter what he does and in this case he resists the obvious temptation to play the Monk as a fish out of water in the big city. Since he's long been one of Chinese cinema's most well-known action heroes he's definitely in his element in Monk standing on top of a car with guns blazing and the Zen master persona he discovered in Crouching Tiger Hidden Dragon serves him well here too. The script requires him to spout off fortune-cookie mumbo jumbo but he manages to do it without sounding ridiculous. The petite King actually holds her own as the brawny-yet-brainy tough chick but the wisecracking Scott is completely out of his element for the first time in his career. He handles the little comedic tidbits well but in no way is it possible to believe that the "Dude" who couldn't find his car and the jackass who drank someone else's bodily fluids in American Pie can be a martial arts hero who saves the planet. It just isn't going to happen.
Bulletproof Monk relies on the ghosts of movies past including Crouching Tiger and the 1986 Eddie Murphy stinker The Golden Child for its plot which results in a film that's chock full of cliches especially the evil Nazi who has spent 60 years chasing after the scroll using his tow-headed granddaughter whose cover is an organization for human rights to do the dirty work. A few bright moments with Yun-Fat coupled with director Paul Hunter's good use of fast-paced martial arts action make the rest of this unimaginative movie somewhat palatable--even novices Williams and King look good doing the moves--but all in all Bulletproof Monk is shooting blanks.
October 19, 2001 5:57am EST
The film opens with prison warden Colonel Winter (Robert Redford) greeting the highly respected General Irwin (James Gandolfini) at the start of his 10-year sentence for disobeying a presidential order. When they meet Irwin makes a snide remark about Winter--a non combatant--proudly showcasing military trinkets and memorabilia in his office. The comment instantly touches off a power war between the two which ends with Irwin threatening to take over the prison and flying the American flag upside down--a symbol that the castle has fallen. Winter rises to the challenge and the two begin their strategic plotting. Irwin wins the respect of his fellow inmates in an overly drawn scene where he is forced to carry large stones from one pile to another in the prison courtyard and forms an army of inmates using clichéd chess tactics to demonstrate his assault plans. Winter meanwhile watches from his cozy office overlooking the courtyard as if he was watching a reality series on a big-screen TV.
The highly regarded General Irwin is a simple solemn type which unfortunately is what is fundamentally wrong with the film. While Redford does the brooding thing quite well the script never calls for him to do anything more than that. James Gandolfini takes on the role of prison warden Colonel Winter with fitting simplicity. He accentuates Winter's dumb-thug persona by over-enunciating his words and speaking in an unnaturally slow manner. Redford and Gandolfini both churn out great performances but it would have been more rewarding had the script called for their characters to be more well-rounded. Steve Burton plays Winter's right hand man Captain Peretz convincingly considering what few lines he has. His body language facial expressions and dialogue manage to convey his character's thoughts even when his lines don't.
Directed by Rod Lurie (The Contender) The Last Castle is a well-paced story without a dull moment. It concludes with a dramatic and exciting climax but the problem is it's just too simple. While it's easy to get caught up in the story it's hard to buy how easily the inmates are able to take control of such a heavily guarded maximum-security prison. Using cafeteria trays as shields is one thing but hurling stones using a giant catapult that somehow went unnoticed by prison security is hard to swallow. So is the fact that these inmates a group of hardened criminals cooperate so easily with hardly any friction. While it could have been a very emotional story it fails because the characters are one-dimensional and never really explored including the two main characters played by Redford and Gandolfini. One is a great strategist and the other draconian but viewers are left to guess why and how they got that way.