WHAT IT’S ABOUT?
Ronnie Barnhardt is a kickass shopping-mall head-security guard with severe delusions of power. He meets his match when a cynical police detective is called in to take care of business after Ronnie and his crew fail to stop a parking lot flasher and can’t foil a jewelry-store robbery. Determined to prove his worth in the trade and in his personal life Ronnie applies for a job as a cop pursues a cosmetics salesgirl and tries to solve some crimes using his own unorthodox methods.
WHO’S IN IT?
Tailor-made for the considerable comic talents of Seth Rogen Barnhardt is a funny Travis Bickel a guy with severe self-worth issues who carries on a dialogue with himself in his head. Unlike Paul Blart this is a mall cop out to maul first and ask questions later. Rogen fits the bill and singlehandedly makes it all worth seeing. Anna Faris as his prospective girlfriend is given lots of opportunities to overact — and takes all of them. Still she’s quite funny in a drunken dinner scene that ends with her passed out in the bedroom under Rogen’s huge girth. Ray Liotta pretty much walks through his role as the pro detective who thinks Barnhardt is a total joke. Michael Pena is strong as another security guard while twins John and Matt Yuan and Jesse Plemons are hilarious as their dim-witted mall cop colleagues. Although he only has a couple of scenes Aziz Ansari steals them both as a smart-aleck hanger-on. Celia Weston and Rogen as mother and son have some wonderfully droll moments together but it’s first-time actor Randy Gambill as the flasher who gets the real comic workout and exposes himself as one to watch (hopefully with his clothes back on next time).
A cynical acerbic attitude rules the day here and the idea of putting a real wacko in the mall-cop position has more bite than the PG-13 Blart a movie that was blessed with the likable presence of Kevin James but suffered major credibility lapses.
Writer/director Jody Hill had a great idea but too often goes for the easy joke or gross-out gag when he should have drifted straight into hell with this character and really let Rogen loose. It’s hilarious in parts but the overall tone is wildly uneven and not totally satisfying.
The final confrontation between Rogen and the flasher has to be seen to be believed and on its own more than enough to merit the film’s well-deserved restricted rating.
SHOULD THERE BE A SEQUEL?
Yes and it should pair Blart vs. Barnhardt in a food-court showdown. It could be the best thing since Godzilla vs. Mechagodzilla.
After the death of their parents Rashad (Tip "T.I." Harris) and his younger brother Ant (Evan Ross) have to fend for themselves. Trying not to think about his pending high school graduation Rashad works as a janitor for his stingy uncle (Mykelti Williamson) and hangs out with his friends practicing for the Skate Wars competition at their local roller rink. Ant however approaches life differently after he hooks up with Marcus (Big Boi) a big-time drug dealer in the area. Marcus recruits Ant to do his dirty work and the kid gets himself tangled up in the harsh world of drugs money and violence. It’s up to his older brother to get him out of it and finally steer him in the right direction. ATL proves some rapper-turned-actors can indeed be in a movie not based on their real lives. Known as “The King of the South” in the rap world T.I. displays some notable acting skills. Born and raised in the ATL (that’s Atlanta to us lay folk) his southern slang and cool demeanor lend credibility. As well Big Boi (half of the Atlanta-based hip-hop group OutKast) does a nice job giving his drug lord character multi-layers. He plays it smooth recruiting high school kids and promising them more money then they have ever seen. When they don’t pay up he then turns on a dime and becomes quite menacing. And watch out for Evan Ross the youngest son of the legendary Diana Ross. In his debut performance as Ant he tugs at your heart even when you’re hoping Rashad will smack him for the bad choices he makes. Music video director Chris Robinson makes his feature directing debut with ATL a story loosely based on ATL producers Dallas Austin and Tionne “T-Boz” Watkins’ (of TLC fame) experiences growing up in Atlanta. With many of the hottest hip-hop artists coming out of Atlanta Robinson--along with first-time screenwriter Tina Gordon Chism--impressively incorporates the music without focusing on it. Sure the soundtrack crunks it up but this is not a film about a wannabe rapper trying to make it out of the ‘hood and into the spotlight. There aren’t any lengthy shootouts and no one dies. Instead ATL interweaves compelling themes of family dynamics rich vs. poor--and even a roller skating motif which seems to come out of left field but provides some fun moments. ATL is a breath of fresh air for a hip-hop movie that isn't about hip-hop.
We meet our lovers in the Bahamas. Jared (Paul Walker) is a dive bum looking for his big break. Samantha (Jessica Alba) Jared's devoted girlfriend is happy handling sharks at the Atlantis resort and living with her man in a trailer on an idyllic beach. Wouldn't we all? Except maybe the shark part. When Jared's best bud Bryce (Scott Caan) shows up with a new girlfriend Amanda (Ashley Scott) things get a little dicey. It starts off when the four divers discover a legendary shipwreck rumored to contain millions in gold. Soon visions of wealth and greed are swimming in their heads. But also nearby on the ocean floor is a sunken plane full of cocaine. Uh-oh. The friends make a pact to keep quiet about both discoveries so they can excavate the shipwreck and claim it before a rival treasure hunter Bates (Josh Brolin) can beat them to it. Of course their plan goes awry as plans are wont to do. The nefarious smugglers looking for their underwater stash are lurking about. So Bryce and Amanda come up with a new plan of their own. You know nothing good is going to come of this.
Into the Blue is a perfect vehicle for its four lead hotties especially Walker. He's at best when he doesn't have to say too much and can just stand there looking buff and beautiful. At least Walker has played it pretty smart with his career up to this point. He's so far resisted trying on an accent and doing a period drama content being the pretty boy who makes action movies such as The Fast and the Furious and its sequel. And that's just fine by us. As his sultry paramour Alba--who's having quite a year with Sin City and Fantastic Four under her belt--isn't required to do much either but look stunning in her scantily clad wardrobe. She'll no doubt be the reason most of the male population will flock to see this. But when it comes down to protecting herself from the bad guys she can also wield a pretty mean machete. Her Sam has got a lot of guts evoking images of her character in the ill-fated TV show Dark Angel. Rounding out the cast is Scott (Alba's Dark Angel co-star) as the lanky Amanda a squirrelly girl with her own agenda and Caan as the snarky Bryce. The Ocean's Eleven actor is great at playing the hothead you want to slap for being so clueless but who grows on you nonetheless.
Into the Blue tells us that there is $6 billion worth of buried treasure in the world's oceans just waiting to be discovered with a major portion of it buried near the Bahamian islands. If that isn't enough incentive to just chuck everything go live in the Bahamas and be a treasure hunter then feasting your eyes on the scenery in this movie just might do the trick. After helming Blue Crush in lush Hawaii director John Stockwell--who's definitely a sucker for surf and sand as well as the word "blue" in the title of his films--gets his feet wet again in Into the Blue. Really wet. Shooting a film in which three-quarters of it is underwater was an arduous task especially on the actors who all had learn how to free dive which is snorkeling in deep water for extended periods of time. But much like its obvious inspiration The Deep Into the Blue is really all fluff without much substance. It's just a giant excuse to watch beautiful people frolicking in beautiful backdrops with sharks drug dealers and action sequences thrown in for good measure. And you know that really isn't such a bad thing.
Let's give a big hand to the two newest members of the Mile High Club. Yes total strangers Oliver (Ashton Kutcher) and Emily (Amanda Peet) hook up during an otherwise quiet flight from L.A. to New York City. Heck the two don't say a word until they bump into each other at the baggage claim. "Blah blah it's ruined " Emily moans the second Oliver opens his big mouth. How sweet. How could they not be soul mates? So what if they share nothing in common aside from a mutual attraction? The bashful Oliver's an aspiring Internet entrepreneur eager to marry the perfect woman live in a beautiful house and drive the flashiest car. The outgoing Emily's an actress with less talent than Paris Hilton and a thing for lousy musicians and writers. So why do director Nigel Cole and screenwriter Colin Patrick Lynch insist on making this lousy love match? They even drag this dead-end romance from the late 1990s to today as Oliver bets Emily $50 that he will have the life he desires in just seven years. Predictably absence makes the heart grow fonder and whenever they cross paths--from a day in New York City or a night in L.A.--they fall more in love with each other. Of course there's always something preventing them from making a commitment. Yawn. By the time Oliver and Emily decide it's now or never they've grown so whiny and wearisome you won't care whether they spend the rest of their lives together or apart.
Kutcher promises to slip on his tighty whities and model again for Calvin Klein if A Lot Like Love reigns supreme at the box office. Sorry girls that won't happen. But Kutcher does flash a little flesh when he drops his drawers for Peet. Otherwise he doesn't display much of anything else in his most wretched offering since My Boss's Daughter. If ever Kutcher wanted to prove he can inject a little charisma or personality into an underwritten role A Lot Like Love offers him his greatest opportunity. But he blows it. Or maybe he's not capable of doing anything other than getting so flustered he can barely spit out his words as he does in all his witless comedies. Kutcher's Oliver Martin is as bland as his name and as dull as his line of business. This makes it tough to believe Emily--in the form of the spunky Peet--would even think twice about pursuing a relationship with this drip. Then again the relentlessly grating Emily isn't exactly a prize catch negating Peet's efforts to give A Lot Like Love a little pungency. You have to pity Peet: she so willingly participates in one farcical flop after another--from Whipped to Saving Silverman to The Whole Ten Yards--that she's dangerously close to ruining what was never really a particularly promising career.
Ever cleaned out the back of your car and found a soundtrack CD you forgot you bought? Those CDs always boast great pop songs that you never hear on the radio anymore. But no matter how many times you listen to the songs you can't remember the film that accompanied the soundtrack. That's A Lot Like Love: terrific soundtrack lousy movie. To lazily evoke a sense of time and place director Nigel Cole leans heavily on well-worn hits from the late 1990s and early 2000s by Smash Mouth and Third Eye Blind. That would be all well and dandy if Cole at least injected A Lot Like Love with some comic pizzazz. For a film told over the course of seven years A Lot Like Love moves slowly awkwardly and uneventfully. Perhaps Cole left his sense of humor back in England where he directed the screwy Saving Grace and the plucky Calendar Girls. Or maybe he's more comfortable chronicling the misadventures of middle-aged women than the bed-hopping antics of self-involved twentysomethings. He gets so desperate for laughs that he makes Kutcher and Peet spit water at each other during a dinner eaten in silence. But the most grating moment sadly recalls Say Anything's sweet and touching climax: rather than blast Peter Gabriel's In Your Eyes from a boom box a guitar-strumming Kutcher instead serenades Peet with an unfunny off-key rendition of Bon Jovi's "I'll be There For You." OK so maybe not every song on the soundtrack deserves another spin.
Based on the bestseller by Nicolas Sparks the film begins with Duke (James Garner) and Allie (Gena Rowlands) an inseparable couple living in a nursing home. While Duke remembers their life together Allie who suffers from progressive dementia does not. Their only bond is a faded notebook from which Duke reads to Allie every day telling her the same story over and over. It's a sweeping tale of two South Carolina teens country boy Noah (Ryan Gosling) and city gal Allie (Rachel McAdams) who spend one glorious summer in the early 1940s falling madly in love. Unfortunately the couple is soon separated first by her disapproving parents and then by World War II but after seven years apart after taking different paths they are passionately reunited. There's a catch though; Allie is now faced to choose between the man she once loved and the successful businessman (James Marsden) she is engaged to. It's really no surprise who the young Allie chooses in the end--but for Duke the only thing that keeps him going is the fact that every day somehow through the power of this story the mentally impaired Allie miraculously remembers their love if only for a very brief moment before slipping back into oblivion. Tears being jerked from your eyes yet?
The talented cast certainly elevates The Notebook's romantic drudgery. McAdams takes a departure from all the Mean Girls she's played lately (including The Hot Chick) and easily wins you over as the spirited young Allie while the usually intense Gosling also tackles something lighter so to speak than his previous darker roles such as his Jewish-turned-American Nazi leader in The Believer. While infusing a certain sense of brooding and melancholy into Noah especially in the years he spends pining for Allie Gosling manages to exude Noah's genuine warmth and sensitivity as well. And between the two of them real sparks fly as the actors paint a fresh and inviting picture of young love that stands the test of time. Marsden is completely wasted however as Allie's fiancé Lon a upstanding Southern gentleman Allie's parents expect her to marry who offers little as to why Allie should stay with him. As the older contingency veterans Garner and Rowlands who take the sappiest material and turn it into something meaningful inspire some truly heart-ripping moments as the aging couple holding onto their love as tight as they can. In the supporting cast Joan Allen has some shining moments as Allie's uptight mother with a secret of her own.
In bringing the popular novel about enduring love to life director Nick Cassavetes (Unhook the Stars) may have used his own experiences having seen his parents--the late John Cassavetes and his lady love and muse Gena Rowlands--play out their own real-life love affair. Cassavettes gets to the heart of the material right away and permeates the screen with the beautiful surroundings of South Carolina where The Notebook was filmed. We glide through lush moss-filled swamps and sleepy Southern towns marvel at languid shots of the South Carolina coastline. It's very clear Cassavetes has a way with actors much like his father did gently coaxing realistic performances from his young somewhat untested leads while allowing old guards like Garner and Rowlands to simply work their magic (imagine telling your Oscar-nominated mother how to act. Right). The problem is the story itself which not only offers nothing new to the romance genre but also isn't very compelling. There are no great tragedies (save perhaps for the whole dementia thing) no real villainous presence to keep the lovers apart no peril at all. It's boy-meets-girl boy-loses-girl boy-wins-girl-back--ho-hum. Where's the sudsy soap opera when you need it?