Hollywood has a difficult relationship with science fiction. Whether they're translating classic sci-fi stories into brainless action movies or too caught up in the otherworldly details there's always something they can't seem to get right about the imaginative genre.
Looper defies the odds by fleshing out a unique future world while honing in on a specific story with real people at the center — a balance that defined works by greats like Bradbury Asimov and Dick. Joe (Joseph Gordon-Levitt) is a Looper an assassin for the mob bosses of the future who use illegal time travel to send back their targets for disposal. It's an easy lucrative life — one that affords him a party lifestyle of fancy cars and drops (drugs taken through the eye) albeit with the added knowledge of a definite grisly end. Eventually the mob "closes the loop" on its employees finding the Looper in the future and sending them back to be offed by… themselves. When it's Joe's turn to end his own life he's outsmarted his future self (Bruce Willis) escaping Joe's grasp. Driven to fulfill his duties as a Looper Joe goes on the hunt to kill himself.
Director Rian Johnson's Kansas City of 2044 feels appropriately lived in and extended from present day. When Joe's not blasting people away shrouded by the stalks of a cornfield he's dining on steak and eggs at a local diner. It's only the casual presence of hovercycles mutant telekinetics and the occasional visitor from the future that would give away the action of Looper isn't happening today. The realism gives Joe and the metropolis around him a necessary grit — there is danger and violence and pain in this world and when Johnson rouses up an action sequence there's something on the line.
Looper's greatest flaw is that it steps away from the confrontation between Young and Old Joe sending the two in different directions as they pursue answers to the film's spoilerific MacGuffin. On a farm away from the city Young Joe crosses paths with single mother Sara (Emily Blunt) who may hold the key to what Old Joe needs to survive. After being introduced to an ensemble of delightfully wicked characters — including Looper coordinator Abe (Jeff Daniels) Young Joe's sleazy coworker Seth (Paul Dano) and hotshot marksman Kid Blue (Noah Sagan) — plus Young Joe's stripper with a heart of gold confidant Suzie (Piper Perabo) Looper takes a sharp left turn leaving most of the cast in the dust. The interesting sci-fi mosaic slows down and enters a new chapter and it's rarely as engrossing as the first half.
When Willis and Gordon-Levitt are at odds Looper is simply magic. Nathan Johnson's industrial score pounds away as the two fight to stay alive all while grappling with the implications that come with glimpsing into your own future. One riveting sequence follows the timeline that played out before Old Joe tinkered with the space-time continuum a roller coaster through the years after the events of the film that see Gordon-Levitt evolve into Willis. The montage is a playground for Johnson's visual style. He never misses a beat.
For sci-fi nuts Looper corrects the past with an understanding of what makes the genre more than just an array of tropes and iconography. There are shaded characters duking it out in Looper's chaotic web of time travel logic and while their arcs fizzle out without much pay off they're a joy to watch.
What do you think? Tell Matt Patches directly on Twitter @misterpatches and read more of his reviews on Rotten Tomatoes!
After sitting out most of Underworld: Rise of the Lycans the 2009 “prequel” to the Underworld saga Kate Beckinsale returns to her trademark role as the face of the blockbuster action-horror franchise in Underworld: Awakening. The film finds Beckinsale’s vampire heroine Selene waking up in a research facility after a dozen years in hibernation whereupon she discovers that both vampires and lycans the traditional adversaries of the Underworld universe are now nearly extinct – “cleansed ” as it were by us good-old humans – and that her 12-year-old daughter Eve (India Eisley) is imperiled. It seems that both the dreaded lycans and a mad scientist named Dr. Jacob Lane (poor Stephen Rea) are after the girl on account of her special DNA.
All of which is meant to provide a serviceable backdrop for a good 85 minutes or so of relentless carnage orchestrated with relish by the Swedish directing tandem of Mans Marlind and Bjorn Stein and meted out dutifully by Beckinsale. Nine years after she first portrayed Selene the actress appears as comfortable as ever in her familiar black leather as she carves through waves of monstrous creatures and hapless henchmen performing the odd acrobatic feat to better position herself for the killing blow. The bloodlust occasionally pauses to allow Beckinsale a moment to emote over lost love or seek a fleeting bond with her offspring but soon more CGI beasts arrive on hand and the soulless slaughter hastily recommences. Gorehounds hungry for splatter will delight at the myriad ways Underworld: Awakening finds to depict an exploding skull (in fabulous brain-bursting IMAX 3D!) but in the end they’re likely the only ones who’ll leave the theater sated.
There are two ways to watch a film like Just Go With It. The first is to look at the characters and situations as if they existed in the real world. Through this lens as with most Hollywood productions the story is far-fetched and trite the characters too stereotypical to stomach. However even if you leave practicality at home and well just go with it it’s hard to find anything to enjoy in Adam Sandler’s new movie about a playboy plastic surgeon that convinces his assistant to pose as his ex-wife in an attempt to woo a new lady friend.
Danny Maccabee is afraid of having his heart broken like it was when he was in medical school so he uses his would-be wedding ring from a disastrous engagement as a chick magnet because you know all single ladies love married men. However when he finally meets and beds the girl of his dreams the tactic backfires as she thinks she’s just wrecked a home. Enter Katherine (Jennifer Aniston) Danny’s ordinary (well ordinary when compared to bombshell Brooklyn Decker) office mule who is lured into an ever-expanding web of lies so that he can win his Ms. Right.
The film’s weakest link is its script from writers Timothy Dowling (Role Models) and Allan Loeb (The Switch). Their simple story relies heavily on Sandler’s tried-and-true formula of physical gags and broad family humor offering the audience nothing they haven’t seen before and virtually no organic comedy. While the premise and principle players are very predictable the supporting cast injects some life into the picture most notably young starlet-in-training Bailee Madison whose cutesiness is the only thing I didn’t get sick of throughout the film. Honorable mentions also go to Nick Swardson as Sandler’s crazy cousin and Nicole Kidman who ought to try her hand at comedy more often.
Unfortunately their charm doesn’t compensate for the film’s uneven pacing. I was incredibly bored throughout the second act which is hampered by scenes that play longer than they should but biggest conundrum is Sandler himself: the main draw in Just Go With It as well as its most unlikable element. His character’s arc not to mention his performance is about as artificial as the breasts he gives his clients. Not only is Maccabee a self-centered liar; his deceptions go unpunished as he coasts through the film’s climax into happily-ever-after territory. Some will accept even embrace the Hollywood ending but the conclusion is a loss for Aniston’s character who is otherwise pleasant to watch. A dignified single mother she’s at first reluctant to help Danny due to the immoral nature of his plan but falls for him because he eventually develops a relationship with the kids. I guess she didn’t see him throw them in the mud earlier in the movie.
Generally speaking the greatest strength a contemporary romantic comedy has is its funny factor but director Dennis Dugan unexpectedly creates a comfortable quixotic vibe in Just Go With It which is surprising considering his past endeavors with Sandler (among them I Now Pronounce You Chuck and Larry and Grown Ups). It doesn’t make up for the lack of natural laughs but will sate the target audiences’ appetite for a harmless and forgettable Valentine’s Day snack.
Not content to let the lifeless zombies of 2004‘s Polar Express define his legacy as a pioneer of 3-D Christmas movies (a genre to which incidentally he remains the sole contributor) director Robert Zemeckis is back for another go at it and this time his inspiration isn’t just some fly-by-night Caldecott Medal winner; it’s Charles Dickens’ A Christmas Carol perhaps the most cherished piece of Christmas fiction of all time.
While other filmmakers have tackled Dickens’ most famous work before none adapted it in the way the author would have wanted it to be presented: as a big-budget three-dimensional motion-capture animated spectacle starring the legendary Jim Carrey. Thankfully for us Zemeckis stepped up to the plate.
For the dozen or so who are unfamiliar with A Christmas Carol’s simple yet powerful story a quick rundown is in order. On a snowy Christmas Eve in 19th-century London a notorious miser named Ebenezer Scrooge (played by Carrey) is visited by three ghosts (also played by Carrey): Christmas Past Christmas Present and Christmas Yet to Come. Together the terrifying apparitions conspire to teach Scrooge an unforgettable lesson about the folly of his avarice and the virtue of charity and compassion.
Unlike Zemeckis’ previous literary adaptation 2006’s Beowulf there isn’t a whole lot about A Christmas Carol’s tale of yuletide redemption that cries out for the 3-D treatment — nor does the star of Dumb and Dumber and Ace Ventura: Pet Detective seem especially suited to play the part of Scrooge. And yet both creative decisions prove surprisingly successful in this movie. Zemeckis’ 3-D animation is wondrous to behold and Carrey is simply terrific as the bitter old grinch.
The problem is Zemeckis can’t resist falling in love with his technology and his star; consequently A Christmas Carol overdoses on both. The first time the camera glides through the streets of Dickensian London or soars above its snow-covered skyline the experience is breathtaking like being plunged into a world of Thomas Kinkade paintings. (And I mean that in a good way — even the fiercest detractors of the Painter of LightTM’s mass-produced portraits have to admit they hold a certain romantic appeal.) But by the fifth or sixth time it devolves into tedious showmanship.
Similarly while Carrey’s total immersion into the Scrooge character is remarkable his manic mugging as the Christmas ghosts is all too often distracting. Don’t ask me what the Ghost of Christmas Present was talking about during his sequence; all he seemed to do was laugh like a drunken Viking and blather on with an exaggerated Scottish accent.
But in the end neither Zemeckis’ overreach nor Carrey’s hysterics can obscure the impact of A Christmas Carol’s timeless message. As with previous adaptations of the story I couldn’t help but tear up a little when Tiny Tim uttered his trademark closing line “God bless us everyone!” — even if he did kinda look like a cartoon zombie.
Sandler is arguably one of the smartest movie moguls in Hollywood. As a writer/star/producer he knows exactly who his audience is and gives them exactly what they want and expect--for better or worse. In this case it’s slightly better than most. He is Zohan a super-skilled super-buff--and many times super-naked--Israeli Mossad agent who can stop the bad guys with one swift kick and woo the ladies with his amazing butt muscles. But he’s tired of fighting and secretly wants to be a hair stylist so he fakes his death and heads to New York under the alias “Scrappy Coco” to live out his dream. Of course his past catches up with him especially after he gets a job at a salon run by the beautiful Dalia (Emmanuelle Chriqui) who also happens to be Palestinian. No matter he is soon a huge success with the older lady clientele for his er unique sensual hairstyling techniques if you get my meaning. But Zohan’s past eventually catches up to him just as he realizes he can’t make the “bang boom” with anyone else but Dalia. Adam Sandler can just add Zohan to his repertoire. Actually it’s been awhile since we’ve seen Sandler play someone this over-the-top--and it’s kind of refreshing. The actor obviously had to really work out to get the Zohan physique and he puts himself out there quite literally in more ways than one. (Disco dancing while barbequing fish in the nude is gutsy!) Sandler also enlists the help of some of his cronies particularly Rob Schneider who plays a Palestinian cab driver of all things. Nah that shouldn’t piss off anyone. Chriqui from HBO’s Entourage is very cute and a worthy love interest but it’s really all the older ladies who get the true benefits of Zohan’s mojo including Lainie Kazan playing the mother of one of Zohan’s friends. And then there’s John Turturro who sheds all seriousness as a known terrorist and Zohan’s nemesis The Phantom. I guess after he did Transformers Turturro figures he can keep up the silly antics. Sandler also teams up once again with his old director pal Dennis Dugan--the same guy who has guided Sandler in his hit comedies Big Daddy and Happy Gilmore. Obviously it’s a synergy that works but Dugan usually doesn’t have to do much more than point the camera. With Zohan however Dugan has to incorporate some special effects (Zohan flying through the air for example) as well as some action stunts. It looks like they had more fun this time around. But of course with any Sandler movie it’s all about the comedy so Sandler doesn’t hedge any bets collaborating with another old friend and SNL alum Robert Smigel along with the master of comedy these days Judd Apatow. Zohan has many signature Sandler moments and true-blue fans should be pleased. If you’re not a fan however you might still enjoy some of it--even if you roll your eyes.