Starting near the end of his short 24-year life and then told in flashback this film version of Christopher “Notorious B.I.G” Wallace’s (Jamal Woolard) rapid rise from the streets of Brooklyn to fame is told in standard-issue Hollywood biopic style. We see this Catholic honors student (played by his real life son Christopher Jordan Wallace) become a teenage drug dealer and accidental father before a chance recording finds its way to Sean “Puffy” Combs (Derek Luke) who engineers an almost immediate rise to fame fortune -- and trouble. “Biggie” now must juggle his newfound recording career a marriage to fellow artist Faith Evans (Antonique Smith) his romantic encounters with female rap comer L’il Kim (Naturi Naughton) and a major East Coast/West Coast rivalry with Tupac Shakur (Anthony Mackie) that leads to tragedy for both. As Wallace Brooklyn rapper Woolard is almost indistinguishable from the real man himself. He’s completely convincing performing B.I.G’s biggie hits and proves himself to be a first-rate dramatic actor as well -- at least in a story like this that he can clearly relate to. As his mother Angela Bassett makes the most of limited screen time (despite top billing) and expertly conveys the angst of a parent fighting a losing battle for her son. Luke again shows why he is so promising playing Puffy with just the right amount of flash and supreme confidence. Unfortunately the “balanced” portrait of Combs and many others in B.I.G’s life is tainted by the fact this film was produced by some of the real life players including his managers mother and executive producer Combs. George Tillman Jr. (Soul Food) directs this by-the-numbers account of Biggie’s life in a style we have seen countless times before. Except for a couple of occasions he doesn’t even let the rap sequences play out to give us an idea of how this guy whose songs reflected his rough Brooklyn lifestyle could climb to the top so fast. Whatever was special is lost in what appears to be a brazen attempt to sell soundtrack albums.
Jules Verne’s classic 1864 novel has inspired many film and TV versions. None has matched the success of the penultimate 1959 Journey which starred James Mason and Pat Boone and remains a baby-boomer favorite and classic of the sci-fi genre. That could change with this clever remake--ingeniously filmed in 3D--which goes directly back to the source material of the book and comes off like an endless thrill ride. This updated tale begins with the daily travails of American professor Trevor Anderson (Brendan Fraser) who has never gotten over the mysterious disappearance of his brother Max several years earlier. When Max’s son Sean (Josh Hutcherson) pays a visit bearing a box of Dad’s papers the Trevor discovers hand-written notes in a copy of an original Jules Verne book suggesting his brother may have found a way to confirm Verne’s theories about a direct volcanic entrance into the center of the earth. With nephew in tow and the book in hand the twosome set out for Iceland on their own perilous journey to test Max’s thesis and trace his steps. There they are joined by Hannah (Anita Briem) a skeptical mountain guide who agrees to show them the way--though she highly doubts they find anything resembling Verne’s imagined lost world of natural wonders and roaming dinosaurs. But stranger things have happened right?
Anchoring the proceedings with enough derring-do to suggest he would be ideally cast as the next Indiana Jones if Harrison Ford ever wants to hang up his hat Fraser has just the right amount of authority cynicism and dry wit to make us connect to a down and out professor whose “crazy” geological beliefs have torched his reputation. Key to liking this guy is clearly the fun Fraser has in playing him. Hutcherson is thankfully a little looser in this flick than the spiritually-driven boy he played in Bridge To Terabithia even though the two films share odd similarities especially with their descent from mundane real life into fantasy adventures any kid would salivate over. Briem nicely rounds out the threesome as the reluctant guide trying to deny the beliefs of her own late father a Verne disciple who as it turns out shared the same dreams of the two nascent adventurers she now finds herself shepherding to parts unknown. In a relatively minor role SNL’s Seth Meyers also turns up early on as a disbelieving colleague of Andersons. Oscar-winning visual effects veteran Eric Brevig (Total Recall) makes his directorial debut and turns out to be perfectly chosen for what is after all an effects- driven summer ride. Leaving a lot of the talkiness and exposition of Verne’s book (and previous film versions) on the cutting room floor Brevig cuts right to the chase in this breezy 90-minute guilty pleasure. He clearly knows today’s moviegoers have the attention span of a mosquito so he piles on the action but still manages to keep the sense of wonder crucial to the story alive. Best of all the 3D technology which has been part of Hollywood for over half a century is still remarkable to behold even in the CGI era. Rather than just selected sequences the entire film has been shot with 3D in mind so expect to have lots of objects hurled directly at you--none more effectively than a scene in which our explorers encounter flying fish. And even without the glasses prepare to hold your breath and hang on for a great time at the movies.