Part Mean Girls part Heathers—hell there’s even a little bit of Hilary Duff’s ridiculously stupid The Perfect Man thrown in there—John Tucker Must Die fits the genre nicely. But the word “die” is a little harsh. Actually when three high school girls—wannabe journalist Carrie (Arielle Kebbel) head cheerleader Heather (Ashanti) and vegan activist Beth (Sophia Bush)—find out they are all dating the delectable John Tucker (Jesse Metcalfe) the school’s basketball star they decide to get even. After several embarrassing tactics backfire the girls come up with the perfect idea. They’ll recruit pretty but anonymous new kid Kate (Brittany Snow) doll her up and get Tuck to fall in love with her so she can ceremoniously dump him. Wow I can’t see anything going wrong with that plan. Not at all. Talk about some pretty people John Tucker has got them in spades starting off with the insanely handsome Metcalfe who literally had women weak in the knees as the hot gardener who woos Desperate Housewives’ Eva Longoria. It’s not a big stretch to see him as the sexy Tuck the most popular er player in school. Then there’s the trio of revengeful hotties: tall lean and blonde Kebbel (Aquamarine) as the “smart” girl; curvy singer/actress Ashanti (Coach Carter) as the bring-it-on “cheerleader”; and luscious and exotic Bush (TV’s One Tree Hill) as the “experienced” one. But really its the perky Snow’s (The Pacifier) show effectively playing the “invisible” girl no one knows or even cares to know who moves around a lot whenever her mother (Jenny McCarthy in a nice bit part) breaks up with a “John Tucker” herself. What’s wrong with these single moms dragging their daughters all over the place after their hearts get broken? Betty Thomas best known for her turn as Sgt. Lucy Bates on Hill Street Blues doesn’t have the best track record in town as a director (I Spy is hers for example). But she’s helmed enough passable comedies (The Brady Bunch Movie Dr. Dolittle) to grant her admittance into the club. Problem here is Thomas isn’t teamed up with a sharp writer like Saturday Night Live alum Tina Fey whose Mean Girls script simply zings. John Tucker is pretty standard fare taking bits and pieces from the already established high-school formula. Still the coveted teen market will more than likely enjoy all the antics in the film—especially the whole “thong” bit in which Tuck caught wearing a thong in one of the girls’ schemes makes it cool for guys everywhere to wear thongs. Yeah you get the picture.
Four girlfriends head into their near-40s and wonder if they'd even be friends if they met today. Frannie (Joan Cusack) is rich and happily married trying to decide how to give away $2 million. Christine (Catherine Keener) is fighting with her co-screenwriting partner/husband (Jason Isaacs) about an addition to their house and Jane (Frances McDormand) is a successful fashion designer who won't wash her hair--and has a husband (Simon McBurney) everyone thinks is gay. The youngest of the friends is Olivia (Jennifer Aniston) who's single a pothead and a maid who goes through people's drawers. The other three worry about Olivia and set her up with handsome trainer (Scott Caan) but he ends up treating her as bad as all her past boyfriends. It isn’t until she meets Marty (Bob Stephenson) an average-Joe living in a messy apartment does she finally find some harmony. No Aniston isn't doing Rachel from Friends here although it may look like that at first. Rachel would never take a vibrator out of a stranger's drawer and well you know. More the actress revisits her Good Girl character adding some additional more hard-hitting layers. Some of the fights she has with Caan sound like they could have come right out of a spat she may have had with Brad Pitt. Oscar-winner McDormand is once again a wonder as a woman so filled with angst and anger she has no idea the effect she has on those around her. Keener too steps up as the screenwriter struggling with a failing marriage. In fact all the relationships these women have hit home mostly because this odd collection of stellar actresses seem to have a genuine and natural affinity for one another. Writer/director Nicole Holofcener has captured a world of cross-economic friendships that may seem awkward but comes across as realistic. She has cast her alter-ego Keener in all three of her films including Walking & Talking and Lovely & Amazing. This time Keener is a bit more hard-edged and frustrated and yet excruciatingly funny when she admits "I don't get SpongeBob." Holofcener has painted the men into the background very subtly but ultimately are unimportant to the friendships anyway. Some of the best moments are when the group is together chatting and talking over each other and that's why it's going to be unfairly compared to Sex and the City--girlfriends do get together in other cities too. Friends with Money is just an enjoyable slice-of-life for couples of any kind.
In 1930 Mrs. Erlynne (Helen Hunt) an American socialite in search of debt relief and a fresh start transfers to Amalfi Italy. Her reputation as an indiscriminant adulterer comes along and she’s quickly the talk of the small town. Amidst her misadventures with married men she stumbles upon Robert (Mark Umbers) and Meg (Scarlett Johansson) a young blissfully married couple from America. Robert immediately strikes up a relationship with the older temptress and it’s immediately assumed by the resident paparazzi—a.k.a. citizens with binoculars and nothing better to do—that he is the latest prey. Meanwhile Mrs. Erlynne is being courted by another wealthier man named Tuppy (Tom Wilkinson) who can’t help but fall for her despite tepid interest on her end. When Meg learns of her husband’s rumored paramour she reacts hastily uncovering surprises that shock and affect all involved. The acting is where A Good Woman suffers. The female leads while both rightfully esteemed actresses are both miscast. Hunt’s Mrs. Erlynne has a world-wise and profound retort for every question thrown her way but her delivery just doesn’t fit her words; she seems uninspired but it’s much more likely her trying too hard. Johansson meanwhile is an anachronism in the film: She is an impossible sell for a reason having nothing to do with physical beauty or acting chops—she’s completely and simply at long last out of her element. But Wilkinson as always shines here as the pathetic yet adorable Tuppy. It’s perfectly plausible to see him in 1930s Italy—or any setting whatsoever. His eloquence befits the time and place and he makes his sad little man engaging funny and relatable even today. Director Mike Barker is charged with bringing A Good Woman adapted from Oscar Wilde’s play Lady Windermere’s Fan to the big screen. It’s a tall order to adapt someone as revered as Wilde especially on the heels of the widely lauded adaptation of Jane Austen’s Pride and Prejudice but Barker comes through for the most part. Luckily for him the lush mesmerizing scenery of the setting is at the forefront. And the director would’ve succeeded in transporting us back to the whole exotic pristine milieu had it not been for the aforementioned actresses’ inabilities to do the same. Nonetheless he holds up his end retelling a typically complex Wilde tale of love and narrow-mindedness without butchering or overstating the message.
Richard Riddick (Vin Diesel) has a really bad rep and with good reason: Five years ago convicted killer Riddick escaped the galaxy's law enforcement during a botched interplanetary prison transfer and has been on the lam ever since. As The Chronicles of Riddick picks up our antagonist finds his relative freedom has been compromised when mercenaries out for the $1 million bounty on his head discover his location and hunt him down. Riddick escapes their clutches steals their ship and sets off for Planet Helion to find Imam (Keith David) the Muslim cleric he rescued in Pitch Black and the only person who could have squealed his location to authorities. But while Riddick's hunch about Imam are correct the cleric has a reason for luring the mammoth murderer out of hiding: Helion is falling to unholy armies of Necromongers--warriors who conquer by force in the vein of Star Trek's Borg. Of course Riddick doesn't give a damn about the Helions or their plight--until he gets wind that the Necromogers want to kill him because of an old prophecy that foresees their end at Riddick's hands. Like it or not Riddick is left with no other choice but to battle the Necromongers.
The character of Riddick is unquestionably what made Pitch Black one of the most sequel-worthy sci-fi films in years. And Riddick would not have been one of sci-fi's most intoxicating characters if it weren't for Diesel. Like his Dominic Toretto in the 2001 actioner The Fast and the Furious Riddick is a villain of few words but when he speaks his carefully chosen words have impact--even if the dialogue is at times overly theatrical. Riddick is the perfect antihero; a cold-blooded and indifferent being who somehow evokes more compassion than the film's so-called good guys. Joining Riddick are some recurring characters including David as Imam but Riddick benefits the most from the addition of some new characters particularly Colm Feore as Lord Marshal the Necromonger leader whose goal is to rid the universe of all human life. Feore channeling nuggets of Julius Caesar into his role makes for one of Riddick's most thrilling foes. Another prominent addition to the cast is Judi Dench who has a surprisingly small role as Aereon an Elemental captured by the Necromongers and used for her special powers including ESP.
Writer/director David Twohy took his horror pic Pitch Black which gained a cult following since it was released four years ago and managed to successfully turn it into an sci-fi actioner of epic proportions. Everything is grander here which is almost a given considering Twohy shot Pitch Black on a dime in Australia using colored filters. In Riddick the director distinguishes the film's different environments--the Necros' mothership Crematoria's cavernous prison and Helion--using warm to cool tones that are dazzling yet more subtle than its predecessor. The CGI effects get a little gamey at times but production designer Holger Gross' gargantuan sets are impressive and help craft Twohy's otherworldly vision into a plausible one. And although Twohy jumps genres from Pitch Black to its sequel his storyline evolves logically from the original premise. But while moviegoers unfamiliar with Pitch Black will be able to follow the story easily enough they may have a difficult time grasping what makes Riddick such a big deal; the film explains the legend but never fully captures its quintessence. This could hurt Riddick's chances to broaden its Pitch Black fan base.