Well if the title doesn’t say it all…Picking up where Alien vs. Predator left off those pesky aliens cause the Predator ship to crash on Earth setting them free near a Colorado town. A lone Predator (Ian Whyte encoring from AvP) comes to Earth to clean up the mess and what the hell maybe pick up a few human trophies too. Needless to say the town’s human residents are completely unprepared for this sort of inter-galactic free-for-all on their streets. This is after all the sort of town where everybody knows everybody but no one seems to notice when a spaceship crashes in the woods outside of town or when the self-same spaceship blows up the next day. In short you could say that they get what’s coming to them--and they sure do. Pretty dreadful all around. Then again Shane Salerno’s script is pointless to begin with. Steven Pasquale (TV’s Rescue Me) plays the ex-con hero Dallas (a nod to the original Alien). Reiko Aylesworth (TV’s 24) plays a veteran of the Gulf War who returns stateside just in time to engage in another one--a pretty pale homage to Sigourney Weaver’s Ripley character. John Ortiz plays the local sheriff one of the dullest (and dumbest) screen lawmen in recent memory. Veteran Robert Joy drops in briefly as a weasely U.S. Army colonel who would just as soon nuke the town as try to save it. Every time this film focuses on the (one-dimensional) human characters it stops cold. Unfortunately this happens a lot. There’s no reason to root for them because you simply don’t care. True to form most of them are sliced diced chopped lasered exploded from within and otherwise treated in a shabby fashion. They are simply fodder. Just for the record this is the sixth Alien film and the fourth Predator film and it holds the dubious distinction of being the worst of any of them. The special effects are just dandy but not much else is. This also marks the inauspicious feature directorial debut of noted visual effects artists Colin and Greg Strause (billed as “The Brothers Strause”). They clearly have an affinity for this sort of thing--and for the Alien and Predator franchises--but are just as clearly content to simply let the special effects run away with the story. The first Alien vs. Predator movie was no great shakes but it was better than it had any right to be. This one is not. Responding to the fans who wanted this film to be R-rated the Brothers Strause have delivered on that--and absolutely nothing more. It’s a pointless exercise.
Built from comic book auteur Frank Miller’s (Sin City) rock solid foundations 300 is based on his vision on the 1962 film The 300 Spartans filtered through the same tough-as-nails pulp sensibility that populates most of his comics work. Leaving such leaden wannabe sword-and-sandal epics like Troy and Alexander in the historical dust 300 reworks the real-life legendary tale of the Battle of Thermopylae in which a battalion of 300 elite Spartan soldiers heroically hold the line to protect ancient Greece from the invading Persian hordes. The story focuses on the Spartan King Leonidas (Gerard Butler) who must not only lead his small cadre of troops--each one honored since childhood into a razor-sharp battle-relishing warrior—into a battle they are unlikely to survive but he must also fight for the fate of Greece and its democratic ideals. As the bizarre seemingly endless marauding legions of the tyrant Xerxes (Rodrigo Santoro) descend upon the Hot Gates—a narrow passageway into Greece that Leonidas’ miniscule band can most ably defend—the soldiers take up arms without the usual post-modern anti-war hand-wringing that most war epics indulge in. These soldiers are both bred for battle and fighting a good fight and the film focuses squarely on the highly charged action. Meanwhile in a new plotline created specifically for the movie his equally noble and faithful queen Gorgo (Lena Headey) takes up arms in a more symbolic way as she also tries to keep democracy alive by taking on the political warlords of Sparta to secure relief for her husband’s troops. Butler has become a familiar and welcome on-screen presence in such films as The Phantom of the Opera and Reign of Fire but there has been little on his mainstream movie resume to suggest the kind of bravura fire he brings to the role of Leonidas. This is the stuff of an actor announcing himself to the audience in a major way akin to Daniel Craig’s star-making turn as James Bond. In a big bold performance that could have gone awry in any number of ways Butler plays even the highest pitched notes like a concerto perfectly capturing the king’s bravado bombast cunning compassion and passion each step of the way. Headey is his ideal match imbuing the queen with more steel and nobility in a handful of scenes than most actresses can summon to carry entire films. Fans of Lost and Brazilian cinema will be hard-pressed to even recognize Santoro whose earnest pretty handsomeness is radically transformed into Xerxes’ exotic borderline freakish form personifying a terrifying yet seductive force of corruption and evil that spreads like a cancer across the earth. And don’t forget to add in the most impressive array of rock-hard abs on cinematic display since well ever (think Brad Pitt in Troy times 300). Even bolstered by canny casting choices and their washboard stomachs helmer Zack Snyder (Dawn of the Dead) is the true undisputable star of 300 establishing himself firmly as a director whose work demands to be watched. With a kinetic sensibility that’s akin to Quentin Tarantino and John Woo and using CGI technology to its utmost effects both subtle and dynamic Snyder creates a compelling fully formed world that the audience is eager to explore. Snyder doesn’t literally match Miller’s signature artwork as meticulously as director Robert Rodriguez did with Sin City. Instead Snyder captures Miller’s essence be it raw brutality majestic size and scope the exotic and otherworldly carnal physicality or hideous deformity--even seemingly antiquated and potentially off-putting techniques like the repeated use of slow-motion are put to fresh effect making every blow and cut seem crucial. Yet even in the visual glorification of some of the most bloody and violent conflicts ever put to film Snyder infuses the tale—which ultimately is one big glorious testosterone-soaked fight sequence—with the sense of honor and sacrifice which characterizes the most noble of war efforts. Yes war can be hell but this is a case where some like it hot.
Based on the semi-autobiographical novel by Armistead Maupin this haunting albeit slow moving mystery follows the disturbingly eerie twists and turns that unfold in the relationship between a popular late-night radio host Gabriel Noone (Robin Williams) who is in the throes of his own personal crisis and a devoted 14 year-old listener named Pete (Rory Culkin) who has written a memoir describing a terrifying childhood filled with physical and sexual abuse. What begins as a long-distance phone relationship the wounded Gabriel soon bonds with the precocious boy as a surrogate father. But things start to get dicey when Gabriel grows more and more suspicious of Pete’s overprotective adopted mother (Toni Collette). Suddenly Gabriel finds himself on a desperate quest to uncover the elusive truth on whether Pete’s stories are for real or more importantly if Pete even exists at all. Many may forget that Williams is a Julliard-trained actor. He can handle emotional range and has done so in films such as Dead Poet's Society and Good Will Hunting which won him his Oscar. Of course we still love it when he acts like a nut. In fact during certain moments in Listener when Williams is on the radio you half expect the funnyman to yell “Good Morning Vietnam!” But of course the 55 year-old Williams has obviously matured and is easily convincing as the low-key Gabriel dealing with the demise of his 10 year relationship with his lover played nicely by Bobby Cannavale (The Station Agent) as well as trying to unravel this strange mystery which grows more macabre by the minute. Matching Williams' intensity is Collette (Little Miss Sunshine) as Pete’s enigmatic mom Donna who is pretty much the center of all the creepiness. The underrated actress is one of those performers who generally throws vanity aside to dig deep and give honest portrayals no matter how twisted they are. It’s evident The Night Listener is something close to Maupin’s heart having had a similar real-life experience with his ex-partner Terry Anderson and a young devoted fan. The screenplay was adapted by the acclaimed author along with Anderson and Patrick Stettner (The Business of Strangers)—who takes the helm on this psychological thriller—so it’s no surprise how well they tap into the same nightmarish journey the bestselling page-turner takes you on. Listener explores the nature of lies and how much we are willing to believe them when in an emotional crisis. And much like a great Hitchcock thriller Stettner also keeps you on your toes by peeling away each layer the deeper Gabriel gets involved. After flying to the where Pete is suppose to live things really start to get weird until Gabriel finally asks “What the hell am I doing here?” It’s a very valid question. But that’s sort of the beauty of the film. You’re expecting any manner of bad things to happen but are surprised by the outcome nonetheless.
Based on actual events The Believer tells the story of young "Jewish Nazi" Danny Belint once a promising Yeshiva student from Queens. But now disillusioned by Judaism he is an active member of an anti-Semitic band of hoodlums who terrorize Jews and plan attacks against them. He also frequents meetings with self-styled fascist intellectual Curtis Zampf and his wealthy dragon lady companion Lina Moebius. Danny's effete father and sister are clueless about his anti-Semitic activities. And his fellow skinheads with whom he schemes and trains at retreats are unaware of his Jewish background. In conversations with several concentration-camp survivors as part of a sensitivity-training session ordered by a judge after Danny and his gang are hauled in for violence Danny provides clues for his twisted hatred when he blames Jewish passivity and fear for the tragedy of the Holocaust. But Danny's cover is soon shaken when a journalist who has learned that Danny is Jewish presses him for more information. After violent incidents involving synagogue damage and an assassination attempt Danny's life takes a sharp and fatal turn when his lover Carla Lina's daughter triggers in Danny a renewed passion for Judaism and its rituals.
Ryan Gosling's turn as young neo-Nazi Danny is worth more than the price of admission. He delivers a stunning career-making performance that is as disturbing as it is believable. Gosling who has moved on to studio features since his Believer role two years ago gets terrific support from the other actors including Summer Phoenix as beautiful lover Carla Theresa Russell as Carla's fanatical mother Lina and Billy Zane as Lina's sinister companion Curtis.
As brave as he is skilled writer/director Henry Bean does a superb job of conveying the chilling atmosphere and psychological confusion that can turn profound hatred into acts of violence. He also deserves credit for fashioning a convincing script rife with the intellectual questions and issues that can give rise to hatred. Bean's real coup was giving Gosling the guidance and space to deliver so extraordinary a performance. Bean's eye and ear for the authentic are apparent everywhere with both the decent folk and the hateful bigots soaring far beyond cliche or caricature.