In just about every one of Kevin Hart's scenes in Ride Along, there's a joke that is just aching to find its way out of the diminutive, rascally comic actor. Hart is a small-scale physical comedian — of the same ilk as Jack Black — who puts nuclear-degree energy into his facial contortions, anatomical outbursts, and the delivery of every gag in general. If only he had material that was crafted with the same energy.
Unfortunately, nothing else about Ride Along seems at all "hard at work." Not the script, which pads a lifeless story with lazy comedy, and certainly not his screen partner Ice Cube, whose only stage direction seems to be "frown, and be taller than Kevin Hart." So lifeless is Ice Cube that even his machismo-obsessed straight man bit doesn't really work. Instead of the virile and intimidating "bad cop," he comes off as a disapproving middle aged dad without much to show for his own life.
But the script pairs the wily, overzealous high school security guard and video game junkie Ben (Hart) with no-nonsense lawman James (Ice Cube) on the titular ride along, with the scrappy cop-wannabe hoping to prove to the force veteran that he's good enough to marry the latter's younger sister. In earnest, he's not. Ben never puts any respectable effort into learning the tools of the trade, insisting on employing his amateur style and controlling the radio despite his proclamations that he wants, and deserves, James' trust. And James is no saint either — he's irresponsible on crime scenes, violent with perps, and disgruntled to the point of being unable to work with anybody else on the force. These are not good police officers... of course, you'll say, this is a comedy. But where are the laughs, then?
They're not absent entirely, you just have to look for them. In a movie so focused with big, broad humor, it's the smaller comedy that actually lands best. Hart's background mutterings and fumblings, his emoticon-laden texts to girlfriend Angela (Tika Sumpter, whose only stage direction seems to be "smile, and never wear a full outfit of clothing"), and a bizarre repetition of the word "weird" from supporting player John Leguizamo. All good for unexpected chuckles, while jokes like Hart facing off with a pre-teen or being blown backwards into a brick wall after firing a large gun are all lazy, familiar, and flat.
Structurally, the script is a mess. Ride Along spends far too much time on set up — we get it, Hart and his soon-to-be-brother-in-law Ice Cube don't get along — and far too much time on wrap-up — there's a gigantic, dramatic warehouse shootout that, in any other movie, would be the climax, but there's plenty more to go after that — without any cohesive middle to make the movie feel like... a movie.
The best player in the World for movie trailers, Hollywood interviews and movie clips.
Hart, who leaps at every comic opportunity like a kangaroo (wallaby would be more appropriate), is suited just right for a buddy cop comedy, but he needs something fresh with which to work — a real character, an interesting story, actually funny jokes. Even just one of these would be fine!
Follow @Michael Arbeiter
| Follow @Hollywood_com
In the 2006 animated blockbuster Happy Feet an alienated emperor penguin named Mumbles found empowerment through tap-dancing and in so doing managed to both attract a mate and stop the overfishing that imperiled his Antarctic habitat. Directed by George Mitchell – the same George Mitchell who gave us the post-apocalyptic Mad Max trilogy and the almost despairingly bleak Babe: Pig in the City – Happy Feet paired its broadly conventional narrative with a darker sensibility not often seen in talking-animal fare.
The film’s sequel Happy Feet Two finds Mitchell (co-directing with Gary Eck) both more jovial and more easily distracted. The story begins straightforwardly enough with Mumbles (Elijah Wood) now grown-up and by all appearances well-adjusted ceding the mantle of self-discovery to his son Erik (Ava Acres). Boogie fever has swept the once dance-averse penguin nation but in a cruelly ironic twist Erik has inherited none of his father’s nifty moves. But just as Happy Feet Two appears intent on recycling its predecessor’s basic storyline the film abruptly changes course and embarks on a series of detours that seemed geared more as fodder for throwaway gags and showy set pieces than anything else. The disparate narrative elements while enjoyable in isolation never quite coalesce into a meaningful whole leaving us entertained but unfulfilled.
As before Happy Feet Two features a variety of buoyant song-and-dance numbers with Alecia Moore (aka P!nk) lending her formidable pipes to spirited re-workings of “Rhythm Nation” and “Under Pressure ” among others. Robin Williams returns for double duty as both Ramon a diminutive oversexed Latin lover and Lovelace a fiery Southern-preacher type. (Lovelace later adopts a Rastafarian dialect allowing Williams to achieve the rare culture-caricature trifecta.) His voracious scenery-devouring is all the more impressive given the grandeur of the scenery. Not to be left out of the quasi-Vaudevillian comic shenanigans Hank Azaria lays on a thick Scandinavian shtick as Sven a charismatic Arctic émigré who presents himself as the only penguin in the world who can fly. Azaria is a hoot but the film’s best moments come courtesy of the cast’s highest-profile additions Matt Damon and Brad Pitt voicing Bill and Will (respectively) two tiny krill in search of meaning at the bottom of the food chain.
Not to be confused with the 1979 ghost story The Changeling this Changeling is a horror story of a very different stripe. Based on a long forgotten case buried deep in the L.A. crime files this true tale revolves around the mysterious 1928 disappearance of 9-year-old Walter Collins. Set in an election year and with heavy political pressure on city officials and a corrupt LAPD they find a child five months later who they claim is Walter and arrange to reunite him with his mother Christine (Angelina Jolie). Only problem is she says this is not her kid. When she asks the police to continue trying to find her son she finds herself victimized and accused of being insane and unfit for not going along with the PR campaign informing the public that the police have solved the case. With the help of a community activist Reverend Briegleb (John Malkovich) she begins to fight the city and the police who try in every way to silence her even committing her to a mental institution. The film details not only her valiant quest to right a wrong and find her real son but serves as a probing indictment of the police state 1920’s Los Angeles had become. As in her searing portrayal of the pregnant Marianne Pearl in last year’s A Mighty Heart Angelina Jolie once again connects with her maternal side. In another challenging role she must exhibit a wide emotional range going from fear to anguish to anger to pure resolve in an effort to uncover the mystery of her son’s abduction. Splendidly outfitted in ‘20s garb Jolie delves deep into the soul of a woman who dared to go against the grain and challenge a corrupt police department in Prohibition-era L.A. She’s simply remarkable in the most intense determined and heartbreaking role of her career. As the man who helps out in her cause Malkovich is perfectly matched to Jolie. As the merciless Captain Jones who heads the investigation to find Walter Jeffrey Donovan (TV’s Burn Notice) is properly frustrating and imposing while Colm Feore gets the evil side of his LAPD police chief down pat. Nailing her few scenes Amy Ryan (Gone Baby Gone) plays a fellow psycho-ward inmate who helps Christine when she is institutionalized. Particularly impressive is Eddie Alderson as the 15-year-old nephew of the serial killer who leads police to a grisly crime scene and his uncle played a bit over the top by Jason Butler Harner. And filling out their juvenile roles nicely are Gattlin Griffith as Walter and eerie Devon Conti as the young man impersonating him. Clint Eastwood knows his way around ominous foreboding material so it’s no wonder he was instantly attracted to J. Michael Stracynski’s immaculately researched script. After Million Dollar Baby and Mystic River Eastwood exhibits a strong understanding of the dark side of human nature. Changeling fits right in with his oeuvre and he delivers yet another superbly crafted and acted film -- one that exists on two separate levels as a look at the corruption that crept into the LAPD of the era and as an impassioned journey of a woman trying to find a happy ending for herself and her son. Shot with the director’s usual ease Eastwood seems comfortable letting the almost unbelievable facts of the story speak for themselves and remarkably didn’t change a word of Stracynski’s fascinating screenplay. He doesn’t have to. The fact that it’s a true story that all really happened is simply incredible by itself. This is an unforgettable triumph for everyone involved.
Even if you’re one of the 19 other people in a competitive internship at Dean Witter with Chris Gardner (Will Smith) you gotta root for the guy. Life’s beaten him up but not got him down. He lugs his computer-monitor-sized bone density scanner all over San Francisco hoping to sell just one to make ends meet for his family—but nobody’s buying. As his wife’s (Thandie Newton) discontentment nears a boiling point Chris accepts an internship at financial institution Dean Witter—six months without pay and only one of the 20 applicants will ultimately get a job out of it. This sends her packing. She leaves Chris and their son Christopher (Jaden Smith) to fend for themselves at which point they get evicted. It’s the tip of the iceberg because over the course of Chris’ penniless pursuit of the Dean Witter job (and “happyness”) he and Christopher will get by sleeping in homeless shelter--and even in train-station bathrooms. Chris had always vowed to never leave his son and he keeps his promise but there’s no guarantee that his perseverance will pay off. Except for the fact that Happyness is “INSPIRED BY A TRUE STORY”! Will Smith is getting all the awards buzz but it’s his real-life son Jaden who transcends all expectations in Happyness. Jaden’s never acted in a movie before and it’s safe to assume that because of his father's long-running movie stardom he could not have grown up in a more different environment than that of his character. Which makes it all the more amazing for this 8-year-old Hollywood tyke to grasp even if coincidentally the plight of a nomadic urban child. The best part about little Jaden is that his performance doesn’t seem robotic like so many child actors who are already too "seasoned" for their own good. Aside from the expected cutesy laughs there’s genuine spontaneity in Jaden’s performance obviously thanks to the fact that he’s acting opposite his dad. Papa Smith gives what’s probably his best performance to date although he's had a career of primarily action roles that weren't exactly conducive to a skills showcase. He delivers the goods here—as seen in the tear-rific trailer—as a man whose whole life is his child but frankly the tears evoked might be too few for Oscar’s liking. Newton (Crash) in a small role is terribly miscast but Mr. and Mr. Smith dominate the screen anyway. Even with the studio flaunting the movie’s "Inspired by a true story..." tagline like a badge of honor—as studios tend to do—and this being the holiday season and all Italian director Gabriele Muccino expends way too much effort into the crowd-pleasing/feel-good aspects of Happyness. The happy ending everyone already knows about should be saccharine enough. Granted this is why a studio loves true stories—one that begins on a low note ends on a really high note and fluctuates all over the radar in between—and it may make the film more pleasing to its targeted mainstream audiences but Muccino and writer Steve Conrad (The Weather Man) really take the gloss factor much too far. In this case they essentially try to tell us a mostly sad story but will not let us feel sad. For instance during what could be very dark reflective scenes potentially connecting with viewers who have struggled through similar problems music befitting a children’s tale overtakes the would-be drama so we don’t ever feel too badly for Chris. It’s nice that the director cares so much for us but oftentimes the best directors are the ones who show an audience tough love.
As the opening song belts out fast cars champagne and caviar are what professional basketball player Jamal Jeffries (played by Miguel A. Nunez Jr.) is all about. In fact Jeffries is so taken by his own success that he doesn't sign autographs but uses a stamp. His Dennis Rodman-style antics however reach a breaking point when he strips during a game in front of millions of fans and flings his jock strap into the seats. The stunt gets him thrown out of the league and before he can say "slam-dunk " Jeffries loses his house his cars and his girlfriend. Desperate to work again at the one thing he does best Jeffries comes up with the mother of all schemes: He shaves his legs dabs on mascara and tries out for the women's league--and it works. But as he builds friendships and gains the trust of the women on his team he feels torn between his obligation to his team the Banshees and his need to return to a normal life. If you've seen the 1982 comedy Tootsie you know exactly how this film plays out. Surprisingly Juwanna Mann is not crammed with bad slapstick humor but is an entertaining twist on an old classic with a delightfully sweet storyline.
Nunez (Nutty Professor II: The Klumps) not only pulls off the Jamal/Juwanna character with ease but he pretty much steals the show here. His character comes off as endearing rather than obnoxious because he takes his role as a woman seriously and is never condescending about playing in the women's league. Nunez also delivers some great one-liners the best being when he is fighting off advances from the gold-toothed Puff Smokey Smoke. Vivica A. Fox (Two Can Play That Game) plays Michelle a fellow player whom Jeffries develops feelings for. Although it's hard to buy the sweet and almost delicate Fox in such an athletic role she pulls it off--but there is not all that much chemistry between her and Nunez. As Jeffries' crass sports agent Lorne Daniels Kevin Pollak (3000 Miles to Graceland) is seedy with just the right touch of humanity so his character is not completely despicable. The most cartoonish and unlikable character is Tommy Davidson's (Bamboozled) Puff Smokey Smoke. He has some funny lines but is too far-fetched to be believable.
Jesse Vaughan who directed a season of In Living Color makes his directorial debut with Juwanna Mann. Judging from the trailer I thought the film would be a low-brow comedy with a lot of overdone men-in-heels humor. I was instead pleasantly surprised by the film's storyline which--although it is a complete take on Tootsie--is short sweet and non-offensive. While some characters like Puff Smokey Smoke are a bit over the top Nunez's Jamal/Juwanna character is never clownish and well developed enough that you can't help but feel for his/her predicament. Some scenes appear to have a Klumps influence like the scene in which Jeffries is playing cards with his aunt and a gang of her senior friends but the overall effect is a moderately funny film peppered with some slightly funnier moments. Newcomer Bradley Allenstein had the sense to deliver a sweet comedy screenplay that was short enough and knew when to quit.