While I certainly don’t want to give away the big “twist ” I can safely say Eagle Eye is all about big bad technology--or the pitfalls of having too much technology at our fingertips and how it can turn into a Big Brother situation. As it goes we meet copy store employee Jerry Shaw (Shia LaBeouf) and single mom Rachel Holloman (Michelle Monaghan) two strangers who suddenly find themselves in a whole mess of trouble after they receive a mysterious phone call from a woman they have never met. She dictates they carry out a series of dangerous tasks and if they refuse she will either kill them or the ones they love--and of course shows proof when they do. Who is this ominous woman? How can she control cell phones trains traffic lights construction cranes electrical power poles and just about anything else she wants to at any time? And why is she targeting Jerry and Rachel? Ah watch as the web unweaves LaBeouf and Monaghan are two very appealing young actors who both have a lot of potential in their burgeoning careers. Of course LaBeouf is now running the risk of doing too many big-budgeted action movies; he should remember he was once a pretty good kid actor. Monaghan too showed great promise in films such as Kiss Kiss Bang Bang and Gone Baby Gone but has gone the cheap ingénue route with the likes of Made of Honor and The Heartbreak Kid. And now Eagle Eye which unfortunately doesn’t do much to boost their resumes. Still they manage to make the film watchable with the sparks between them. The rest of the cast are fairly wasted however including Rosario Dawson as a tough-nut Air Force investigator and Michael Chiklis as U.S. Defense Secretary. The only other cast member worth watching is Billy Bob Thornton as an FBI agent tracking Jerry and Rachel. He has all the best lines. Director D.J. Caruso who cut his teeth in the thriller department with last year’s sleeper Disturbia goes for the full-action this time--and does a pretty good job considering. It might not be up to the Bourne Ultimatum level but the car chases are exciting and inventive. A giant crane picking up a cop car and tossing it away in a garbage dump is a particularly clever way to dispose of an automobile. But Eagle Eye fails to engage the audience into caring much about the characters because you are too busy trying to figure out what the hell is going on and why these random people are involved. And when you do find out you're still not convinced it was all necessary in the end. Maybe it'll play better on DVD.
French director Alexandre Aja recently gave us a down and dirty remake of The Hills Have Eyes. He should have called this one The Mirrors Have Eyes as the rather silly plot focuses on a fire ravaged and now abandoned department store patrolled by ex-cop Ben Carson (Kiefer Sutherland). But he is being haunted by supernatural mirrors which seem to be targeting him and his family for death. The guy who previously had the job managed to slit his own throat thanks to the mean ‘ol mirrors which makes this new gig a total downer for the former NYPD cop who is also a recovering alcoholic. Scenes shift from the dark and creepy building to his former home now solely occupied by his estranged wife (Paula Patton) and two nightmare-prone kids. Forced to live with his bartender sister Angela (Amy Smart) Ben tries to convince sis and ex-wife that he is haunted by a group of yes mirrors at his current workplace and they may all be in danger as well. Fortunately for Sutherland he still has his TV series 24 to fall back on because his acting talents are not really required in this dopey horror flick. With expressions ranging from A to B Sutherland mostly prowls around the deserted building he patrols with a deep sense of fearful earnestness as only a guy being threatened by inanimate objects would. The dialogue he is asked to utter is of the “ help me they’re after me” school of screenwriting. Can’t really blame Kiefer too much though since all the actors caught up in this enterprise are stuck with one-dimensional roles that only serve to point out the shortcomings of the ridiculous storyline. Patton tries hard in the thankless wife role but isn’t given much to do except doubt the protestations of her alcoholic soon-to-be-ex hubby. The eerie looking kids who get caught up in Daddy’s nightmare Erica Gluck and Cameron Boyce look like they were plucked right out of Horror 101 casting. Smart is also pretty much wasted but does have a memorable bathtub scene in which she rips her face off. There is a nice turn by veteran actress Mary Beth Peil whose character holds the key to the mystery of the mirrors. Alexandre Aja is no slouch in the horror department. He has proved in past efforts such as The Hills Have Eyes remake and the French thriller High Tension to be a modern master of the genre effectively staging the kind of gross-out scenes fans of the genre crave. He has a couple of nifty ones here including the aforementioned bathtub sequence but most of his film gets bogged down with a lot of psychological mumbo-jumbo that tries to explain away the dopey concept. Bottom line is the director (who has only himself to blame since he also co-wrote the script ) has been saddled with an absurd premise of a bunch of unforgiving department store mirrors seeking vengeance on their human prey. Gore-starved devotees may be pleased but sadly Mirrors gives the rest of us precious little to reflect on.
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.
Finally a brilliantly told fractured fairy tale for children and adults alike that does not feature a grouchy green orge anywhere. Once upon a time a young man sneaks into the mysterious magic kingdom of Stormhold that’s walled off from his quiet English village. He soon meets a lovely young lady who just so happens to be a princess enslaved by a not-so-wicked witch. Nine months later a basket is dropped on his doorstep. Yes this baby boy is the unexpected result of his one-night liasion with the royal lass. The boy grows up blissfully unaware of his regal roots so when he reaches manhood Tristan (Charlie Cox) doesn’t understand why he so drawn to the land on the other side of the Wall. He finally hops over the Wall when a star falls out of the sky and lands deep in the heart of Stormhold. His goal: to bring back the star as proof of his love for Victoria (Sienna Miller). Too bad this scheming temptress doesn’t think too much of the penniless and mild-mannered workingclass stiff. This being a fairy tale the star isn’t just a star. The star’s actually a beautiful celestial being named Yvaine (Claire Danes). And she fell to earth as part of a devious plan by Stormhold’s dying king (Peter O'Toole) to determine his successor. But the king’s scheming sons (Jason Flemying and Mark Strong) are not the only ones seeking Yvaine. The oh-so-wicked witch Lamia (Michelle Pfeiffer) needs Yvaine to help her restore her youth. So that means Tristan must become the hero he’s destined to become—and take on witches princes airbourne pirates (Robert De Niro’s Capt. Shakespeare) and shady black marketeers (The Office’s Ricky Gervais)—so he can return home to Victoria. But Cupid has other plans for Tristran and it’s not hard to guess what those are. If all stars took on the human form of Claire Danes many more of us would probably pursue a career in astronomy. But it doesn’t take a working knowledge of the Hubble telescope to see how relaxed and luminous Danes is when she’s not carrying the weight of the world on her shoulders. And sparks definitely fly between Danes and Charlie Cox even when they’re at hurling hilarious insults at each other. Newcomer Cox makes a smooth transition from ill-at-ease lovesick puppy to swashbuckling hero. He also doesn’t seem to be intimidated at the prospect of staring down Robert De Niro. There’s always concern whenever De Niro takes on a comedic role for a big paycheck. He usually gets by with pure talent and nothing more. And when De Niro’s pirate crosses paths with Cox and Danes you immediately fear that he’s going to offer yet another variation on his tough gruff Alpha males from Analyze This and Meet the Parents. But he blindsides us by instead going all Jack Sparrow on us—that is if the old sea dog had no interest in the ladies—to deliriously campy effect. What with Hairspray and now Stardust Michelle Pfeiffer’s comeback seems to be predicated on getting in touch with her inner bitch. She’s splendidly nasty and scary as Lamia. And the uglier and older she gets the meaner and funnier she gets. Equally cruel—though more cheerfully so—is Sienna Miller. Providing small but amusing cameos are Gervais once again revealing an unparallel mastery of toadying and Peter O'Toole who kicks the bucket quicker than John Cleese’s King Harold does in Shrek the Third. There’s legitimate reason to question whether Layer Cake director Matthew Vaughn has what it takes to direct a big-budget effects-driven summer blockbuster. Remember after making his name producing or directing relatively inexpensive British crime capers Vaughn walked away from X-Men: The Last Stand. Judging by Stardust though Vaughn would have done a masterful job leading those misunderstood mutants into battle. Then again he couldn’t have done worse than Brett Ratner. Based on the graphic novel by Neil Gaiman and Charles Vess Stardust possesses both a big heart and an uncommon adventurous streak. Unlike the recent Pirates of the Caribbean: At World's End which was too long and too cumbersome for its own good Stardust moves nimbly and confidently through a strange and wonderful land populated with noble heroes to cheer for fiendish villains to boo at and gorgeous damsels in distress to sigh over. Vaughn keeps us on the edge of our seats whenever Tristan must think or fight his way out of danger. But he invests as much time in making believe that Tristan and Yvaine are made for each other. He also strikes a fine balance between honoring the sword-and-sorcery genre while playfully sending up its many cliches. The humor’s a lot more risqué than the bedtime story that was The Princess Bride but most of the sexual innuendoes will zoom over the heads of those still too young to pick up on many of Shrek’s pop-cultural references. Clearly Stardust cannot escape all other comparisons to The Princess Bride but Stardust boasts more than enough magic and daring-do to win over those who remained enthralled to this day by Cary Elwes’ brave efforts to rescue a kidnapped Robin Wright Penn. So this is one fairy tale that richly deserves its happily ever after--and for that matter so does Vaughn.
As the fifth year at Hogwarts begins most of the wizardry world is having a hard time believing Voldemort (Ralph Fiennes) has returned further propagated by the Ministry of Magic who refuses to recognize anything evil is brewing and blames all the hullabaloo on Harry (Daniel Radcliffe) and Dumbledore (Michael Gambon). The Ministry even interferes with Hogwarts business by making Ministry employee Dolores Umbridge (Imelda Staunton) the new Defense Against the Dark Arts professor whose outwardly sweet demeanor hides a sadistic streak a mile wide. She thinks the children should only learn about the Dark Arts “theoretically” and tortures all those who disagree. But the Voldemort threat is a reality and Dumbledore has re-formed the Order of the Phoenix a group of witches and wizards that prepares to battle the Dark Lord. Harry is unfortunately being kept in the dark for his protection of course even as his connection to Voldemort grows stronger and he’s royally peeved at being ignored. Urged on by Hermione (Emma Watson) and Ron (Rupert Grint) he forms his own order of Hogwarts students called Dumbledore’s Army to teach them what defenses against the Dark Arts he has already learned. Oh yeah Harry also shares his first kiss but make no bones about it—love is the furthest thing on Harry’s mind when the crap hits the fan. War is imminent. Everyone steps up their game in Order of the Phoenix. Radcliffe Watson and Grint have shed their adolescent whininess and aw-shucks goofiness to give their characters the greatest depth so far. They are forced to grow up pretty quickly in Order with little time for any playfulness and the three actors handle the seriousness with aplomb. Of course both Radcliffe and Grint have already ventured out of the Potter world—Radcliffe shed more than just adolescence on stage in a production of Equus while Grint lost his virginity in the indie Driving Lessons--and their extra experience shows in Order. Also good are Matthew Lewis as the usually clumsy Neville Longbottom who shows his mettle in more ways than one and newcomer Evanna Lynch as the slightly off-kilter Luna Lovegood who proves to be a loyal member of Dumbledore’s Army. But the kids have to keep up with the talented adult cast especially Oscar-nominated Staunton (Vera Drake) as Umbridge. The veteran actress’ interpretation of one of J.K. Rowling’s nastiest characters so far in the Potter lore is spot-on down to the pink wool suits and irritating twitter “ahem” she uses when she wants your undivided attention. Helena Bonham Carter also makes an impression however over the top it is as the evil Voldemort follower Bellatrix Lestrange. Does she ever want to look pretty onscreen? Then there’s the laundry list of Brits whose time onscreen may be short but is nonetheless memorable including Alan Rickman as the sneering Prof. Snape; Gambon as the wise but flawed Dumbledore; Gary Oldman as the kindly Sirius Black Harry’s only real family; and of course Fiennes as He-Who-Must-Not-Be-Named. His late-in-the-game appearance once again throws you for a loop. It stands to reason that at five movies in moviegoers would have a favorite Harry Potter flick by now. Those who love those Triwizard Tournament special effects might feel The Goblet of Fire was the best; or Prisoner of Azkaban for its time-bending action. Yet The Order of the Phoenix may be the one movie that speaks directly to the fans of the books. Without as much wide-eyed wonderment or wizardry flash the story is still chockfull of compelling details that are absolutely pivotal to the continuing Harry Potter saga. Screenwriter Michael Goldenberg (Peter Pan) and director David Yates (HBO’s The Girl in the Café) manage to wade through this volume of information and cut successfully to the chase with great effect. Yates who has signed on to do the sixth movie Harry Potter and the Half-Blood Prince even shows an affinity for action in the final dramatic confrontation between good witches and wizards and bad ones. But overall Order of the Phoenix may leave audiences not as well-versed in the novels a little itchy for some good old-fashioned wand-waving and Disney special effects. Thing is it’s just going to keep getting darker and darker for Harry and his crew. The days of happy fun playtime are over.
All of Britain is abuzz as "E-Day" approaches. The day when the pound will be converted into euros and the former will no longer be accepted as a valid form of currency. Enter two brothers: wide-eyed 7-year-old Damian (Alexander Nathan Etel) and his 9-year-old fiscally precocious and shrewd brother Anthony (Lewis Owen McGibbon) who stumble upon a million pounds and are split on what to do with it in the short time they have. They are in agreement on one thing: They will not tell their father (James Nesbitt) about the money. Anthony just wants to spend it on material things but Damian believes the money has been delivered to them by some sort of divine osmosis a miracle from their recently deceased mother. Through the saints he claims he sees and talks to he thinks it is should be given exclusively to the homeless--or anyone deemed worthy by meeting Damian's rigorous criteria…admitting they are poor. He is later crushed to discover that the money's true origin is a heist gone awry as he crosses paths with the obligatory villain posing as a homeless man and threatening Damian to hand over the money or else pay the consequences.
There's a kind of freedom in releasing an indie film in which the biggest name belongs to the guy behind the camera. Rather than worrying about watching mega movie stars it shifts the audience's attention so they can get involved in a complex storyline. Millions is no exception to this rule. The acting is superb all the way around but undoubtedly the two biggest stars of the film are also its smallest. The interplay between two brothers--played by Etel and McGibbon in their feature film debuts--makes the viewer feel like a fly on the wall in any family's home. For such young kids they display an amazing skill at being able to capture the subtle nuances generally present in sibling relationships. Throw in the dynamic of their father--played well by Nesbitt a veteran of the British-indie circuit--and his new girlfriend (Daisy Donovan) who threatens to disrupt the family harmony and you feel like a genuine intruder on a family in crisis. But Damian's naive musings help keep the story essentially light vibrant and flowing.
Millions marks a complete about-face for director Danny Boyle. With his previous films he followed along a general path of the same moods and tones: his harrowing take on drugs and decadence in England in the groundbreaking Trainspotting; his hostage-falls-for-kidnapper caper A Life Less Ordinary; his disappointing attempt at a mind trip with The Beach; and his zombie take-off 28 Days Later. It's safe to say that a feel-good family film would not seem the logical next step. But Boyle executes Millions brilliantly showing not only his sensitive side but his flair for the whimsical. Parts of the movie even suggest hints of Tim Burton complete with sinister-sounding choral hymns in the background. With Millions Boyle establishes himself as a force to be reckoned with one of the most versatile directors around today.