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.
Only mildly titillating and not especially thrilling the wannabe erotic thriller In the Cut isn't able to rise to the occasion so to speak. This yawner stars Meg Ryan as Frannie a depressed creative writing teacher in New York who keeps mostly to herself unless it's to get together with her slutty half-sister Pauline (Jennifer Jason Leigh). Wary about love Frannie's seen how messed up relationships can get. The last guy Frannie dated an mentally unstable med student (Kevin Bacon) is stalking her while crazy sis Pauline is currently stalking a married man who has a restraining order against her. These people have serious issues and dour Frannie figures its easier just to fantasize about men and masturbate (hey don't we all?). Then she meets Det. James Malloy (Mark Ruffalo) an aggressive yet charismatic cop who questions her about the brutal murder of a woman in the neighborhood. Things get all screwy (in more ways than one) when the attraction between Frannie and Malloy grows and the slick detective ends up taking Frannie to some new sexual heights while at the same time strange occurrences are making her suspect Malloy is the murderer. Aw she's just so negative. It all comes to a head so to speak as the real murderer comes to light blah blah blah--but all we want to know is will Frannie finally find a good anti-depressant?
Along with so many actresses Meg Ryan apparently believes dying her hair brown wearing no makeup and sporting a sour and we suspect surgically enhanced face (she looks more nauseated than anything) gives her dramatic heft. And what about that gutsy move of showing a little frontal? Stop the presses--America's sweetheart bares her soul and her breasts! Unfortunately it all backfires. The usually perky Ryan can't dig deep enough to inhabit Frannie's miserable persona even though she's had practice (remember When a Man Loves a Woman and Courage Under Fire) and with In the Cut she comes off looking worse than ever literally and figuratively with a wrist-slitting performance that only proves comedies will forever be her forte (where's Sally when you need her?) As the skanky cop Ruffalo (You Can Count on Me) fares a bit better but still telling a woman all the things you want do to her in bed in a flat emotionless voice doesn't help his case as a sexually provocative leading man. If Ryan's Frannie was not so lifeless maybe she and Malloy could have sizzled but they never connect. The always-good Leigh would have made a much better Frannie. As disturbed Pauline she turns in the most interesting performance of the film.
Director Jane Campion (The Piano) admits she was going for a specific look and feel with In the Cut that of the emotionally charged '70s dramas and thrillers such as the classic 1971 erotic thriller Klute about an emotionally distant prostitute who helps a detective solve a string of murders. In the Cut tries to be Klute--sans Jane Fonda's Oscar-winning performance as the prostitute and Donald Sutherland's superb turn as the smitten detective. Campion's film lacks both stellar performances and the street grit that made those older films so powerful though she does give the film the same drab grimy look of a '70s indie film to match the mood of her main characters (and what fun that is). Plus the way she annoyingly films scenes out of focus makes you think you've got myopia--the periphery is constantly out of focus. Rather than being artsy all this does is trigger a headache.
From the creators of the TNT miniseries Gettysburg including executive producer Ted Turner and writer/director Ronald F. Maxwell Gods chronicles the Civil War from its beginnings when the South rises up. Confederate General Robert E. Lee (Robert Duvall) a distinguished military man but also a loyal native Virginian chooses to fight for his home rather than his country while Thomas "Stonewall" Jackson (Stephen Lang) a devoutly religious man becomes Lee's most trusted lieutenant. On the other side we have Colonel Joshua Chamberlain (Jeff Daniels) a professor from Maine who ends up one of the Union's finest military leaders. In between there are glimpses of the wives and families left behind. Stories of this magnitude with their dramatic bloody battles and tragic endings usually leave you numb or crying for those lives lost and destroyed. Instead Gods and Generals holds no resonance whatsoever meticulously plotting out the details and making this decisive moment in American history interminable at three and a half hours. It's like wading through a textbook--or worse watching Civil War fanatics carefully reenact the famous battle scenes on the very ground they were fought over and over again--while the players stand around quoting long-winded verse from the Bible or Shakespeare's Julius Caesar. Blech.
The actors in Gods and Generals must have honestly thought they were making something important when they signed up. Main players Lang (who played Major Gen. George Pickett in Gettysburg) and Daniels (who reprises his Gettysburg role as Chamberlain) have their moments but after hearing them recite one speech after another especially Lang's Jackson who says more prayers to God than anything else you start to wonder if they ever realized they made a mistake. (Or have we for sitting through it?) One of the more superfluous scenes is when Jackson and his black cook Jim played by Frankie Faison are standing outside in the freezing cold night for about 15 minutes both looking up at the stars and praying to God. It seems like the actors are trying to make such sermonizing poignant meaningful but all this pontification simply drags the movie further down. These speeches aren't just Lang's and Daniels' territory--Mira Sorvino as Chamberlain's wife and Kali Rocha as Jackson's wife get their own personal moments in the sun too. If you count the cast of thousands each with their own things to say well you get the point. Thankfully Duvall who is the only good thing about the movie gets to keep the talking to a minimum.
If you want to see a Civil War melodrama at its best where watching the heroes race through a sacked city makes you hold your breath and witnessing horrific hospital scenes makes you squirm then watch Gone With the Wind. If you want gut-wrenching Civil War battles or more understanding of how slaves truly felt then watch Glory. If you want a heartening history lesson about the Civil War that not only teaches you about the era's political machinations but also shares the insights and thoughts of the men and women who experienced it then watch Ken Burns' documentary series The Civil War. Gods and Generals offers none of that in its dry textbook version of the Civil War which uses the same shots are used over and over again (how many times does the camera pan up to the night sky or show the panoramic view of Fredericksburg Virginia? I lost count) features more actors waxing prophetic than real drama and actually makes you yawn during what should be intense battle scenes.
Dizzy (DJ Qualls) is already what you could call the epitome of pathos at his school but his reputation as a loser and social misfit is cemented when the aging school librarian breaks his penis--in front of the entire school. He thinks there is no hope until a prank lands him in jail overnight and his cellmate Luther (Eddie Griffin) teaches him a few tricks that will guarantee him popularity. The only problem is he needs to start with a clean slate which basically means switching schools. Dizzy eventually gets his wish and enrolls at East Highland High School. He changes his name to Gil Harris and religiously follows Luther's rules which include making a grand entrance (which he does Dr. Hannibal Lecter style) and beating up the biggest guy in school. Although the entire geeks-vs.-popular crowd theme has been done countless times before scribe David Kendall manages to supply a few good lines making it a bit more entertaining to watch.
DJ Qualls who was drop dead funny in Road Trip carries on the tradition in The New Guy mostly due to his reactions and gut-busting facial expressions. For example when he tosses away a lighter he's playing with to look cool and inadvertently sets a statue on fire he displays this expression of pure shock as he walks away calm and collected. (And in case you are wondering he's not a deejay: his initials are short for Daniel Joseph.) As the inmate Luther Eddie Griffin (John Q) is also pretty funny thanks in part to some great lines such as: "High school is a lot like prison. The sex you want you ain't gettin'. The sex you gettin' you don't want." He also does the buggy-eye thing eerily well. Lyle Lovett has a small role as Dizzy's father and is mostly the butt of the joke in all his scenes including when he gets hit in the eye with a flaming marshmallow. Keep your eyes peeled for a multitude of cameo appearances including former Black Flag frontman-turned-poet/actor Henry Rollins former "Ice Ice Baby" rapper Vanilla Ice and the commercially successful skateboarder Tony Hawk.
Ed Decter makes his directorial debut here but he's no stranger to comedy: he helped pen the 1998 comedy There's Something About Mary and last year's Head Over Heels. The New Guy is nothing to boast of visually. It's ugly and sloppily pieced together. There's a great soundtrack to the film that includes The Offspring Mystikal Cypress Hill and Outkast but the tracks are loud and overpowering (I am still convinced that Qualls' character mumbles something about chili before he kisses the film's heroine towards the end of the film.) Qualls' performance however turns the film into a more enjoyable experience than it otherwise would have been with his shooting-daggers stares--complete with whipping sound effects--and his "radical" transformation which consists basically of a haircut. Considering the film is already a cliché some of the laughs might have gone over better had Decter avoided the crass toilet bowl humor and midget jokes that have become so antiquated.