In the last seven years Denzel Washington has paired with director Tony Scott on four hyperkinetic ultra-saturated feature films: Man on Fire Deja Vu The Taking of Pelham 1 2 3 and Unstoppable. When he strays from the time-honored action collaboration you'd think the man would take a break from the format. Not so—as Washington's new film Safe House clearly demonstrates.
Daniel Espinosa director of the acclaimed Swedish crime drama Snabba Cash shoots his espionage thriller with Scott-ian flair complete with rapid camera movement a palette of eye-scorchingly bright colors and fragmented editing. If Safe House was emotionally compelling the stylistic approach might make the narrative sizzle—but the script is as simple and familiar as they come: Matt Weston (Ryan Reynolds) is a CIA agent with a monotonous gig. He's a safe housekeeper tasked with maintaining a stronghold in South Africa in case the feds need to stop by for some…interrogating. After a year of begging for field work and keeping the joint tidy Weston finds himself embroiled in the investigation of Tobin Bell (Denzel Washington) an ex-CIA notorious for selling information on the black market. A group of agents bring Bell in to Weston's safe house for a routine waterboarding but everything is thrown into chaos when the lockdown is infiltrated by machine-wielding baddies looking to put a bullet in Bell's head. To keep the captor alive Weston goes on the run with Bell in hand…never knowing exactly why everyone wants the guy dead.
The setup for Safe House provides Washington and Reynolds two fully capable action stars to do their thing and to do it well. The two characters have their own defining characteristics that each actor bites off with ferocity: Reynolds' Weston is a man drowning in circumstance built to kick ass but still out of his league and just hoping to get back to his gal in one piece. Bell has years of experience boring into the heads of his opponents and Washington plays him with the necessary charisma and confidence that make even his most despicable characters a treat to watch.
But the duo fight a losing battle in Safe House contending with the script's meandering action and ambiguous stakes that turn the Bourne-esque thriller into a grueling experience. Much of the movie is an extended chase scene where the object of the bad guys' desire is never identified. It's a mystery!—but the lack of info comes off as confusing. Safe House cuts back and forth between the compelling relationship between Weston and Bell and a war room full of exceptional actors (Vera Farmiga Brendan Gleeson and Sam Shepherd) given nothing to do but spurt straightforward backstory and typical "there's no time Mr. ______!" exclamatory statements. Caking it is Espinosa's direction which lacks any sense of coherent geography. The action is never intense because you have no idea who is going where and when and why.
Safe House is a competently made movie with enough talent to keep it afloat but without any definable hook or dramatic emphasis it plays out like an undercooked version of the Denzel Washington/Tony Scott formula. Which is unfortunate as four solid ones already exist.
At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.
Walt Disney animation’s first foray into 3D ‘toon making isn’t just a technical triumph it thankfully also tells the clever story of Bolt (John Travolta). He’s a superstar TV canine who believes the superpowers he displays weekly on his series are for real --especially when it comes to the protection of his master and co-star Penny (Miley Cyrus). One day however the dog is accidentally shipped from his Hollywood soundstage to New York City. Lost alone and confused on the streets of the Big Apple Bolt is still living the show vowing to get to Penny who he believes has been kidnapped by the “green-eyed man.” And so he embarks on a cross-country journey to L.A. to save Penny. Along the way he is joined by an abandoned wily housecat Mittens (Susie Essman) and a TV-loving hamster Rhino (Mark Walton) who believes everything he sees on the tube is ALSO real. Of course Bolt is in for rude awakening when he finds out he is just a regular dog but he still needs to get to Penny -- even if it means she might not be there for him when he returns. Disney is not a studio that generally depends on superstar voices for their animated films but in casting Travolta and tween queen Cyrus they have scored a bullseye. Travolta’s Bolt is a delightful cross between the self-assured superstar and a pooch in denial. The actor doesn’t phone it in but instead creates an original and loveable dog that stands proudly in Disney’s large canon of canine greats. The action scenes created for Bolt’s TV series are lots of fun and the interactions with his traveling companions are choice. As Penny Cyrus is sympathetic sincere and she even gets to sing a duet with Travolta “I Thought I Lost You ” which she co-wrote. The show is nearly stolen though by comedian Susie Essman (Curb Your Enthusiasm) as Mittens -- a smart determined and emotionally wounded pet cat abandoned by her owners and forced to wander the streets alone. And by Mark Walton as the hilarious Rhino the obsessive fanboy hamster who rolls around in his ball. Walton is actually an animator in real life who happened to be so good at voicing Rhino during tests they just gave him the job. Disney vets Chris Williams and Byron Howard capably usher the venerable Disney label into the brave new world of 3D animation and the results are promising -- putting the audience right in the center of Bolt’s universe. The TV series action set pieces are particularly effective in using the technology. It’s not even necessary to see the film in 3D because the whole CG process has come a long way in a few short years and Bolt is one of the best looking most accomplished animated films in memory -- glasses or no glasses. Williams and Howard expertly blend humor pathos and blockbuster-style action scenes effortlessly giving “Bolt” an appeal beyond just the target kid demo.
The first Santa Clause had a somewhat clever premise on how an ordinary guy can become Santa Claus just by putting on the red suit while the second Clause was about finding a Mrs. Claus. What’s the third clause? The Escape Clause which allows anyone who is Santa the option to give it all up and become a mortal man again. Of course Scott Calvin (Tim Allen) aka the current Santa has no intentions of leaving the job. But his lovely wife Carol (Elizabeth Mitchell) is expecting their first child and missing home a great deal so Scott has to juggle having his in-laws (Alan Arkin and Ann-Margaret) come to the North Pole--which he has to disguise as Canada to keep the “Secret of Santa” alive--with getting ready for Christmas. It’s kind of hectic. And throwing a huge wrench in the whole deal is the envious Jack Frost (Martin Short). Relegated as the “opening act” to Christmas Frost wants his own gig and sabotages Scott at every turn in order to steal the job away from him. There’s no nipping at your nose with this guy; it’s all-out war. Allen makes no apologies for his career. Why should he? He’s been moderately successful playing everyday dads in Disney comedies displaying the right mix of milquetoast-iness and humor. Plus as Scott/Santa he also gets to be sentimental. I just wonder if he still wouldn’t like to do something more cutting edge? Short on the other hand never could find the right kind of starring vehicle for himself but instead has created some hilarious supporting characters (if you don’t believe me rent The Big Picture). Jack Frost is another one to add to the list. The comedian has way too much fun playing the nasty ice man with steely blue eyes a smart--if frosty--three-piece suit and who gets to say lines like “I invented ‘Chill!’” Mitchell (TV’s Lost) reprises her role as the sweet-as-pie Mrs. Claus and has some nice moments with Scott. And what a surprise to see Alan Arkin and Ann-Margaret in this! They are perfect as the meddling in-laws especially Arkin who finds everything wrong with Scott and his “toy factory.” Buena Vista didn’t feel it was necessary to pre-screen Santa Clause 3 for critics. They probably believe the audiences for this franchise is already built in and they don’t need jaded critics slamming the film for being silly and meaningless. Smart. But as much as it pains me to say it Santa Clause 3 directed by Michael Lembeck (who did Santa Clause 2) really isn’t that awful. Yes it’s all terribly predictable with the schmaltz so thick you could cut it with a knife. But there’s also something surprisingly endearing about these movies. They have always provided a sort of warm family-friendly feel without too much forced circumstances—and most importantly they are legitimate Christmas movies--even its being released just as we are putting away the Halloween decorations. Honestly I’d take a Santa Clause 3 over a Christmas with the Kranks (sorry Tim Allen) any day.
The animated Sinbad: Legend of the Seven Seas has all the great adventure of the story wrapped up in a sappy little package for the kiddies. Taken from the ancient tales of the Arabian Nights Sinbad is a rogue who cares only about what is in his and his crew's best interest--and little else. As the film begins he unsuccessfully tries to steal the Book of Peace--which keeps order in the world--from his childhood best friend Proteus the Prince of Syracuse who is sailing to the city to return the sacred book. Although the two are estranged it's clear they still have a kinship. When the Book of Peace is actually stolen by Eris the goddess of chaos she frames Sinbad for the theft. Proteus stands up for his friend and makes the council give Sinbad one chance to find and return the precious book or Proteus will die on his behalf. Disbelieving the threat the pirate decides to blow the whole thing off but Proteus' beautiful betrothed Marina who has stowed away on Sinbad's ship has other plans. Marina has Sinbad's crew on her side and it could turn mutinous if the guy doesn't fulfill the mission. OK so he'll go get the book. Eris doesn't make it easy for our reluctant hero--dispatching both monstrous creatures and the elements to do battle along the way. But ultimately the brave Sinbad learns a few life lessons falls in love and wins out by following his heart. Aww!
See what a little success in the animated world can get you? These days an animated film can demand the attention of any A-list actor to provide the voices not just your occasional Robin Williams. We have Finding Nemo with the voices of Albert Brooks and Ellen DeGeneres and now Sinbad which attracted huge names such as Brad Pitt (Sinbad) Catherine Zeta-Jones (Marina) Michelle Pfeiffer (Eris) and Joseph Fiennes (Proteus). It could also be the fact DreamWorks' animation king Jeffrey Katzenberg has the clout to rope them all in. Pitt as Sinbad is roguishly clever infusing the pirate with the requisite amount mischievousness and rebellion while Zeta-Jones provides the adventurous Marina with the right amount of bravado and vulnerability. Fiennes as the stiff but honorable Proteus is fine but you can tell right away who has the most fun with her character; Pfeiffer's Eris is a pure delight in sound as well as sight. She is able to take her Catwoman persona from Batman Returns and elevate it to a well celestial level. In the supporting roles Dennis Haysbert does a nice job as Sinbad's right-hand man Kale as does Adriano Giannini the son of legendary actor Giancarlo Giannini as the ship's lookout Rat. Kudos all around for a job well done.
As a self-proclaimed fan of those cheesy 1970s Sinbad movies including The Golden Voyage of Sinbad and Sinbad and the Eye of the Tiger--where the stop-motion special effects of wizard Ray Harryhausen made it all worthwhile--the idea of an animated version of Sinbad seems perfectly fitted for the genre. Now the mythical creatures could be fully realized in vivid Technicolor where the DreamWorks' animators spare no expense in providing their own visions of things such as sirens sea monsters and giant birds of prey. The artwork for Eris is a particular stroke of genius with the flowing black hair and beautifully evil features; the film definitely comes alive when she is onscreen. As well the action sequences are as exciting as any car chase or gun battle you'll see in a live-action film. The drawback for the adults is the film's slightly schmaltzy story about friendship and of course true love. It's not entirely clear why computer-animated films such as Shrek and Finding Nemo are now becoming the only animated films that appeal to everyone adults and kids alike. It used to be traditional hand-drawn classics such as The Little Mermaid and The Lion King did the trick but now it seems animated films need only provide spectacular visuals--without a great story and snappy dialogue to back them up.