Gavin O’Connor’s (Miracle Pride and Glory) stirring new drama Warrior is an underdog tale set in the nascent sport of Mixed Martial Arts fighting. In its relatively short life MMA has yet to inspire much quality cinema of note. It now has its Rocky.
Warrior’s twist on the traditional underdog formula is to provide us with dual protagonists: the fightin’ Conlon brothers Brendan (Joel Edgerton) and Tommy (Tom Hardy). Neither have spoken to each other since the dissolution of the parents’ marriage fourteen years earlier. Both of late have fallen on hard times. Tommy is an Iraq war veteran who has turned to pills and booze since returning from abroad; Brendan is a high school science teacher and devoted family man victimized by the financial crisis. Circumstances compel them both to seek salvation in the fight game.
Conveniently enough the opportunity of a lifetime arrives in the form of Sparta a brand-new winner-take-all MMA tournament that awards its champion a cool $5 million – more than enough for Brendan to save his house from foreclosure or for Tommy to make good on his pledge to provide for the family of a friend killed in Iraq. By this point we know for certain that fate has determined Brendan and Tommy will meet in the final and we know for certain how utterly ridiculous this scenario is. And yet we accept it because by this point Warrior already has us in its corner.
The origins of the brothers’ enmity are ultimately traced to their father Paddy (Nick Nolte) a monstrous alcoholic whose abusiveness led their mother and Tommy to flee fourteen years prior. Brendan stayed behind and Tommy never forgave him for it. When we see Paddy he’s broken-down husk of a man God-fearing and 1000 days sober his face creased with shame and regret. Neither son can stand the sight of their old man but Tommy in need of someone to train him for the tournament reluctantly enlists his father’s help. Paddy eyeing a last chance at redemption enthusiastically complies.
Cue the training montage. A fighter rising from obscurity to the upper echelons in his sport within a matter of weeks is hard to swallow; when two fighters do it it’s a borderline insult to the sport. MMA aficionados might blanch at watching Tommy and Brendan gain one unlikely win after another; more likely they’ll be too absorbed by the action to care. It helps that Hardy and Edgerton both look the part and are both skilled enough at their craft to lend the film’s many brutal fight scenes a distinct realism. It helps even more that the story and the actors' stellar performances have us firmly aligned with their goals.
O’Conner a veteran of the genre deploys the underdog tropes at his disposal freely but assiduously crafting a tale that is unabashedly far-fetched but grounded in characters who are intensely appealing and who feel authentic. The storytelling is clumsy at times – that Nolte’s character listens to a book-on-tape of Moby Dick throughout the film feels particularly heavy-handed – but Warrior wisely steers clear of bombastic speeches or cloying sentiment.
Warrior’s climactic final fight in which the estranged brothers at last meet in the ring is both gut- and heart-wrenching. When the film’s suitably happy ending does eventually arrive the film gives way ever-so-briefly to hokeyness. But after what these kids have gone through you can forgive them for getting a little emotional.
I hope that if alien cultures are monitoring our entertainment they take a pass on the film Planet 51. It may reverse the human/alien traditional roles by having the human astronaut be the fish out of water on an alien planet but xenophobia stopped being a funny or useful plot device by the mid-'80s. Any mildly cognizant alien intelligences would take one look at this movie and decide to check back on the human race in another hundred years.
Justin Long plays Lem just another awkward teenager a role Long is too long-in-the-tooth to play in person anymore but shortly he could (and very well may) make a career out of doing it in voice work. Lem wants to be an astronomer and is vying for a job at the local observatory. He wants to score with neighborhood hottie Neera (Jessica Biel) but he can never quite muster up the confidence to make his move. His friends obsessed with comics and science fiction movies of the googly-eyed alien invasion ilk aren’t helping either. The catch is that these are all green-skinned tentacle-haired no-genitaled aliens on a distant planet who without a hint of explanation are living their lives parallel to Earth’s 1950s.
Lem is finally starting to get his game on when his life is turned upside down by the inconvenient entry of Captain Charles “Chuck” Baker (Dwayne 'The Rock' Johnson). Chuck is a human being and an astronaut who has landed his ship on the titular planet expecting something more barren only to find himself on the run from a culture living in fear of invasion because of a popular series of alien invasion films. His only help to get back to his module and dock with his mother ship in orbit before his countdown runs out (?) is Lem and his group of nerdy friends. Adventure ostensibly ensues and lessons are eventually learned by all: The cowardly Lem learns self-confidence the arrogant Chuck learns humility and we’re all supposed to learn tolerance towards those different from us. Unfortunately the only lesson actually imparted here is to be more careful when choosing an animated sci-fi film on which to spend your money.
While the premise here -- turning a cliché on its head -- shows promise Planet 51 has only switched the players. Every dumb alien joke since E.T. flew in front of the moon (and of course that’s here too) is included in the unimaginative script penned by the presumably sleep-writing Joe Stillman (Shrek Beavis and Butt-Head Do America). There’s not even anything fun and fast-paced here to take advantage of the animated CG format and make up for the crushing boredom. Why even do this sort of thing without an eye-candy chase scene or two?
The cast members as talented as they may be fare no better with the nothing they’re given. Johnson sounds as if he was reading a children’s book out loud to kindergarteners and it’s exhausting listening to him pander. Long is going through the same ol’ motions that have made up the majority of his career thus far and Biel is ridiculously unnecessary since she is given practically nothing to say or do. You’d think appearances by John Cleese as an alien scientist or Gary Oldman as the general leading the search for Chuck would bring some creative juices or some (sadly lacking) clever humor to the affair but they never manage to get past the tedious nature of the material written for them.
If there was ever an animated film that needed a clever punch-up team it’s this one. Planet 51 lacks both style AND substance which is surprising given the wealth of opportunities you’d think would be presented here. Perhaps first-time Spanish director Jorge Blanco and new Madrid-based studio Ilion Animation were overconfident about making a children’s film. All I can think is that they must have assumed this was going straight to DVD anyway and no one would notice. Planet 51 deserves to be packed up in a dusty crate in a corner of the Area 51 warehouse never to be seen again.
Set during the Spanish Civil War of the 1940s—a favorite area of exploration for writer-director Guillermo del Toro—the story follows dreamy 11-year-old Ofelia (Ivana Baquero) as she’s uprooted and relocated to a remote military outpost when her sickly mother (Ariadna Gil) marries the wantonly cruel camp commander Captain Vidal (Sergei Lopez). With the compassionate but secretive housekeeper Mercedes (Maribel Verdu) as the closest thing to a friend she has in the oppressive environment Ofelia escapes into a richly textured fantasy world. She follows a dragonfly she believes is a fairy into a landscaped but neglected garden maze she recasts as the lair of the goatish godling Pan (Doug Jones). He tells her she’s the last heir to a magical otherworldly kingdom and charges her with several tasks to help her reclaim her birthright. As her personal world grows more and more grim—the impending birth of her half-brother threatens her mother’s health her step-father grows colder and colder in his bid to crush the resistance and Mercedes’ hidden agenda places her in jeopardy as well—Ofelia soon finds herself tangling with hideous monsters both imagined and all too real often having difficulty distinguishing which is the more dangerous. The astonishingly real performance of the amazing young Spanish actress Baquero as Ofelia anchors the film firmly in both its real world and fantasy environments as only the convincing imagination of a child could. Lopez is an equally compelling discovery as the callous Vidal pitiless vicious and malevolent while still remaining believably human throughout. He’s unblinking in his depiction of a thoroughly vile and cruel man but avoids any aspect of cartoonish evil. And Verdu (Y Tu Mama Tambien) as Mercedes is a wonder as well with her remarkably expressive face unlimited by the film’s Spanish language barriers. Kudos too to Doug Jones a whisper-thin actor who specializes in “creature” roles (he’s played Abe Sapien in del Toro’s Hellboy and will be the Silver Surfer in the Fantastic Four sequel) who somehow magically delivers fully-formed performances as both the faun Pan and the freakish Pale Man through layers and layers of latex. Pan's Labyrinth is unquestionably Guillermo del Toro’s finest film work to date as pure an artistic vision as is likely to be committed to celluloid. He wisely worked outside the Hollywood system in his native Spain to bring his dark tale to life. The story exists in that shadowy netherworld between childhood and adulthood innocence and awareness of the world’s more sinister nature and its characters and themes are explored in ways that no mainstream film would ever allow. On the surface the trappings are Tim Burton-esque but the dark corners Pan's Labyrinth peers into are grim and gloomy indeed; del Toro is never afraid to delve into the murkiest of directions that to audiences used to more conventional movies are heart-wrenching even gut-churning but ultimately emotionally honest and in unexpected ways as immensely satisfying as they are haunting. The film is the announcement of the complete arrival of a major filmmaker and we can only hope that the qualities del Toro brings to this work do not get lost in the maze of Hollywood for future films.
Joe Bowers (Luke Wilson) is about as average as one can get. He’s an electrician working for the Army doesn’t have any family. In other words he is perfect for playing a guinea pig in the government's new Human Hibernation Project. Joined by Rita (Maya Rudolph) a street-smart hooker who needs to hide out for a while they are to be kept on ice and revived a year later. But when they awaken they find out that they're almost a thousand years into the future. The project was forgotten and scrubbed their hibernation pods became landfill--and now Bowers is the smartest man on Earth. They meet Dizz (Dax Shepard) who's addicted to a lounge chair a bungling doctor (Justin Long) and the president/pro-wrestler (Terry Crews). Guess this means prognosticators--hoping for a better more intelligent future--are dead wrong.. Idiocracy effectively becomes a bunch of one-liners spliced together which really doesn’t do any of the comic talent justice. Still all the performers play rather believable idiots. Wilson turns on his easy-going charm as the least dim-witted bulb in the bunch (but never quite gets what Rita does for a living). The affable actor always shines brighter in a movie that doesn’t have “romantic comedy” in its description. Rudolph does her usual Saturday Night Live shtick while Long (Accepted) as the doctor who checks people in and out as if they were in a Jiffy Lube is hysterical even if the one-note hospital gag gets a tad tiresome. Crews is also pretty clever in his role as the dunderhead president who can't figure out how to save his planet from starvation. Why haven't you heard about this movie? Well that's the true Idiocracy. Fox seems to have rushed this little gem out failing to promote it in anyway much like they did with the cult hit Office Space. Ironically both are directed by Mike Judge (of Beavis and Butthead fame). Judge has put his finger on the pulse of what's wrong with this world and gives a bleak social commentary about our future. For example his version of the classic film of the future is a giant naked butt expelling intermittent gas every few minutes. That kind of fart film is the wave of this future run by live-action Beavis and Buttheads. Maybe Judge means to say that the people of Idiocracy’s future--who watch the Masturbation Channel and Fox News (yes that survives) and shop at stores bigger than small cities--are the descendants of those who run the studios today. Or maybe not.