The Man with the Iron Fists the directorial debut of music artist RZA is clearly a love letter to all of the Wu Tang frontman's passions. An old school kung fu movie infused with hip hop beats and a comic book aesthetic Iron Fists rarely makes a lick of sense but it's a collage of imagination — and that earns it a few points. Like a cinematic version of the backyard games we all used to play RZA casts himself as a Chinese town's resident badass who teams up with a cowboy to take down an army of ninjas assassins. The freeform style allows him to run wild rarely providing actual thrills but resulting in an action movie overflowing with heart. Bloody bloody heart.
The manic script for Iron Fists written by RZA and Eli Roth (Cabin Fever Hostel) interlocks a handful of colorful characters with varying degrees of success: The Blacksmith (RZA) a freed slave who hopes to earn enough bucks to whisk his love prostitute Lady Silk (Jamie Chung) away from the Pink Blossom brothel; Madam Blossom (Lucy Liu) the brothel's owner (and local mobster); Silver Lion (Byron Mann) a murderous gangster out to overtake the city with the help of his magical metallic underling Brass Body (Dave Bautista); Zen Yi a.k.a. The X-Blade (Rick Yune) whose father was killed at the hands of Silver Lion and now seeks revenge; and Jack Knife (Russell Crowe) a mysterious British gunslinger taking residence at the Pink Blossom who may have ulterior motives. Iron Fists bounces between the plot threads without much worry — you never really know who is doing what or why. But if characters say what they're thinking with conviction then beat the daylights out of their opponent it's supposed to suffice. More often than not it does.
What Iron Fists lacks in coherency it makes up for in absurdity. RZA pumps up the volume on every element of the film from costumes that shoot daggers to flamboyant overacting evildoers to Jack Knife taking the goriest route to defeat an enemy (in this case using a knife gun to rip up a heavyset man's insides). Taking a page from mentor Quentin Tarantino's book anything can happen in this Eastern martial soap opera and everything does happen. It's money shot after money shot the rapid pace reminiscent of channel surfing — likely the way most kung fu fans stumbled upon the type of films that inspire Iron Fists back in the '70s and '80s.
Not every moment pops — unlike Liu and Crowe RZA doesn't exactly light up the screen when given the freedom to go crazy. Blacksmith is a muted mumbling character who doesn't throw himself into a fight the way a kung fu movie demands from its lead. Behind the camera the fight scenes are choreographed similarly to how the movie is structured: randomly with the occasional inspired moment. But the inventiveness of the mechanics keeps Iron Fists working. A scene with two twins using contortion to throw and kick and punch their way through hoards of bad guys is a joy. Seeing Crowe (obviously not an expert in martial arts) lay down a few moves is pure fun too.
The Man with the Iron Fists isn't as expertly crafted as Tarantino's Kill Bill but it has more mind-boggling oddities. RZA unleashes his passion into the film so even when the story or action isn't working something else on screen is.
In Larry Crowne Tom Hanks plays the title character an affable middle-aged floor manager at a big box department store who loses his job because he never went to college. Lacking a secondary income source (his wife divorced him a few years prior) and underwater on his mortgage he sets out to find new employment but is met with universal rejection. If any of these developments affect him in any significant way you can scarcely tell from his countenance: A plaintive drive home and the occasional watering of the eyes are the only indications of any kind of turmoil within.
All of which hints that Larry Crowne which Hanks also directed and co-wrote (with Nia Vardalos) might be one of those films in which a repressed and emotionally stunted individual gradually comes to face the pain he’s buried enjoys an epiphany or two and lets go of it all in a grand (and presumably Oscar-worthy) catharsis. (That or he shoots up a Dairy Queen.) Only it isn’t. It’s a breezy genial comedy about a guy who enrolls in a community college joins a crew of scooter-riders and hits it off with his speech teacher.
The teacher Mercedes (Julia Roberts) is everything Larry isn’t: dry cynical tired. She’s lost her passion for education and is mired in a toxic marriage with a noxious layabout (Bryan Cranston) whose novel-writing efforts are really just a cover for an internet porn obsession. There’s no reason the two should connect romantically other than the fact that he’s Tom Hanks and she’s Julia Roberts. This appraisal might as well extend to the film as a whole which skates by lazily on the charm and charisma of its two stars never deigning to proffer anything more substantial than their adorable mugs.
Among a rote and forgettable assemblage of supporting characters the only one who manages to register at all is Talia (Gugu Mbatha-Raw) a coquettish free-spirited fellow-student who makes Larry her personal project re-arranging his living room upgrading his wardrobe and coaxing him to be more adventurous. Why she bothers to do any of this is never explained. Is she luring him into a shady business scheme? Is she the recruiter for an apocalyptic cult? An insatiable schlub fetish perhaps? Without any discernible motive we’re left to assume that she takes to him simply because he’s Tom Hanks. I mean who wouldn’t want to ride scooters with Tom Hanks? (I’ll tell you who: Al Qaida.)
Larry Crowne is a film I desperately wanted to like. Certainly its central message of perseverance and optimism in the face of hardship is a noble one. But aside from its two stars a few laughs and a handful of endearing moments there’s precious little to it. By the end of the film I felt like I barely knew any of these people despite having spent the last 90 minutes with them. Nor did I particularly want to know them. Except for Tom and Julia of course. Aren’t they just wonderful?
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Don’t let the previews fool you—Terabithia isn’t anything like Chronicles of Narnia. Based on the Newbery-Award winning children’s novel by Katharine Paterson the story is more about childhood friendships and the way imagination can quite literally open new worlds. Jess Aarons (Josh Hutcherson) sees himself as an outsider at school—and at home. He really only feels himself when he’s drawing. Then he meets the new kid Leslie Burke (AnnaSophia Robb) who has just moved from the big city. Despite their differences—she’s rich he’s poor—they become fast friends. Leslie who likes to spin magical stories opens Jess’ eyes to the possibilities and together they create the secret kingdom of Terabithia a mystical place accessible by swinging on an old rope over a stream in the woods near their homes. Interacting with the Terabithian denizens they’ve imagined both evil and good Jess and Leslie learn to deal with the pressures of their young pre-adolescent lives—and learn what the power of real friendship truly means. The young fresh cast really make Bridge to Terabithia work. Robb and Hutcherson are already veteran kid actors: Robb is best known for stealing hearts in Because of Winn-Dixie (another kid novel adaptation) and popping chewing gum as Violet in Charlie and the Chocolate Factory while Hutcherson played the tough older brother in Zathura as well as Robin Williams’ kid in R.V. Their acting experience clearly shows as they make the friendship between Jess and Leslie both genuine and heartfelt. There isn’t a false moment in their performances especially from Hutcherson who at first sends off an I-could-care-less vibe but through his soulful eyes becomes more attached to Leslie and their secret place. And as Jess’ little sister 7 year-old Bailee Madison plays the moppet without any cutesy affectations. As far as the adults are concerned stand outs include Robert Patrick as Jess’ stern dad just trying to make ends meet for his family and Zooey Deschanel as the kids’ music teacher who Jess has a crush on. In 1978 author Katharine Paterson wrote Bridge to Terabithia for her then 11 year-old son David Paterson about a special friendship he had. It was an instant hit. Now David all grown up is able to bring his mom’s touching story to life as one of the writers. Talk about a family effort backed by Walden Media--the geniuses behind Holes and Chronicles of Narnia. Directed by Rugrats creator Gabor Csupo Terabithia truly captures the essence of childhood imagination even I dare say more so than Narnia. Maybe it’s because the idea of Terabithia comes from the minds’ of very real children who are going through very real emotions as they enter into adolescence. Csupo keeps the imagery simple allowing audiences to create a fantasy world filled with mythical creatures right along with the film’s main characters. And if you haven’t read the book you might be surprised by the story’s poignancy. In a saturated field of animated duds and kid films better suited as after-school TV specials Bridge to Terabithia stands out as a one of the better family movies to come around in a long time.