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.
Ignacio (Jack Black) has never been particularly adept at anything but he has great passion for the things that matter to him: cooking and wrestling. Growing up in a Mexican orphanage ‘Nacho’ always dreamt of becoming a “luchador”--the term for a Mexican wrestler--and he even had the paunch to boot but alas it was highly forbidden by the religious orphanage. Now grown up he works as a chef for the only home he has ever known. He’s subjected to constant criticism at the hands of monks for the slop he calls food but claims he isn’t paid enough for quality ingredients. So as he sees it his only solution for more money is to pursue the forbidden fruit of becoming a luchador. He picks up a rail-thin peasant (Hector Jimenez) along the way to form a tag-team duo. Together they’re so horrendous that fans line up just for a laugh. But that makes them underdogs and we all know the fate of underdog characters in movies.
Jack Black maybe the best comedic actor of his extraordinarily gifted generation is a sight to behold. In Nacho Libre his mere pose which invariably sees him showcasing his belly as if a trophy is enough to arouse laughter. But once he opens his mouth forget it! Nacho’s broken English-and-Spanish dialect is tailor-made for Black as is his character’s penchant to break into Tenacious D-style song to profess his love for a nun (Ana de la Reguera). The problems with Black are due to his improper utilization at times (see “direction”) not his performance which is about as flawlessly inane as verbal/physical comedy gets. He taps into mania with an ease that hasn’t been seen since John Belushi. As Nacho’s equally hopeless sidekick Esqueleto Jimenez garners his fair share of laughs thanks mostly to the wrestling scenes. But his high-pitched yelps forced ineptitude and blank expressions grow old quickly.
Director Jared Hess should’ve quit after his first feature Napoleon Dynamite. Only because expectations for his follow-up in this case Libre simply cannot be met. That said he doesn’t only make sophomore mistakes; there is promise and talent on full display here. For instance Hess again exhibits an ability to find and/or create the most outlandish characters from the star all the way down to the unknown Mexican extras. But even at just over 90 minutes long the film drags and seems like a hilarious skit stretched way too far. That’s because although conceptually hilarious the story (which Hess co-wrote with wife Jerusha and veteran Mike White) is as thin as Nacho is portly. And as Hess has learned the hard way with bigger budgets come bigger constraints such as not-so-subtle humor (fart jokes pratfalls) to appease the teen masses. Hess’ fatal flaw however despite what will again be an underrated offbeat effort was to not stray further from his trademark movie thus keeping the animal that is Black caged--albeit in a large cage.
The catastrophic battles of the Clone Wars are in their final stages as the crumbling Republic--supported by the ever-vigilant Jedi Knights--fight against the Separatist Alliance lead by a particularly nasty half-droid half-alien named General Grievous. Jedi überheroes Obi-Wan Kenobi (Ewan McGregor) and Anakin Skywalker (Hayden Christensen) are sent to kill General Grievous and end the war but it isn't easy. Meanwhile Yoda Mace Windu (Samuel L. Jackson) and the other Jedi Council members fear for the state of the Republic under the guidance of the nebulously sinister Chancellor Palpatine (Ian McDiarmid). I know what you're thinking "Yeah yeah just tell us how Anakin goes bad." Poor Annie. He still has some serious anger issues which now revolve around his adoring young wife Padme (Natalie Portman) and their unborn child (or children in this case). He thinks he foresees Padme's death and will do anything to keep her safe including listening to Palpatine malevolently whisper promises of immortality and the power of the Dark Side into his ear. Not the best thing for this volatile fellow. Yes Darth Vader will soon emerge and the inevitable duel between the good and the Dark Side is at hand. Get your lightsabers ready.
Happily all the main actors--save for perhaps Natalie Portman as the ineffectual Padme--get a lot more to chew on in this final installment. Christensen is thankfully done being the whining teenager from Attack of the Clones and turns into a brooding conflicted pre-Vader who can't control his anger. Of course he overdoes it a bit with the scowling and evil cold stares but that's OK. It's what the part requires. The love story between Christensen and Portman however is still kind of painful to watch. The two actors look more than a little embarrassed professing their love for one another ("I'm so much in love with you" "No I'm so much in love with YOU!"). And besides bringing back the infamous Leia "cinnamon bun" look Portman isn't given a darn thing to do but fret and pace and rub her pregnant belly praying Anakin will be all right. You'd think after wielding a gun in The Phantom Menace she'd get to do more fighting. Oh well. On the flip side McGregor Jackson and even McDiarmid all get to kick some serious butt in Revenge of the Sith each with their own action-packed fight sequences. Jackson just seems happy to be swinging a lightsaber around. McGregor with the full beard and biting commentary does a nice job setting the stage for the elderly Ben Kenobi to come. And McDiarmid a veteran British stage thesp finally gets his chance to shine as the malicious Palpatine as we see his own transformation into the ultimate evil being he becomes.
Oh George what are you going to do now that it's all over? Of course Lucas has said he is going to redo all the six Star Wars episodes in 3-D as well as produce a TV series which follows the events after Return of the Jedi. Then there's the fourth Indiana Jones movie to look forward to. But Lucas will probably hole back up at his Skywalker Ranch in northern California and dream up even better ways to generate special effects for the big screen. That's what he does best. He truly is an amazing genius at creating visuals and Revenge of the Sith is no exception. From the battle between General Grievous and Obi-Wan to Yoda's clash with Darth Sidious to Obi-Wan's climactic duel with Anakin Sith is simply riveting. The only difficulty Lucas has ever had is with the human element. I'll admit I'm one of those die-hard fans of the original trilogy who had a problem with the lack of an emotional core in the prequels. After writing and directing the first Star Wars (or Episode IV for those counting) Lucas understood then that maybe he wasn't the best choice to write the next two handing the chores off to screenwriter Lawrence Kasdan. It worked. Big time. Yet with all three prequels (that's Episodes I-III) Lucas did it all himself and his obvious shortcomings are evident. But hey does it really matter how connected you feel to the characters when you've got the Force Jedi Knights evil Darths an ass-kicking little green guy clone armies droid armies Wookiee armies (yeah that's a lot of fur) and an ultimate turn towards the Dark Side? No. But it helps.
Painfully estranged from his daughter old-school boxing trainer Frankie Dunn (Clint Eastwood) hasn't let anyone get too close to him in a very long time. Even his best friend and former trainee Scrap (Morgan Freeman) who manages Frankie's rundown boxing gym has a tough time getting through. Everything changes however when Maggie Fitzgerald (Hilary Swank) walks into the gym. A spitfire looking for someone to believe in her Maggie also has a painful past. But with unshakable willpower along with some tremendous raw talent Maggie has found that her love for boxing could be her ticket to a happy life--and she wants Frankie to turn her into a champion. Naturally he doesn't want to have anything to do with her and doesn't want to take that risk especially with a girl.Yet Frankie is soon won over by the young boxer's dogged resolve to be the best. The road to glory isn't easily paved for these two stubborn mules but Maggie and Frankie rediscover a sense of family they both thought they'd lost long ago. Theirs is a bond that will carry them through one of the hardest journeys either one of them will ever take. Oh yeah you're going to need a wad of tissues for this one.
Swank once again sheds her girlishness to tackle the roughhouse world of female boxing and she delivers another Oscar-caliber performance as Maggie. Not only does the actress embody the physicality of such a role--achieved after months of hard training--she also captures the spirit of a woman who defies the odds by breaking away from her dirt-poor trailer-trash upbringing to become a champion. Some may liken the plain no-nonsense Maggie to Swank's Oscar-winning role as the girl-turned-boy Brandon in Boys Don't Cry but Swank has matured in her acting abilities giving Maggie a very definite feminine edge. Still Swank might consider a nice romantic comedy for her next project. As for the men of Baby Eastwood and Freeman have never been more on top of their game. Frankie is tailored-made for Eastwood who plays a man tortured by his past and reluctant to let anyone in. It's a persona he has adopted many times but as the boxing trainer the craggy face gravel-voiced actor-director truly gives one of the better performances of his career. The same goes for Freeman as the soft-spoken but oh-so-wise Scrap. And watching the two Unforgiven veterans bicker and banter in Baby is like watching an old married couple.
Like a fine wine Clint Eastwood's movies just keep getting better and better the older the director gets. Following last year's intense Mystic River which some saw as a bit heavy handed Eastwood seems to have gone back to a quieter simpler more personal tone with Million Dollar Baby. The film starts out along the lines of such great boxing films as Raging Bull and the recent Girlfight as it highlights the competitive world of female boxing. It's in your face and gritty showing the punches the blood and the pain in glorious Technicolor. But just as it starts to turn into Rocky-style sap when Maggie rises to the top against all the odds the film subtly shifts into a love story about two people hurt by their pasts only to find each other and decide to hold on in a deeply familial way. Then just when you think how sweet that all is Baby throws you for an even bigger albeit darker loop. Eastwood expertly and gently guides you through the film's wondrous maze of revelations. Baby could very well creep in as a surprise Oscar contender.
December 11, 2003 1:48pm EST
Remember that movie about a high school geek who gets the most popular girl in school to be his girlfriend to boost his own image only to discover that fitting in isn't worth sacrificing his individuality? Or was that a Saved by the Bell episode? Love Don't Cost a Thing is the latest teen comedy to follow that formula to a fault: Alvin Johnson (Nick Cannon) is an outcast teen with no style and he's ready to do anything to shed his nerdy image. Even his father (Steve Harvey) an old-school ladies' man wishes the boy would get out and socialize more. So when the popular Paris Morgan (Christina Millian) wrecks her mother's Cadillac Escalade Alvin an amateur mechanic offers to fix the vehicle and pay for the parts if she will pretend to be his girlfriend for two weeks. A haircut and several Sean John warm-up suits later Alvin becomes "Al " an ultra-smooth guy who's "got all the 411s." Of course Paris starts to fall for Al who's too busy keeping up his "big pimpin'" facade to notice. But after alienating everyone close to him including his childhood friends stylin' Al learns a valuable lesson about being himself.
Cannon's performance in Love Don't Cost a Thing falls short of the impressive one he delivered in the musical drama Drumline--his first lead role in a feature film. Here it's impossible to sympathize with the 23-year-old Cannon's clownish character even when he is needlessly bullied by jocks. With his crazy uneven Afro and spastic walk even Molly Ringwald's goody-good character Samantha in Sixteen Candles might be tempted to point and laugh. But while the movie's hero doesn't score many points other characters do notably Al's gal pal Paris played by songwriter/actress Millian who has written songs for Ja Rule and appeared as a guest on several TV shows including Charmed and The Steve Harvey Show. She delivers a very sincere performance as the "frappuccino with hips " and although audiences should despise her character for prostituting her popularity and lying to just about everybody Millian manages to morph Paris into a likeable personality--and we can't help but go along for the ride. But mustachioed comic Harvey steals the show as Al's loveable father Clarence a man who still boogies to his 8-track collection and gives his son very valuable life advice including how to open a condom wrapper using only one hand.
Writer/director Troy Beyer's Love Don't Cost a Thing is so visually horrendous that it should have been called This Film Didn't Cost a Thing. Beyer who directed the dire 1998 comedy Let's Talk About Sex and penned the even worse 1997 B.A.P.S. doesn't much improve her track record in 2003. Her guidance here including sound light and action is so amateurish that the film seems unfinished. An outdoor party scene for example is so dark it's difficult to make out the characters on screen and in another scene inside the school the sound is so muffled the character's lines are barely audible. Beyer's screenplay adapted from the mind-numbingly bad 1987 comedy Can't Buy Me Love doesn't help matters either; most of the characters remain as shallow and label-obsessed as they were 15 years ago. And while there have been countless Hollywood films revolving around the same theme many have done so successfully including the aforementioned oldie Sixteen Candles and more recently The New Guy.
Moviegoers were still feeling angry this Easter Weekend, keeping Anger Management at the top of the box office with a passionate $25.6 million.*
Holes dug into second place with a surprisingly solid $17.1 million, while Malibu's Most Wanted was third with $14.3 million.
Bulletproof Monk barely made its way into fourth place with a small take of $8.6 million; Phone Booth phoned into fifth place with $5.6 million.
Despite Anger Management's impressive take, the Top 12 films this week totaled $90.2 million--down more than three percent from last year's $93 million. Business, meanwhile, was up over 7 percent from the previous weekend's $84.2 million.
THE TOP TEN
Sony Pictures' PG-13 rated comedy Anger Management, which became the best April opener of all time when it debuted last week, held onto the No. 1 spot for the second week in a row. The laffer, which stars Adam Sandler and Jack Nicholson managed a still strong ESTIMATED $25.6 million (-39%) box office take at 3,570 theaters (+19 theaters, $7,171 per theater average). Its cume is approximately $80.2 million, headed for the $100 million mark.
Directed by Peter Segal, it also stars Marisa Tomei and John Turturro.
Buena Vista's PG rated teen comedy Holes debuted in second place with an impressive ESTIMATED $17.1 million at 2,331 theaters. Holes' $7,336 average per theater was the highest for any film playing this weekend.
The pic, based on Louis Sachar's award-winning children's novel, focuses on the adventures of troubled teens forced to dig holes in a dry lakebed.
Directed by Andrew Davis, it stars Rick Fox, Sigourney Weaver, Jon Voight, Tim Blake Nelson and Shia LeBeouf.
"Holes was sort of off the radar," Paul Dergarabedian, president of box-office tracker Exhibitor Relations told The Associated Press. "But kids know this book, and there's really no movies out there for kids right now. Almost every time when there's a void in the marketplace for family films, all of a sudden one pops up, and families rush out."
Warner Bros.' PG-13 rated comedy Malibu's Most Wanted debuted in third place with a "rizz-eal" ESTIMATED $13.1 million at 2,503 theaters with a high $5,250 per theater average.
The film revolves around a white wannabe rapper named B-Rad who thinks he is the dopest thing Malibu has to offer.
Directed by John P. Whitesell, it stars Jamie Kennedy, Taye Diggs and Anthony Anderson.
MGM's PG-13 rated martial arts pic Bulletproof Monk debuted at No. 4 despite a head start on the competition. Bulletproof Monk, which opened Wednesday, took in a disappointing ESTIMATED $8.6 million at 2,955 theaters with a $2,910 per theater average.
The film revolves around a Tibetan monk charged with protecting a sacred scroll.
Directed by Paul Hunter, it stars Chow Yun-Fat and Seann William Scott.
Twentieth Century Fox's R rated sniper thriller Phone Booth fell three rungs to fifth place in its third week with an ESTIMATED $5.6 million (-26%) at 2,448 theaters (-41 theaters, $2,318 per theater). Its cume is approximately $35.1 million.
Directed by Joel Schumacher, it stars Colin Farrell, Kiefer Sutherland and Forest Whitaker.
*Box office estimates provided by Exhibitor Relations, Inc.
Warner Brother's PG rated What a Girl Wants dropped three places to third in its third week with an ESTIMATED $4.8 million (-24%) at 2,930 theaters (-34 theaters, $1,640 per theater). Its cume is approximately $27.5 million.
Directed by Dennie Gordon, it stars Amanda Bynes, Kelly Preston and Colin Firth.
Buena Vista's PG-13 rated comedy Bringing Down the House continued to show strong legs although it dropped from fourth to seventh place in its seventh week of release with an ESTIMATED $3.3 million (-27%) at 2,284 theaters (-546 theaters, $1,445 per theater). Its cume is approximately $122.7 million.
Directed by Adam Shankman, it stars Steve Martin and Queen Latifah.
New Line Cinema's R rated cop drama A Man Apart fell from fifth to eighth place in its third week with an ESTIMATED $2.6 million (-42%) at 2,174 theaters (-321 theaters, $1,196 per theater). Its cume is approximately $22.5 million.
Directed by F. Gary Gray, it stars Vin Diesel and Larenz Tate.
In its 17th week of release, Miramax's PG-13 rated musical Chicago continued its run in the Top Ten at ninth place with an ESTIMATED $2.4 million (-23%) at 21,711 theaters (-403 theaters, $1,452 per theater). Its cume is approximately $160.7 million.
Directed by Rob Marshall, it stars Renee Zellweger, Catherine Zeta-Jones and Richard Gere.
Rounding out the Top Ten is Lions Gate's R rated House of 1,000 Corpses. The horror thriller fell from seventh to tenth in its second week with an ESTIMATED $2.4 million (-31%) at 847 theaters (+252 theaters, $2,834 per theater). Its cume is approximately $6.9 million.
Directed by Rob Zombie, it stars Karen Black, Sid Haig and Jeanne Carmen.
This weekend also saw the arrival of two limited-release films, A Mighty Wind and Chasing Papi.
Warner Bros.' PG-13 rated "mockumentary" A Mighty Wind opened with an ESTIMATED $2.2 in 133 theaters, with a whopping $16,541 per theater average.
The film is a spoof about a reunion concert of '60s folk groups.
Directed by Christopher Guest, it stars Bob Balaban, Ed Begley, Jr, Jennifer Coolidge, Paul Dooley and Eugene Levy.
Warner plans to expand A Mighty Wind to over 500 theaters by early May.
Twentieth Century Fox's PG rated romantic comedy Chasing Papi opened with an ESTIMATED $2.2 million at 585 theaters with a $3,778 per theater average.
The film revolves around three young women who discover they are in love with the same man.
Directed by Linda Mendoza, it stars Jaci Velasquez, Roselyn Sanchez, Sofia Vergara and Eduardo Verastequi.
The Top 12 films this weekend grossed an ESTIMATED $90.2 million, up 7.07 percent from last week when they totaled $84.2 million.
The Top 12 were down only 3.08 percent from last year when they totaled $93 million.
Last year, Universal's PG-13 rated The Scorpion King premiered at the top of the box office with $36 million at 3,444 theaters ($10,475 per theater); Paramount's R rated Changing Lanes came in second in its second week of release with $11 million at 2,642 theaters ($4,189 per theater); and Warner Brother's R rated Murder by Numbers debuted in third with $9.3 million at 2,663 theaters ($3,495 per theater).
After surviving a devastating car accident following her first college party freshman Cassie (Melissa Sagemiller) falls into a coma and steps into a nightmare of otherworldly visitations. Haunted by a grim reaper of a far different kind her only hope is to cling to chance encounters with her lost love Sean (Casey Affleck) and the aid of a mysterious young priest named Father Jude (Luke Wilson). Cassie's malicious friends Matt (Wes Bentley) Annabel (Eliza Dushku) and the morose Raven (Angela Featherstone) seem intent on drawing her to the dark side but the spirit of her soul mate Sean guides her back to the world of the living.
Sagemiller (Get Over It) may be a fine actress but this film--her second full-length feature--isn't the one to prove it. Not that Sagemiller does a poor job but like most dull and stale horror movies the female lead isn't asked to do much other than look frightened and scream--a lot. Affleck (Good Will Hunting) Bentley (American Beauty) and Dushku (Jay and Silent Bob Strike Back) are among the more talented actors of their generation but are completely wasted especially Affleck in his one-dimensional role. Wilson as Father Jude is the only character with an interesting part but unfortunately the good Father's development is stunted and incomplete leaving Wilson little to work with.
Steve Carpenter's first turn as a director leaves much to be desired. Of course Carpenter wrote the formulaic script so why shouldn't he be the one to helm it? One major flaw (and there are plenty to choose from) is that nearly half the movie is shot tight on the characters giving the audience a very myopic view. Even if that was intentional it certainly did nothing to heighten the tension (what little of it there was) in the movie. The flick's tagline "The World of the Dead and the World of the Living... are About to Collide" conveys the message of an epic struggle between the forces of evil and the forces of good--a struggle that never materializes. And the film's final message that love conquers all is the boring hackneyed truism that breaks the cliché camel's back.