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.
Alternately funny and poignant The Weather Man is the story of callow Chicago TV weather forecaster Dave Spritz (Cage) who--despite his seeming success--sees himself paling in comparison to his acclaimed author father (Michael Caine). He is also alienated from his soon-to-be-ex-wife (Hope Davis) and unable to bond with his disconnected kids. He even lacks a bond with his loyal viewers who sometimes randomly fling fast food at him on the street. There are laughs in Spritz’s anxious bids to connect with his kin to be sure but the film goes deeper and heavier than expected--and that’s a good thing. Spritz’s initially amusing attempt to bond with his daughter via her fleeting interest in archery turns symbolic after he becomes skilled at the sport. He embraces his bow and quiver as if they were much-needed proof that he’s capable of change. You’ve gotta hand it to Cage. Even after he’s walked through such by-the-numbers action fare as National Treasure his off-kilter but always razor-sharp acting instincts are never dulled when he tackles more substantial projects like Adaptation. The Weather Man is one of the latter and while Spritz seems poised to be crushed by the weight of his emotional baggage Cage effortlessly carries the movie on his shoulders. He is matched move-for-move by the wily veteran Michael Caine who raises his always impressive game to pitch-perfection for this one. That buzzing sound you hear is the Oscar talk that’s sure to swirl around both actors. Director Gore Verbinski is best known for high-production scare-fests like The Ring and Pirates of the Caribbean and while The Weather Man may seem a radical departure from blockbuster-style filmmaking it’s assembled with just as much care and precision. This time Verbinski’s storytelling skills are bolstered more by strong performances rather than f/x. The end result has the dark character-driven humor and emotional resonance of a Hal Ashby film like Being There set against an artfully rendered Chicago cityscape. Indeed Verbinski is so adept he makes not only the Windy City a genuine character in the film he does so for the flung Frostys and French fries marking him as a director whose eye is as on-target as one of Dave Spritz’s arrows.
Based on H.G. "Buzz" Bissinger's bestselling book of the same name Friday Night Lights tells the true story of the dusty West Texas town of Odessa where nothing much happens until September rolls around. That's when the town's 20 000 or so denizens pour into Ratliff Stadium the country's biggest high school football field every Friday night to watch the Permian Panthers Odessa's "boys in black " take to the field. All the town's hope and dreams are pinned on the padded shoulders of these young gridiron heroes--including insecure quarterback Mike Winchell (Lucas Black); cocky self-assured running back Boobie Miles (Derek Luke); headstrong self-destructive tailback Don Billingsley (Garrett Hedlund) who must contend with an overbearing abusive dad (Tim McGraw--yes that Tim McGraw the country singer); and the team's spiritual leader middle linebacker Ivory Christian (newcomer Lee Jackson). The Panthers begin their season with one thing on their minds--winning their fifth straight championship for the first time in the team's 30-year history--but for their coach Gary Gaines (Billy Bob Thornton) it also means instilling a love and joy of the game in the boys' hearts amidst tremendous pressures and expectations. Easier said than done.
There isn't a false note in any of the performances and no one falls back on clichéd versions of their characters as is so easy to do in rah-rah sports movies. Thornton does a particularly good job as Gaines keeping you guessing whether he's going to be a hardass insensitive to his players' emotional needs (like so many movie football coaches before him) or if he truly means to coach his boys in a fair and decent way. Gaines too has to deal with his own pressures especially from the townsfolk who are likely to string him up if the team loses the championship. As for Gaines' players Black (the oh-so-serious kid from Thornton's Sling Blade) is all grown up and buffed out and still very serious. It works for the young actor though as the beleaguered Winchell struggles with the love-hate relationship he has with his chosen sport. Other standouts include Luke (Antwone Fisher) as the star player Boobie whose cocksureness leads him to an injury; Hedlund as the volatile Billingsley trying desperately to please his father; and McGraw making his film debut as the father a former Permian Panther champion who sure hasn't given up his competitive spirit basically beating it into his son. First Faith Hill (McGraw's real-life wife) in The Stepford Wives and now McGraw--who knew country singers could act?
From All the Right Moves to Varsity Blues to Remember the Titans Friday Night Lights unfortunately doesn't completely distinguish itself from the pack of football movies before it--like those this is all about how the young players--be they underdogs second-string nobodies or stars--rising above the mounting pressure and playing the best they can bless their hearts. Still there's no question the sports genre--particularly football--always gets the juices pumping with FNL being no exception. It might have something to do with our sick fascination with watching bone-crunching hits and body-punishing tackles. It's dangerous out there for these guys; no other sport (besides maybe hockey) can elicit such wince-inducing emotion and actor/director Peter Berg (The Rundown) exploits that. Obviously influenced by Oliver Stone's Any Given Sunday Berg effectively paints his own gritty documentary-style picture of the competitive sport without relying on too many trite gushy over-the-top moments. And to give it credit the film does not necessarily have a feel-good "let's win one for the Gipper" ending; it is based on a true story after all and as we know real life isn't all sunshine and roses especially in the bloodthirsty world of Texas high school football.
When retired U.S. Special Forces Soldier Chris Vaughn (Johnson) returns to Kipsat County Wash. it's only to find his hometown overrun with crime drugs and violence. The old mill where Chris's father (John Beasley) worked for most of his life is closed and the town's only thriving industry is the Wild Cherry casino. Even Chris' high school sweetie Deni (Ashley Scott) couldn't resist the Wild Cherry's lure; she's become a peepshow dancer to "pay the bills." But Chris really loses it when he discovers the casino's dealers are using loaded dice--and he starts a brawl that ends with the security team carving up his chest and abdomen with a rusty Exacto knife. Chris also learns that that his old high school rival the casino's owner Jay Hamilton (Neal McDonough) has transformed the mill into a crystal meth lab and is using the casino's menacing security staff to sell the drugs to innocent kids. Chris strikes back by running for sheriff firing the entire police department on his first day and with the help of a cedar two-by-four and his deputy and buddy Ray Templeton (Johnny Knoxville) restores peace to the Pacific Northwest.
Johnson looking buffer than ever is well cast in the role of Chris: He's a fearless and determined soldier with beyond-human fighting skills. But while the film takes advantage of Johnson's brawn it fails to take advantage of his brain. In last year's comedy The Rundown Johnson proved he was more than a muscle-bound action star; he oozed charm and was surprisingly witty. With Walking Tall he never gets a chance to flex his acting muscles; if anything they atrophy. The only skills Johnson gets to show off are his ability to swing a plank at someone's shins and his unique way of bashing skulls against slot machines. Johnson's sidekick Ray played by Knoxville of MTV's Jackass fame is an ex-junkie who after spending a couple of years in the slammer is content with living in a camper and doing odd jobs around town. With his scraggly appearance and klutzy demeanor Knoxville supplies the film with brief interludes of humor amid the slam fest including a scene in which he stabs a bad guy with a potato peeler. Johnson and Knoxville would have made a first-rate action team had they had more screen time together.
A WWE production with Vince McMahon serving as executive producer Walking Tall has none of the subtlety of director Kevin Bray's last film All About the Benjamins and all the elements of a wrestling match. As with wrestling the film begins by melodramatically establishing the story (Chris and his family's lives are devastated by the mill's closure) and just like rival pugilists who publicly taunt the favored wrestler Chris challenges Jay--not for the world title but at least for control of Kipsat County--in a never-ending battle between good and evil that mimics wrestling to a T. But what's entertaining in the ring doesn't translate to film especially when the good guy running the town is a maniacal meathead. Chris is supposed to be the protagonist who single-handedly saves the town but who's responding to the citizens' domestic violence calls for example when the sheriff fires the entire precinct and spends 24 hours a day casing the casino? Never mind the fact that he has sex with his girlfriend in his office while he's on the clock.