Merging Serpico with an almost Shakespearean sense of tragedy Pride and Glory details an extremely complicated investigation into the gunning down of four New York City cops after an attempted drug bust goes terribly wrong. With increasingly bad PR and an apparent cop killer still at large the Chief of Manhattan Detectives Francis Tierney Sr. (Jon Voight) assigns his son Detective Ray Tierney (Edward Norton) to lead the probe. The younger Tierney is reluctant since he knows all four cops served under his brother Francis Jr. (Noah Emmerich) and brother-in-law Jimmy Egan (Colin Farrell). Ray’s instincts may be right because as he digs deeper he discovers an awkward and uncomfortable connection between Francis Jimmy and the case. Could his own family have been involved in an inside job and tipped off the drug dealers? Soon Ray finds himself having to choose between the greatest moral dilemma of all: loyalty to the job or loyalty to his family. Although Pride and Glory doesn’t break any new ground and is composed of elements we’ve seen in many previous films dealing with police corruption this film is distinguished by some of the finest work in the storied careers of many of its cast. Norton follows up his summer comic-book movie The Incredible Hulk with a far smaller and more focused character in P&G playing a man caught in a moral bind facing the unthinkable prospect of going after his own family members. Norton wears his ticklish predicament on his face and is enormously effective conveying pure angst. Emmerich (Little Children) delivers a rich portrayal of a tortured soul not only caught up in an intense investigation but dealing with a wife (Jennifer Ehle) dying of cancer. Farrell is better than he has been in some time playing a shady officer who seemingly will stop at nothing to get what he needs. Voight as the proud family patriarch and veteran of the NYPD clearly understands the dilemma of this man who is watching his family torn apart. Co-writer/director Gavin O'Connor has spent a frustrating couple of years trying to bring this story to the screen but his perseverance pays off. Pride and Glory is a well-written cop tale that co-exists as an interesting character study about the power of family ties vs. personal pride. O’Connor manages to put us right in the center of the moral conflict at the heart of his story and with several first-rate actors (even in the lesser roles) crafts a film that seems authentic to its core. Incorporating Declan Quinn’s in-your-face realistic cinematography O’Connor resists going for a more obvious audience-pleasing flashier style achieving a look and feel that seems more grounded in the milieu he’s trying to capture. His script co-written with Joe Carnahan (who wrote and directed the equally gritty Narc) is tight and unsympathetic slowly letting layers of a very intricate and complex story peel away to reveal a core that packs a punch right to the gut.
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.
In the late 19th century Dr. Gabriel Van Helsing (Hugh Jackman) a misunderstood monster hunter is summoned to Transylvania to ferret out Count Dracula (Richard Roxburgh) and kill him once and for all. When Van Helsing gets to the small village where the vampire was last spotted he discovers he also must contend with Dracula's three seriously twisted vampire brides Dracula's angry henchman/werewolf--and a lovely gypsy princess named Anna Valerious (Kate Beckinsale) who is hell-bent on eradicating Dracula and his bloodsucking kind for slaughtering her entire family. Oh and let's not forget Frankenstein's Monster (Shuler Hensley) who holds the key to Dracula's evil master plan--something about releasing his minions of unborn bat-like children from their goo-filled cocoons so they can wreck havoc on the world. Yuck. Sounds like our resident monster stomper and his sword-swinging gal pal have their work cut out for them. If Van Helsing does manage to kill all his monster foes does that mean he's out of a job?
Jackman has the whole antihero thing down pat. He adequately embodies the younger more virile Van Helsing dishing out as much pain and torture as he can on the undead--but the Aussie actor isn't given nearly as much meat to chew on as he did say delving into the complicated Wolverine in X-Men. Instead the monster hunter is relegated to carrying big weapons wearing a big hat and muttering something about having bad dreams to a past he can't remember. Same goes for Beckinsale. The British actress was oh-so-cool on the other side of the fence playing the chic vampire Selene in Underworld cutting her way through a myriad of werewolves. As Van Helsing's heavily accented female counterpart Anna however she just runs around with her sword blurting out such pathetic dialogue such as "Dracula took everything away from me and now I'm alone in the world" while Roxburgh's Dracula--who can't hold a candle to other far more charismatic Draculas before him--wails about being so very alone as his luscious brides hang upside down in front of him. Give me a break. At least Australian actor David Wenham (The Lord of the Rings) provides much-needed comic relief as Van Helsing's sidekick Carl a Catholic friar who doesn't much like playing hero.
With the requisite dark mood and tone action sequences and snazzy CGI-creations including the winged vampire brides and formidable werewolves you can see exactly where writer/director Stephen Sommers (The Mummy) spent Van Helsing's nearly $150 million budget. But even all the bells and whistles can't tie together the film's vacuous nonsensical mumbo jumbo as Sommers attempts to bring classic movie monsters together in the same movie. Maybe in a tongue-in-cheek Abbott and Costello movie it could work but as a serious action-packed thriller clearly Dracula Frankenstein and the Wolf Man do not need to meet. On top of that Sommers steals from other movies as well such as recent films Underworld (the whole vampire vs. werewolf conflict) and The League of Extraordinary Gentleman (Van Helsing defeats a rather familiar-looking Mr. Hyde at one point). Whatever originality there is in the film leaves you either scratching your head--Dracula has kids?--or rolling your eyes--Anna needs to kill Dracula so her nine-generations of family can reunite in Heaven? Please.