Columbia Pictures via Everett Collection
Treading water at the very surface of RoboCop, there is an idea. A dense concept, ready and willing to provide no dearth of dissection for any eager student of philosophy, psychology, political science, physics — hell, any of the Ps. To simplify the idea on hand: What separates man from machine? It's a question that is not just teased by the basic premise of José Padilha's remake of the 1987 sci-fi staple, but asked outright by many of its main characters. And then never really worried about again.
We have principal parties on both sides of the ethical quandary that would place the security of our crime-ridden cities in the hands of automatons. Samuel L. Jackson plays a spitfire Bill O'Reilly who wonders why America hasn't lined its streets with high-efficiency officer droids. Zach Grenier, as a moralistic senator, gobbles his way through an opposition to the Pro-boCop movement. We hear lecture after lecture from pundits, politicians, business moguls (a money-hungry Michael Keaton heads the nefarious OmniCorp...) and scientists (...while his top doc Gary Oldman questions the nature of his assignments while poking at patients' brains and spouting diatribes about "free will"), all working their hardest to lay thematic groundwork. Each character insists that we're watching a movie about the distinction between human and artificial intelligence. That even with an active brain, no robot can understand what it means to have a heart. But when Prof. Oldman tempers his hysterical squawking and Samuel L. Hannity rolls his closing credits, we don't see these ideas taking life.
In earnest, the struggle of rehabilitated police officer Alex Murphy (Joel Kinnaman) — nearly killed in the line of duty and turned thereafter into OmniCorp's prototype RoboCop — doesn't seem to enlist any of the questions that his aggravated peers have been asking. Murphy is transformed not just physically, but mentally — robbed of his decision-making ability and depleted of emotional brain chemicals — effectively losing himself in the process. But the journey we see take hold of Murphy is not one to reclaim his soul, although the movie touts it as such. It's really just one to become a better robot.
Columbia Pictures via Everett Collection
Meanwhile, RoboCop lays down its motives, and hard: Murphy's wife and son (Abbie Cornish and a puckish young John Paul Ruttan) lament the loss of Alex, condemning his dehumanization at the hands of Raymond Sellars' (Keaton) capitalistic experiments, and sobbing out some torrential pathos so you know just how deep this company is digging. Weaselly stooges (Jay Baruchel, Jennifer Ehle, and Jackie Earl Haley) line the OmniCorp roster with comical wickedness. Overseas, killer combat bots take down peaceful villages, unable to work empathetic judgment into their decision to destroy all deemed as "threats." And at the top, figures of power and money like Sellars and Pat Novak (Jackson) speak the loudest and harshest, literally justifying their agenda with a call for all naysayers to "stop whining." Clearly, RoboCop has something to say.
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And when it's devoted to its outrage, RoboCop is terrifically charming. The buzzing political world is just a tiny step closer to ridiculous than our own; the pitch meetings at OmniCorp are fun enough to provoke a ditching of all the material outside of the company walls. And one particular reference to The Wizard of Oz shows that the movie isn't above having fun with its admittedly silly premise. But it loses its magic when it steps away from goofy gimmicks and satirical monologues and heads back into the story. We don't see enough of Murphy grappling with the complicated balance between his conflicting organic and synthetic selves. In fact, we don't see enough "story" in Murphy at all. First, he's a dad and a cop. Then, he's a RoboCop. But can he also be a RoboDad? With all of its ranting and raving about the question, the film doesn't seem to concerned with actually figuring out the answer.
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On the outside Charlie Bartlett (Anton Yelchin) couldn’t be further from the mold of a “normal teenager.” He wears a suit everywhere he is precocious and he has a spring in his step that suggests oblivion to his high school surroundings. Of course Charlie isn’t really at all oblivious and at his core is very much that “normal teenager”: He wants only to be popular. After starting anew at a public school--because he got kicked out of yet another private school for distributing fake IDs--Charlie is promptly pummeled for the way he dresses by the school’s bully (Tyler Hilton). He complains to his psychiatrist whom his mother (Hope Davis) keeps on retainer. The shrink decides to put Charlie on Ritalin. Ever the entrepreneur Charlie tries to parlay his easy access to drugs into popularity and it works like gangbusters. Before long “Dr. Charlie” is listening diagnosing and prescribing drugs to the entire student faculty. He’s got the popularity the trust and the girl (Kat Dennings) the latter of which just happens to be the principal’s (Robert Downey Jr.) daughter. And that relationship--not to mention the slight legality issue of prescribing controlled substances to minors--threatens to ruin his whole operation. Yelchin (Alpha Dog) is a Hollywood rarity: He’s an ‘it’ boy because of his acting not his looks (sorry Anton). Rarer still is the fact that Yelchin’s actual age is near that of Charlie Bartlett and not since the days of Freaks and Geeks has that industry taboo been broken so successfully. It’s all a credit to the young actor who in the span of Bartlett oozes everything from vulnerability and precociousness to Ritalin-induced mania and the theatricality of a much older actor. There’s nothing he can’t do in this movie; the same goes for his acting future. And the same goes for his adversary in Bartlett Downey Jr. although that’s been abundantly clear for decades now. Downey Jr. is famous for making seemingly effortless work of a complex character which is precisely what he does with Principal Gardner--a concerned parent recovering alcoholic and dutiful high school enforcer/villain. He’s a force to be reckoned with on screen and when Yelchin’s Charlie finally squares off with him the scene is a thing of beauty. As an essential link between those two characters Dennings (40-Year-Old Virgin) is a credible charmer and refreshingly the rare non-ditzy non-clichéd high school-portrayed girl we’re used to seeing. Rounding out the cast is Davis (American Splendor) aka Laura Linney-in-waiting. Her clueless alcoholic mom is a source of laughs and ultimately sobriety--for the character and us. For the first time in his decades-long career Jon Poll trades the editing room for the director’s chair. And after seeing Bartlett it makes sense that Poll who has edited movies like Austin Powers in Goldmember and Meet the Parents/Fockers is a behind-the-scenes veteran but a rookie helmer. His debut is fresh and loose but also very sure-handed. The movie is constantly a pleasant unclassifiable surprise spurning both the raunchiness of teen comedies and the pretention of psychology dramedies. The result is something far less precious and opaque than Wes Anderson’s Rushmore--to which Bartlett bears a broad thematic resemblance--yet a sharp commentary nonetheless. To that end Gustin Nash’s debut screenplay is just as impressive as his director’s rookie effort. His writing is clearly steeped in satire namely how loose today’s doctors are with the prescription pads--especially when it comes to our children--but it’s also able to be sweet and real when necessary. It’s the most impressive screenplay debut we’ve seen in a while--gold standard Juno notwithstanding--and the directorial one isn’t too shabby itself.
Rexxx is a superstar dog in Hollywood with movies such as Jurassic Bark and The Fast and the Furrious on his plate. On the set of his latest movie he is being a diva refusing to come to the set because one of the spotted coats in his trailer reminds him of a snooty Dalmation who broke his heart. Eventually Rexxx’s people convince him he can outlive the Taco Bell Chihuahua dog's legacy if he performs this one great stunt. But while diving out of an airplane Rexxx forgets his parachute and lands in a truck full of tomatoes. He ends up running into a boy Shane (Josh Hutcherson) who’s really not into dogs. Shane’s dad is a fire captain (Bruce Greenwood) and the boy’s extended family is a group of well-meaning misfit firefighters at the Dogpatch Station. They're in constant competition with their rival fire station and the city manager (Steven Culp) is warning the Dogpatch Station that they will soon be closing down. On top of it all there are lots of mysterious fires breaking out around Dogpatch. Can Rexxx help save the day? Hutcherson is an amiable child star. After his recent dramatic role in Bridge to Terabithia and as the older brother in Zathura it's clear he's got a long career ahead of him. He comes across as clever and sensible while the world around him is often going haywire. And the young actor has a superb connection with Greenwood as his distant father. Also doing a fine job is Culp as the city manager and Greenwood’s best friend. The last time these two veteran character actors starred together was in Thirteen Days. Teddy Sears (TV’s Ugly Betty) is particularly funny and charming as the fireman who keeps sliding on top of his fellow firefighters when going down the pole. But of course this is a dog's movie and the four Irish setters used to play the lead pup do some pretty cool stunts and reaction shots. Rexxx comes across as delightfully personable even though he smells bad. Director Todd Holland certainly knows how to direct family stories after winning three Emmys for Malcolm in the Middle. This father-son story centers on a recent tragedy and neither of them deal well with it instead becoming more and more distant from each other. Of course the dog’s intrusion brings them together but the storyline cleverly dances a fine line between the stereotypical genres. Firehouse Dog has both laugh-out-loud moments as well as warm fuzzy teary-eyed moments that feel very real. Of course some of the absurd facial expressions and Matrix-like moves by the dog are computer generated but it's not distracting--and not too obvious. The movie is fun for kids and parents to see together especially if they have a dog at home.
Elderly Ptolemy (Anthony Hopkins) who once served under the great Alexander (Colin Farrell) narrates the life story of the man the myth the legend--the son of the ambitious King Philip (Val Kilmer) who surpassed his father at every level and charged into the farthest reaches of the world. From early childhood in Macedonia we see where Alexander gets his drive--mostly from his vengeful snake-lovin' mother Olympias (Angelina Jolie) who urges her son to take charge as well from his tutor Aristotle (Christopher Plummer). Even in the taming of his unbreakable horse Bucephalas at 10 years old Alexander's destiny is evident. The heart of the film lies in Persia which Alexander conquers in one of the most studied military battles of all time. Alexander spends a great deal of time there--taking in the culture claiming its riches and marrying a Bactrian princess Roxane (Rosario Dawson)--much to the chagrin of his Macedonian generals who are stuck in this foreign land with their king. Despite this success Alexander grows restless and turns his attention to the rest of the world including the unexplored regions of India. With his army stretched thin and his Macedonian troops longing for home Alexander presses them one campaign too far. Succumbing to a mysterious illness at age 33 Alexander dies never quite finding what he so desperately searched for.
Although some may scoff at casting the Irish actor in the lead Farrell does an admirable job playing the tortured hero blond wig and all. He exudes plenty of wide-eyed fury and intensity as Alexander the warrior balanced by the controlled calculation of a hyper-effective military commander although he isn't nearly as effective as the idealistic pre-world-conqueror Alexander as he is spiraling down into the haunted angst-ridden Alexander at the end of his obsessive crusade. Casting Jolie as Olympias is a stroke of genius. Sure Jolie can play a smart and beautiful woman in her sleep but her beauty is surpassed only by the power she imbues as Alexander's bitter yet loving mother; she's as hypnotic as the snakes she carries around. Kilmer relishes his role as Alexander's father Philip in all of his grotesque wine-soaked glory. Powerful driven and battle-scarred Kilmer's Philip knows precisely what he wants and matches Jolie's quiet intensity with the raw aggressive masculinity of a warrior king who is far more comfortable in his armor than a toga. In the supporting roles Hopkins is great as always this time in the thankless role of the narrator while Dawson plays Roxane with a ferocity that is as mesmerizing as it is terrifying. Standout Jared Leto also turns in a concentrated performance as Hephaestion Alexander's long-time companion boyhood friend and the person who loves Alexander the best. (And we do mean love.)
Alexander is Oliver Stone at his best. An Alexander nut for most of his life the director gives us a film that--even in its loooong three-hour form--continuously holds your attention especially its intense and bloody battle scenes. I mean honestly once you've fought against an elephant in armor the plain old sword-and-shield skirmishes pale in comparison. Alexander also possesses a great breadth of visuals: Alexandria's peace Pella's tension Babylon's opulence and India's richness. Yet as wonderful as the landscapes are it's personal interactions and internal politics that drive the story--and of course Stone's penchant for conspiracy theories as he more than insinuates Alexander was poisoned by his enemies rather than dying of an "unknown" illness. But a problem still remains: Alexander's life was so huge and he did so much that it's almost impossible to encapsulate it effectively into one film. Stone instead has to focus on what he thinks is the most important namely Alexander's renowned conquests while allowing the pressure cooker in which the young conqueror grew up--the triangle of mother father and son--come through in the decisions he makes later in life. For those few of us who have studied Alexander Stone has made this film especially for us. If you haven't spent any time reading Arrian and the other histories this excellent film might just inspire you to do so.