Jason Statham headlining a gritty action thriller is as routine as the sun coming up. But the man has the role down to a science — whether he's a down-on-his-luck cop former CIA agent ruthless assassin or any of the other stock characters that open up the Pandora's Box of butt-kicking Statham can deliver. Safe embraces these expectations throwing together an amalgamated central character (Luke Wright a currently homeless former NYPD cop who was secretly black ops maybe assassin hired by the blah blah blah) who goes to battle with every bad guy New York City can offer. Russian mafia Chinese mafia corrupt cops — name the group Statham breaks their tracheae. If that sounds delightful and fresh Safe is a must-see.
Wright's metropolitan misadventure begins after he crosses path with a young Chinese girl Mei (newcomer Catherine Chan) whose endless memory holds the combination to a locked up unknown prize. Every immoral guy in town wants the information — Han Jiao (James Hong) and his gang who kidnapped the girl from her home country want their lost property back; Vassily Docheski (Joseph Sikora) wants to make his mob operation richer; Mayor Tremello (Chris Sarandon) and Captain Wolf (Robert John Burke) want to keep the whole thing under wraps so they continue extorting the crime families. Then there's Wright just a nice guy looking to do a nice thing for a girl in trouble. Commence gun fire and painful deaths.
Writer/Director Boaz Yakin does his best to innovate within the Statham formula utilizing some tricky camera work and snappy comedy dialogue. Simple things keep us on our toes; when Wright first rescues Mei from the clutches of pursuing goons the two jump into a car. We're in the back seat witnessing Statham slamming people back and forth the rear view mirror catching all of the action behind us. In a movie where violence is prioritized over plot the little things really count. Yakin knows it.
Tonally Safe never clicks and it's a major barrier for enjoyment. On one hand it's all about realism — the emotional trauma undergone by a child the real world implications of criminal activity and the bigger picture issues at hand (Sarandon's mayor character just had to go and make it a 9/11 thing didn't he). On the other countless people are gunned down in array of cartoonish violence. Safe isn't Crank; this fact makes rooting for Statham as he punches and shoots his way through crowds of mafiosos a little uncomfortable. The movie's too heavy for its own good even for a strongman like Statham.
Disney's new movie Mars Needs Moms suffers from a classic mistake: focusing too much on one aspect of a production -- and in this case it's the visuals. The result is an unbalanced mess that looks terrific but doesn't have enough substance to leave the audience with anything more to "ooh" and "ah" at other than all the pretty colors. As we all know from that one really really hot girl/guy in high school who's now overweight and working a dead-end job looks can only go so far.
Adapted from the children's novel by Berkeley Breathed and directed by Simon Wells Mars Needs Moms follows Milo (acted by Seth Green voiced by Seth Robert Dusky) as he chases after his mother who's been stolen by Martians just a few hours after he told her he'd be better off without her. Once he arrives on Mars (by sneaking on the ship) he meets Gribble (Dan Fogler) who informs him of his problem: the Martians are ruled by a ruthless queen-like Supervisor (Mindy Sterling) who's decided that the hatchlings (babies who sprout from the ground like vegetables) must be divided: all males are thrown away into the dump and the females are raised by "nanny-bots" -- robots programmed by the "discipline" energy of good moms like Milo's from Earth. Milo and Gribble buddy-up and with the help of a rebel Martian named Ki (Elisabeth Harnois) the three of them venture to save Milo's mom before it's too late.
And venture on they do. Coming from producer Robert Zemeckis and utilizing the same motion-capture technology as The Polar Express A Christmas Carol and Beowulf Mars Needs Moms rushes forward embracing its visually stunning universe without taking a moment to stop and breathe. The characters never have a chance to do anything significant that would make the audience think they're substantial or important -- especially Gribble whom the filmmakers really really want us to care for. On top of that it relies on a plot line that we've all seen before and instead of diving into the parts that made it interesting (like the question of why men were thrown in the garbage and not women) it skims safely along the surface doing its best to avoid anything deeper than basic themes.
But that may be a little too picky. After all the movie is just supposed to be a fun little child's tale right? In that vein it succeeds. We feel like we're on an amusement park ride thanks to Ki's vibrant '60s flower-power paintings and the adventures on the Red Planet's surface. Even the moments that aren't super fast-paced present environments that are beautiful. Plus Fogler's performance as Gribble (as Jack Black-esque as it was) gives us some fun enjoyable moments and one-liners that kids will no doubt love.
Yet at the same time Mars Needs Moms' visuals aren't all glorious. In fact some hurt the plot because frankly the humans aren't animated very well. There's no life in their eyes. Simple movements like walking look awkward and too often characters facial expressions don't match the urgency found in their voices. Instead the animation just turns all the characters into weird cartoony versions of themselves that look so "almost human" they appear fake. And as always it's difficult to care for fake people.
Children will definitely enjoy Mars Needs Moms but from a filmmaking standpoint Wells really missed an opportunity to deliver something other than neat visuals and one-liners.
Every few years Hugh Grant comes out of hiding to wince and stammer his way to a paycheck occasionally serving up a pleasant surprise like About a Boy but more often churning out forgettable rom-coms like Music and Lyrics and Two Weeks Notice. His latest film Did You Hear About the Morgans? a fish-out-of-water rom-com co-starring Preakness runner-up Sarah Jessica Parker belongs steadfastly in the latter category -- and it might just be the worst of the lot.
Bearing a perpetually pained expression Grant literally suffers through the film as Paul Morgan a Londoner-turned-Manhattanite whose marriage to Meryl (Parker) a posh high-achieving real-estate agent is set adrift after his recent infidelity. He’s keen on reconciliation; she’s firmly against it. So are we for that matter after witnessing a few minutes of their strained and utterly futile attempts at creating chemistry. But I digress...
Prospects for the Morgans’ marriage appear grim but their destinies abruptly align again when they unwittingly witness a murder of a high-level FBI informant. Fearing for the unhappy couples’ safety the government whisks Paul and Meryl away to a tiny rural town in Wyoming where they’re forced to live under the same roof deprived of the modern conveniences of their upscale New York lifestyle.
The Morgans eventually reunite of course but not before subjecting us to a truly torturous gauntlet of bland bits each involving a predictably disastrous experiment with horseback riding wood chopping cow milking or other stereotypically rural activity. Our suffering is occasionally mitigated by the periodic witty comment from Grant whose ability to deliver wry one-liners with expert precision is still very much intact. After Did You Hear About the Morgans? however his career may not be.