In the political thriller The Ides of March – George Clooney’s adaptation of the stage drama Farragut North – Ryan Gosling stars as Stephen Meyers campaign press secretary to Mike Morris (Clooney) a leading candidate for the Democratic presidential nomination. Savvy self-assured and blessed with a preternatural ability to spin a story in his candidate’s favor Stephen is a fast-rising figure with a dazzlingly bright future. Unlike his more seasoned – and cynical – campaign-manager boss Paul Zara (Philip Seymour Hoffman) Stephen all of 30 years old still boasts something of an idealistic streak. He believes in Morris not just as a meal ticket but as someone who just might make the world a better place.
Stephen’s idealism and ambition come into conflict when in the feverish days leading up to the pivotal Ohio primary he suffers a series of judgment lapses that threaten to derail his promising career. Teased with the prospect of a job offer he’s lured into a meeting with Tom Duffy (Paul Giamatti) the campaign manager of Morris’ main Democratic rival – a major no-no in a business that prizes loyalty above all else. Later he beds a beguiling young intern Molly (Evan Rachel Wood) who unwittingly drops a bombshell that could very well bring down the entire Morris campaign.
There’s nothing particularly revelatory about Ides of March. Our eyes were long ago opened to the amorality and viciousness of electoral politics. And goodness knows we’ve witnessed political scandals far more salacious than anything depicted in the film. Ides of March’s strength lies in the power of its storytelling in the way that Clooney brings together several distinctive headstrong characters and sets them against each other in a riveting game of intrigue. It helps compensate for the been-there done-that familiarity of the topics explored.
Clooney is very much an actor’s director and Ides of March is a testament to how absorbing it can be to witness skilled performers operating at the peak of their powers. Gosling is particularly fascinating to watch as his character awakens to the severity of his predicament. When Stephen is dismissed from the Morris campaign after Zara learns of his meeting with Duffy the firing triggers in him something akin to a fight-or-flight instinct. His livelihood endangered he scrambles to outwit his former colleagues seizing upon tragedy and scandal to worm his way back into the fold. All pretense of idealism vanishes and his expression betrays the slightest hint of derangement. The game has claimed him.
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.
After a brief flashback prologue where we see how the young lion Alex (Ben Stiller) is separated from his father Zuba (Bernie Mac) inadvertently ending up in the Big Apple the story returns to present day as our favorite New York zoo denizens prepare to take off from Madagascar in a crudely constructed airplane piloted by the penguins and propelled by slingshot. Unfortunately for Alex lovelorn giraffe Melman (David Schwimmer) fast talking zebra Marty (Chris Rock) and svelte hippo Gloria (Jada Pinkett-Smith) instead of landing in NYC the aircraft sputters and crash lands right in the middle of Africa where they run into a world of exotic creatures. This also includes Alex’s long lost dad and mom. Happy reunion? Not quite. Zuba’s nemesis Mukunga (Alec Baldwin) insists they follow lion pride lore which means Alex must go through a rite of passage -- one he is sure to fail if Mukunga has his way. Meanwhile Marty tries to integrate into a pack of zebras; Gloria gets hooked up with a soulful hippo (will.i.am); and Melman is up to his neck looking for love. Oh and they also all have to save the Kenya preserve from a life-threatening water shortage. No biggie! Madagascar: Escape 2 Africa’s witty and hip dialogue provides rich voice over opportunities for a talented crew of actors. Stiller continues to be a riot as the showbiz loving Zooperstar Alex especially in his attempts to earn the pride’s respect. Chris Rock earns his stripes as he tries to hang with a large group of look-a-like sound-a-like zebras. Schwimmer is winning and hysterical as Melman now considered a witchdoctor by his fellow giraffe-ians while Pinkett-Smith continues to shine as hippo Gloria looking for a little action. Among the new voices rapper will.i.am as Moto Moto the last of the red-hot hippos will have you wanting More More while Alec Baldwin gets to play the heavy with Lion King style. The late Bernie Mac playing it relatively straight as Alex’s father proves (as he does in his other new release this week Soul Men) shows us just how much his unique brand of humor will be sorely missed. Stealing the show however and getting king-sized laughs in an expanded role is Sacha Baron Cohen back as King Julien the hard-partying head of the lemurs. With a vast improvement in Madagascar’s state-of-the-art computer graphic work directors Eric Darnell and Tom McGrath take this sequel several notches up in terms of technical savvy including the exciting opening sequence as well as the plane crash. But they really score with the script with new co-writer Etan Cohen adding some crisp comedy. What was mostly just a serviceable script the first time around has gotten a lot more sophisticated and clever a development parents being dragged by their kids will be keenly grateful for. This is the rare animated sequel that actually has a reason for existence other than minting money. It has more heart drama and laughs than the original Madagascar which despite its flaws still made half a billion dollars worldwide. Madagascar: Escape 2 Africa should make even more as it proves to be one of the year’s most entertaining comedy delights.
Last we heard in last year’s Diary of a Mad Black Woman Madea (Tyler Perry) was solving social cultural and familial problems. What a busy lady! Well she’s done gone and done it again after a whole new crop of problems pop up that need fixing. This time the conflicts revolve primarily around two sisters Vanessa (Lisa Arrindell Anderson) and Lisa (Rochelle Aytes) both of whom are wary of their financial-minded mother Victoria (Lynn Whitfield). Vanessa is deathly afraid to love again after her husband left her and two kids and fears she might’ve met Mr. Right in the form of a bus driver (Boris Kodjoe). Meanwhile Lisa is in a physically abusive relationship with Carlos (Blair Underwood) “Atlanta’s most eligible bachelor ” but is afraid to leave him. Madea the antithesis of gold-digging Victoria solves these and many more problems as the family reunion nears. After Mad Black Woman’s surprise box office take last year bigger names were less reluctant to sign on. Accordingly the new actors in Reunion are very solid—borderline stellar collectively. The lone exception is Perry as Madea (as well as a few other characters) whose over-the-topness although expected reduces the air of professionalism from the rest. Underwood is so damn good at being so damn bad as the abusive fiancée Carlos while Whitfield matches him chill for chill in a very icy performance. The relative unknowns/newcomers are the most pleasant surprises however. Aytes has breathtaking beauty that would normally overshadow acting but not here. Anderson whose last film was ‘95’s Clockers is equally beautiful and evocative as a single mother torn. And for the female eyes there’s Kodjoe whom girls will likely fall for even more when they learn he can actually act. Perry wears many hats in Family Reunion: writer director producer star--and oh yeah he also wrote the popular stage production from which the film is adapted. Perhaps Perry’s workaholic attitude contributes to the film’s thematic overkill. There are a number of kinks in the film’s completely uneven story and the way it is told but perhaps the biggest problem stems from the fact that it still feels like a stage play. Sometimes that’s a plus for a film but it’s hard to think it was intended. This feeling is elicited by the sum of the story’s parts. Perry will be in one scene telling the tale of a beleaguered battered woman amid a linear and conventional storyline and in the next scene become Madea in her cartoonish and campy getup dishing out her tough love techniques. No doubt Reunion is an enjoyable play--only if you agree with Perry’s comedic remedies for serious issues.
Luke (Steven Strait) and Brier (Pell James) first cross paths on a New York City subway before the doors shut on their instant attraction to one another. Of course it is immediately and abundantly clear that they will naturally meet up again before long but where and how? The answers: L.A. and well it's complicated. Each having forgotten about the other Brier a top model in NYC decides she needs a change of scenery and tells her agent (Carrie Fisher clearly in it for the paycheck) she's heading out to L.A. to pursue acting while Luke and his brother Euan (Kip Pardue) decide to move to the West Coast as well. Once there Brier befriends Clea (Ashlee Simpson) and on her first night in town takes Brier to a local dive bar where Luke works as a struggling "musician." Wow that's some coincidence. There is an instant re-connection between Luke and Brier but she refuses to get involved with musicians since her rock-star ex mistreated her. Instead she shifts her focus on generating buzz for Luke. Eventually Luke gets the big recording contract becomes the rock-star jerk he'd swore he'd never become and loses it all. But all is well when Brier decides she can no longer resist Luke's ballads and Metallica-guitarist-circa-'85 hair.
The theme of Undiscovered could apply to its cast. Each of the four leads are on the cusp of being on the cusp and certainly they hope this movie will take them one step closer. For James that might happen. She is a natural on screen and gives a breakthrough performance as the comely Brier. Strait is also a relative newcomer. After turning his debut performance in this summer's Sky High he holds his own in Undiscovered but seems to be relegated to taking his shirt off to make the teenyboppers swoon. Finally there's Simpson who is also making her major-role debut. It's awkward to see her on-screen and yes subconsciously you wait for her to make a noticeable mistake (or butcher a voice-over due to acid reflux). Of course it doesn't happen; she moves along pretty smoothly but is at times subjected to dialogue that seems beyond her especially when she has to words big words such as "banter." And certainly it's not her fault when she describes Luke--a musician best left struggling--as "a cross between Jeff Buckley and Elvis Costello." That's just someone else's words she reciting.
Prolific music-video director Meiert Avis is making his feature film directorial debut with Undiscovered--and his obvious greenness shows. At times the film is more like a music video surrounded by a weak storyline than a cohesive film. His expertise in the rather linear realm of music videos doesn't exactly qualify him for the complexities of a 90-minute film contrived and straightforward as his debut may be. Avis tries to employ every possible clichéd obstacle for the characters to overcome--which reeks of inexperience but could also be the screenwriter's fault. No doubt Avis feels at home with newcomers such as Strait and Simpson who--for all intents and purposes--sing and act but the plethora of singing scenes feel forced. That is forced into the script to showcase the soundtrack when the movie goes undiscovered at the box office.
Looney Tunes: Back in Action revisits an age-old Tunes question: Why does the affable Bugs reap all the fame and glory while the egocentric Daffy gets shafted again and again? Our duck friend quite frankly has had it up to his skinny neck playing second fiddle to the carrot muncher. All Daffy wants is a little recognition from the studio but the brothers Warner (actual twin brothers as we come to find out) decide instead to let Daffy out of his contract on the advice of their no-nonsense VP of comedy Kate Houghton (Jenna Elfman). Bugs however knows they're making a mistake. Even though Daff bears the brunt of the abuse Looney Tunes would fail without him and Bugs convinces the powers that be they need the nutty mallard. If the plot had only followed this thread--perhaps showing Daffy on the skids--then maybe the film wouldn't have spiraled into Looneyville. Unfortunately Daffy ends up hooking up with the hunky D.J. Drake (Brendan Fraser) a studio security guard who finds out that his famous movie star father Damian Drake (Timothy Dalton) is really a secret agent hunting for a mysterious diamond known as the Blue Monkey a supernatural gem that can turn the planet's population into monkeys. The evil head of the Acme Corporation Mr. Chairman (Steve Martin) wants the diamond for his own diabolical plans and he's kidnapped D.J.'s dad in an effort to get it. Now the gang has to get the diamond save D.J.'s dad and of course save the world.
It might be a little hard to act subtly around cartoon characters but these aren't your ordinary cutesy Mickey Mouse types. Bugs Daffy Porky Yosemite Sam and Foghorn Leghorn are pros at comic timing able to spar with the best of them throw out zingers without a second thought and slay you with a droll glance at the camera. It isn't really necessary for the human actors to match their madcap-ness; just reacting would have sufficed. Fraser comes off the best of the human bunch; since he's had practice (Monkeybone) he easily interacts with his animated co-stars and deftly handles the doubletakes and jabs at pop culture. Elfman on the other hand sputters and goes bug-eyed every time she encounters silliness. She looks uncomfortable doing the green screen thing especially when she's trying to look natural when peeling a distraught duck from around her waist. Martin's highly anticipated turn as Mr. Chairman turns out to be the biggest disappointment. The over-the-top character is reminiscent of Martin's hysterically funny Rupert the Monkeyboy in 1988's Dirty Rotten Scoundrels but Martin turns Mr. Chairman--an angry schoolboy with knee socks and matted-down hair who never grew up--into a caricature of ridiculous proportions and unlike Rupert who came in small hilarious doses Mr. Chairman gets very tiresome very quickly.
Back in Action's animation is well done more engaging and ambitious than its 1996 predecessor Space Jam in which the action mostly took place in Looney Tunes land; here animated characters go the Who Framed Roger Rabbit? route and Bugs Daffy and the rest coexist harmoniously with humans in the real world. But despite its aspirations Back in Action leaves out vital elements that made Space Jam appealing. While the earlier film stuck to a simple plot Back in Action guided by director Joe Dante (Small Soldiers The 'Burbs) tries too hard to keep things wild and wacky while incorporating elements of '60s heist pics and action-adventure scenes and in the process loses sight of the most important ingredient in any kids movie: the story. Tykes may have limited attention spans but if the story's good they will watch. Granted some individual bits are laugh-out-loud funny particularly the scene in the Warner Bros. commissary where a stuttering Porky Pig complains about being politically incorrect with Speedy Gonzales while an animated Shaggy and Scooby-Doo berate actor Matthew Lillard for playing Shaggy as such a bonehead in the live-action Scooby-Doo. These scenes prove that if any cartoon characters could pass themselves off as real celebrities in the entertainment industry the gang from Looney Tunes could but moments like these simply can't overcome a contrived plot and juvenile antics.