In the final days of the Iraq War members of an elite commando unit were sent to prison by a military court for a crime they didn’t commit. These men promptly escaped from four maximum security prisons to take revenge on the man who framed them. If you are having a boring summer at the movies if Sex and the City 2 left a bad taste in your mouth and if you can find a theater playing it you need to see The A-Team.
It’s no overstatement to declare that The A-Team is the first great action film of the summer. Say what you will about Iron Man 2 but the degree and multitude of insane sequences in The A-Team trump the more narcissistic Marvel sequel -- at least in that particular category. It is no innovation that a summer blockbuster would employ action as its primary tool for separating you from your cash but The A-Team does so with an entirely different mindset than most brain-dead popcorn fare.
Instead of assaulting us with nonstop action and then having the audacity to mask itself as being high art The A-Team embraces just how ludicrous the action sequences are and makes absolutely no apologies for it. That’s not to say though the movie has nothing to offer beyond the explosions and midair collisions. In fact what makes The A-Team such a damn good film is the clever underscore that complements every moment of mesmerizing destruction. Joe Carnahan along with the other writers gives us moments that subtly poke fun at the outlandishness of what we’re seeing that not only makes the absurd action forgivable but immediately elevates the material above the typical summer fodder.
Carnahan recognized that given the tone of both the series and his last film (Smokin' Aces) the action scenes needed to flow uninterrupted and here it's very streamlined only pausing briefly to give us hilarious interactions between the larger-than-life characters before diving head-first back into the explosive fray. Until the very end of the film each plan is carried out before our eyes as it is being hashed out to neutralize any lacking in the pace. It would be easy to then accuse The A-Team of being front-loaded given the slow build to the final sequence but I would argue that is merely a nod to the evolution of Face’s character as a leader and that it never really loses steam.
What really sells this film however is its cast. Like the original quartet of chaos each actor brings something fantastic to the table. Bradley Cooper as Face has that inescapably charming swagger and confidence we’ve come to expect from him; Liam Neeson unsurprisingly is the perfect blend of in-the-trenches badass and cool-as-ice leader. Even Rampage Jackson in the role made famous by a guy donning the entire payload of Ft. Knox around his neck (that'd be Mr. T) turns in a respectably tough performance with a few moments of decent hubris. But it’s Sharlto Copley who really steals the show as Howlin’ Mad Murdock. True to his character's moniker Copley cranks up the lunacy and plays Murdock with a hilariously reckless abandon that mirrors the tone of the entire film.
Though not without fault (the less-than-thrilling CG near the end of the film is amateurish at best and many will find the over-the-top action too silly to appreciate) all in all this movie rocks hard. The interplay between our heroes is at the heart of the film's entertainment value and is what you will probably like the most about it. Personally I can’t remember the last time I had this much fun at the movies. The A-Team is far better than it has any right to be mainly because it is as much a four-sided character piece as it is a balls-out actioner.
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.