Though ostensibly successful 2009’s The Final Destination represented to many a horror franchise on its last hackneyed legs. Rote uninspired and humorless it scored a (modest) hit only by virtue of the novelty -- and added ticket price -- of its 3D transfer. Two years later Final Destination 5 arrives with a slightly tweaked formula a beefed-up storyline actors you might actually recognize and genuine honest-to-goodness 3D. It’s still schlock mind you -- but artful schlock and a marked improvement over the preceding entry.
The story begins in familiar fashion with a cursory introduction to the characters followed by a grisly premonition that sees them perish wholesale. An assortment of cubicle-dwellers at a paper factory are being bused to a corporate retreat when one of them Sam (Nicholas D’Agosto perpetually bug-eyed) dreams of a massive bridge collapse in which he and his co-workers are impaled beheaded bisected crushed by cars singed by tar -- however many ways a suspension bridge can kill a person the film’s opening set-piece explores it gruesome detail. Sam awakens duly horrified and demands the bus be evacuated. Seconds later the employees watch in horror from the sidelines as Sam’s vision comes to fruition.
You know what happens next. One-by-one death stalks the survivors who meet their fate in a series of elaborately-staged incidents. Some are relatively straightforward; others involve fiendish head-fakes and red herrings. The range of victims is older and more colorful than in previous Final Destination films in which death preyed exclusively on attractive nubile teenagers but the end result is invariably the same. (Not to give anything away but those considering acupuncture or laser eye surgery would be wise to avoid the film entirely.) As death’s scheme becomes achingly evident Sam his lachrymose girlfriend Molly (Emma Bell) and his increasingly unhinged buddy Peter (Miles Fisher) become increasingly desperate. Enter the ever-ominous Tony Todd returning to the franchise after (wisely) taking the previous film off offering a potential way out. But is it genuine or just another of death’s cruel tricks?
Director Steven Quale a James Cameron protege hired principally for his 3D expertise takes full advantage of the added dimension delivering some of the most vivid and immersive 3D sequences in recent memory. Unlike The Final Destination which seemed little more than a amalgam of crude one-liners Final Destination 5 feels like a real movie one with a discernible plot an element of suspense and a handful characters who are more than just punchlines. Most of the actors are surprisingly competent save for Fisher a credible doppelganger for Tom Cruise (he parodied him 2008’s Superhero Movie) who imbues every line with couch-jumping intensity.
Final Destination 5 ends with a twist that while genuinely unexpected feels like a Hail Mary for a franchise that can’t forestall its inexorable descent into stale irrelevance despite the best of efforts from Quale. Its trademark formula has simply lost its potency -- a problem no amount of cosmetic upgrades however welcome can fix. That the film is bracketed by two pointless and time-consuming montages -- the first an animated sequence that hurtles various hazardous objects at the audience the second a greatest hits compilation of memorable kills from previous Final Destination films -- is a telltale sign that the saga’s creativity is on life support. Perhaps it’s time to pull the plug.
At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.
The story of the most dominant racehorse of all time does not easily fit into the standard inspirational sports flick mold. Such films typically require its protagonists to overcome seemingly insurmountable obstacles be they competitive (Hoosiers) personal (The Natural) societal (Ali) or some combination of all three (Remember the Titans). But by all accounts the greatest challenges to Secretariat capturing of the 1973 Triple Crown were not rival horses — indeed Secretariat had no true rival — but a pair of slow starts and an abscess. And abscesses — apologies to dermatologists — simply aren’t all that effective as dramatic devices.
Lacking most of the vital ingredients of the traditional underdog movie formula Disney’s Secretariat is forced to synthesize them. Its screenplay written by Mike Rich and based rather loosely on the book Secretariat: The Making of a Champion by William Nack adopts a conventional save-the-farm framework: When her parents pass away within months of each other Denver housewife Penny Tweedy (Diane Lane) is advised to sell off her family’s Virginia-based Meadow Stables a beautiful but unprofitable horse-breeding enterprise in order to pay the onerous inheritance taxes levied by the state. But Penny her deceased father’s hackneyed horse-inspired counsel fresh in her mind (“You’ve got to run your own race ” etc. etc.) is loath to depart with such a cherished heirloom. So she concocts a scheme just idiotic enough to work betting the farm — literally — that her new horse Big Red in whom she has an almost Messianic faith will win the Kentucky Derby Preakness and Belmont races in succession.
Of course Big Red under the stage name Secretariat goes on to do just that but only after the film subjects us to nearly two hours of manufactured melodrama. Lane grasping all-too conspicuously for awards consideration treats every line as if it were the St. Crispin’s Day speech. Her character Penny exhibits a hair-trigger sensitivity to the sounds of skeptics and naysayers bursting forth with a polite rebuke and a stern sermon for anyone who dares doubt her crusade from the trash-talking owner of a rival horse to her annoyingly pragmatic husband (Dylan Walsh).
Lane isn’t alone in her grandiosity. The entire production reeks of it as director Randall Wallace lines the story with fetid chunks of overwrought Oscar bait like so many droppings in an untended stable even using Old Testament quotations and gospel music to endow Penny’s quest with biblical significance. John Malkovich is kind enough to inject some mirth into the heavy-handed proceedings hamming it up as Secretariat’s trainer Lucien Laurin a French-Canadian curmudgeon with an odd sartorial palette. It’s not enough however to alleviate the discomfort of witnessing the film's quasi-Sambo depiction of Secretariat’s famed groom Eddie Sweat (Nelsan Ellis) which reaches its cringeworthy zenith when Sweat runs out to the track on the eve of the Belmont Stakes and exclaims to no one in particular that “Big Red done eat his breakfast this mornin’!!!” Bagger Vance would be proud. Whether or not Ellis’ portrayal of Sweat’s cadence and mannerisms is accurate (and for all I know it may well be) the character is too thinly drawn to register as anything more than an amiable simple-minded servant.
Animal lovers will be happy to know that the horses in Secretariat come off looking far better than their human counterparts and not just because they’re alloted the best dialogue. In the training and racing sequences Wallace effectively conveys the strength and majesty of the fearsome animals drawing us into the action and creating a strong element of suspense even though the final result is a fait accompli. It's too bad the rest of the film never makes it out of the gate.
WHAT IT’S ABOUT?
Claire is an attractive CIA operative and Ray is an M16 agent who simultaneously leave their Governmental spy activities in the dust to try and profit from a battle between two rival multi-national corporations both trying to launch a new product that will transform the world and make billions. Their goal is to secure the top-secret formula and get a patent before they are outsmarted. While their respective egomaniacal CEOs engage in an unending battle of wills and one-upmanship Claire and Ray start out conning and playing one another in a clever game of industrial espionage that is even more complicated due to their own long-term romantic relationship.
WHO’S IN IT?
Reuniting Closer co-stars Julia Roberts (as Claire) and Clive Owen (as Ray) turns out to be an inspired idea. They turn out to be the perfect pair oozing movie-star charm and electricity in this elaborate con-game that might have been the kind of thing Audrey Hepburn and Cary Grant might have made in the '60s (in fact they did in Charade). Roberts with that infamous hairstyle back the way we like it and Owen looking great in sunglasses prove they have what it takes to navigate us through this ultra-complex plot in which no one is sure who they can trust at any given moment. They play it all in high style and the wit just flows as the story skirts back and forth during the period of five years. The supporting cast is well-chosen with juicy roles for Tom Wilkinson and Paul Giamatti (out of their John Adams duds) as the two CEOs going for each other’s throats. Giamatti who sometimes has a tendency to overdo it is especially slimy here and great fun to watch.
Big-star studio movies today rarely take risks and often talk down to the audience but in Duplicity writer/director Tony Gilroy (Michael Clayton) has crafted a complicated con-comedy that requires complete attention at all times just to keep up with the dense plot’s twists and turns. It’s the cinematic equivalent of a New York Times crossword puzzle and Gilroy and his top-drawer production team deliver a glossy beautiful-looking film that’s easy on the eyes hitting locations from Dubai to Rome to New York City.
Like any good puzzle it sometimes can be frustrating putting it all together and Gilroy’s habit of taking us back in time and then inching forward gets a little confusing even with the on-screen chyron pointing out where we are at any given moment. Stick with it though and you will be well-rewarded.
A scene near the end where the formula must be found scanned and faxed in a matter of minutes is sweat-inducing edge-of-your-seat moviemaking and it provides the ultimate opportunity for Roberts and Owen to take the “con” to the next level. Another where Roberts uses a thong to try and trick Owen into admitting an affair he never had is also priceless and gets right to the heart of the game-playing.
GO OUT AND GET POPCORN WHEN ...
Never. Stock up during the coming attractions. If you miss a moment of this entertaining romp you might never figure it all out.
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.
"Stuart Little" made its grand debut at the Village Theatre in Westwood on Dec. 5.
Academy Award winner Geena Davis, Jonathan Lipnicki ("Jerry Maguire"), Nathan Lane ("The Birdcage") and others strolled down the red carpet in honor of "Stuart Little" while benefiting the Juvenile Diabetes Foundation.
"It's a terrific event for us," said John Calley, the event chairman for the diabetes foundation. "It helps us in two important ways: One, of course, is the awareness of diabetes and the other is that it's a substantial amount of money being raised for diabetes today."
Director Rob Minkoff ("The Lion King") brings the comedic adventure of a little mouse searching for a real home to the big screen. The film is based on the classic book by E.B. White.
"It's about someone (Stuart Little) who is different and searching for a family," said Lane. "I play Snowbell, like the Swedish prize. Snowbell the cat, who is very threatened by Stuart being adopted, so he plots to get rid of him."
Stuart Little (voiced by "Spin City's" Michael J. Fox) embarks on a grand adventure after being adopted by the Littles, a human family played by Davis, Lipnicki and Hugh Laurie.
"I got involved five years ago," said producer Doug Wick. "Columbia Pictures owned the book. It took a few years to get the script right.
"And then we had to start doing research and development because the technology didn't exist until 10 minutes before we started shooting."
The technical aspects of filming didn't really concern Dustin Hoffman, Meg Tilly, Mimi Rogers, Leah Thompson and other celebrities who just wanted to check out a family classic with their families.
Even former first lady Nancy Reagan, who is also a benefit committee chairwoman for the Juvenile Diabetes Foundation, joined in the "Stuart Little" fun.
"It's great. I went from my last film playing an assassin -- now I'm mother of a mouse," said Davis.
With Leeza Gibbons, Debra Farantino and singer Trisha Yearwood at the premiere, the only question was: "Where's the 'big cheese'"?
At the premiere, the biggest mouse since Mickey and Mighty was nowhere to be spotted.
"Some of the challenge during filming was that he (Stuart Little) wasn't there. It's funny, he never showed up to the set," joked Davis.
"Stuart Little" opens in theaters Dec. 17.