In the late 19th century Dr. Gabriel Van Helsing (Hugh Jackman) a misunderstood monster hunter is summoned to Transylvania to ferret out Count Dracula (Richard Roxburgh) and kill him once and for all. When Van Helsing gets to the small village where the vampire was last spotted he discovers he also must contend with Dracula's three seriously twisted vampire brides Dracula's angry henchman/werewolf--and a lovely gypsy princess named Anna Valerious (Kate Beckinsale) who is hell-bent on eradicating Dracula and his bloodsucking kind for slaughtering her entire family. Oh and let's not forget Frankenstein's Monster (Shuler Hensley) who holds the key to Dracula's evil master plan--something about releasing his minions of unborn bat-like children from their goo-filled cocoons so they can wreck havoc on the world. Yuck. Sounds like our resident monster stomper and his sword-swinging gal pal have their work cut out for them. If Van Helsing does manage to kill all his monster foes does that mean he's out of a job?
Jackman has the whole antihero thing down pat. He adequately embodies the younger more virile Van Helsing dishing out as much pain and torture as he can on the undead--but the Aussie actor isn't given nearly as much meat to chew on as he did say delving into the complicated Wolverine in X-Men. Instead the monster hunter is relegated to carrying big weapons wearing a big hat and muttering something about having bad dreams to a past he can't remember. Same goes for Beckinsale. The British actress was oh-so-cool on the other side of the fence playing the chic vampire Selene in Underworld cutting her way through a myriad of werewolves. As Van Helsing's heavily accented female counterpart Anna however she just runs around with her sword blurting out such pathetic dialogue such as "Dracula took everything away from me and now I'm alone in the world" while Roxburgh's Dracula--who can't hold a candle to other far more charismatic Draculas before him--wails about being so very alone as his luscious brides hang upside down in front of him. Give me a break. At least Australian actor David Wenham (The Lord of the Rings) provides much-needed comic relief as Van Helsing's sidekick Carl a Catholic friar who doesn't much like playing hero.
With the requisite dark mood and tone action sequences and snazzy CGI-creations including the winged vampire brides and formidable werewolves you can see exactly where writer/director Stephen Sommers (The Mummy) spent Van Helsing's nearly $150 million budget. But even all the bells and whistles can't tie together the film's vacuous nonsensical mumbo jumbo as Sommers attempts to bring classic movie monsters together in the same movie. Maybe in a tongue-in-cheek Abbott and Costello movie it could work but as a serious action-packed thriller clearly Dracula Frankenstein and the Wolf Man do not need to meet. On top of that Sommers steals from other movies as well such as recent films Underworld (the whole vampire vs. werewolf conflict) and The League of Extraordinary Gentleman (Van Helsing defeats a rather familiar-looking Mr. Hyde at one point). Whatever originality there is in the film leaves you either scratching your head--Dracula has kids?--or rolling your eyes--Anna needs to kill Dracula so her nine-generations of family can reunite in Heaven? Please.
Since they were young girls growing up in the Midwest Connie (Nia Vardalos) and Carla (Toni Collette) have shared the same dream--to become the next biggest thing to hit musical theater but so far performing in an airport lounge is the closest they've come. Their lives change however when they witness a murder by some nefarious drug dealers and in an attempt to escape end up in Los Angeles which has "no dinner theater no musical theater no culture at all." It's the perfect place for them to hide out and all goes to plan until Connie and Carla happen upon a local drag club. Suddenly they see an excellent way to elude their pursuers--and fulfill their need to be on stage at the same time. Pretending to be men dressed as drag queens Connie and Carla are soon headlining at the club belting out the show tunes they love. They become a huge hit getting the fame and recognition they've always wanted--but as time wears on the whole charade turns out to be a real "drag" ("pun intended " as the gals like to say) especially when Connie falls for nice guy Jeff (David Duchovny). Still with the killers hot on their trail Connie and Carla have to stay incognito--at least until they can find a way to come out of the closet without getting killed or disappointing their growing legion of fans.
The very charismatic Vardalos wowed audiences with her first feature the smash hit My Big Fat Greek Wedding and is probably feeling more than a little pressure to follow up with something just as good especially since the Big Fat Greek spin-off TV series failed miserably. Luckily she succeeds with Connie and Carla due in large part to her co-star Collette who finally--after a string of dramatic movies such as The Sixth Sense and The Hours--gets to use the comedic skills she deftly showed in her feature film debut Muriel's Wedding. Together the actresses' natural rapport and infectious charm permeate the film and despite a sometimes hackneyed script they keep things lively and boy can they sing! Vardalos and Collette make the most of their musical theater backgrounds working the stage and making the film's musical numbers truly memorable. Vardalos also displays a fair amount of chemistry with Duchovny as the straight Jeff desperately struggles with his burgeoning feelings for someone he believes is a man. The last little plus is C and C's supporting cast including the bonafide drag queens the girls befriend at the club. Led by the Tony-winning Stephen Spinella (Angels in America) as Robert/"Peaches " who also happens to be Jeff's estranged brother the supporting guys/dolls add that certain La Cage joie de vivre.
As she did in My Big Fat Greek Wedding writer/actress Vardalos' script speaks from the heart with genuinely fresh funny and down to earth dialogue. Apparently she did loads of dinner theater in her early years so she's familiar with the subject. Unfortunately she relies on a contrived Some Like It Hot plot about vengeful drug dealers to get Connie and Carla to L.A. but once the film gets into drag it zings. Connie and Carla is also in capable hands with director-actor Michael Lembeck (The Santa Clause 2) a former song-and-dance man himself at the helm. The broad comedic style he picked up directing countless television sitcom episodes serves well here and he turns the musical numbers into mini show-stoppers each one topping the next. The last is the best of course when the girls launch into "I'm Just a Girl Who Can't Say No" from Oklahoma capped by a special guest appearance from the musical theater goddess herself Debbie Reynolds. Classic.
The film opens as teenagers Katie (Amber Tamblyn) and Becca (Rachael Bella) are having a sleepover and spooking each other with ghost stories. Trouble is the urban legend Becca retells is all too true as Katie is just about to find out in the most grisly of ways. The story centers on a mysterious videotape that should you be so unfortunate as to view it will kill you in seven days (you know this because someone calls right after you watch it to alert you that you're gonna kick). Katie and her friends watched it and sure enough they're all dead a week later--sparking Katie's aunt an investigative journalist named Rachel (Naomi Watts) to uncover what happened and why. When the trail leads her to the sinister tape she watches it receives the foreboding phone call and consequently sets off on a race against time to somehow save her life by finding out the meaning of what she's seen. She enlists the help of Noah (Martin Henderson) the father of her rather strange and solitary young son Aidan (David Dorfman)--who like all kids in horror movies these days is seeing frightening visions too--and over the course of seven days the two find themselves embroiled in a mystery that involves the tape a twisted family and dying horses.
The acting by all involved is generally good. Naomi Watts who hit the radar with David Lynch's Mulholland Drive last year ably carries the film although there are times in close-up when she looks too self-aware with an almost smug expression as though she's about to smile when the situation isn't the least bit funny. Maybe it's because she knows her Rachel does some pretty mind-blowingly foolish things the most noteworthy among them leaving the deadly video out where her curious son (who annoyingly invokes Haley Joel Osment and looks absolutely nothing like either of the folks playing his parents) can pop it in the ol' VCR. Though Watts is a basically likeable fresh face any number of up-and-coming actresses could have done this role--as well or better.
It's been awhile since jaded horror fans have had something to get excited about. Gore Verbinski justifies his career after the miserable The Mexican with this taut thriller which opens with the teen girls in a truly terrifying sequence reminiscent of Scream. Verbinski is keenly aware of the value of keeping things just out of sight and not resorting to cheap horror movie shlock so there are genuine chills to be had (animal lovers will want to cover their eyes during one particularly horrifying scene). Although the moments that'll really make you jump out of your skin are few and far between the secret behind the videotape is compelling as is the imagery. Without overdoing it The Ring displays some fantastic cinematography particularly with the Buñuel-esque videotape (you could have heard a pin drop as engrossed as the audience was at this review screening) and the shots of gloomy mist-enshrouded Washington State are disquietingly atmospheric. However the last third of the movie is somewhat disappointing and contains several utterly ridiculous scenes--particularly one at the ending (which actually has a nice twist).
Leave it to Pixar to come up with another clever story. We are introduced to a thriving monster metropolis where Monsters Inc. employs an elite group of big bad guys to go into children's closets and gather the city's energy supply--the children's screams. But lately there has been an energy crunch; it seems kids are not getting as scared as they used to. Enter top Kid Scarer Mr. James P. Sullivan a.k.a. Sully (voiced by John Goodman) a big blue fuzzy monster who along with his assistant Mike Wazowski (voiced by Billy Crystal) a green one-eyed wisecracker gets potent screams from the kiddies. Unfortunately the one thing Sully Mike and the others are deathly afraid of is the children themselves. And when one child Boo (voiced by Mary Gibbs) makes her way through the closet door into the monster world things get decidedly complicated for Sully who learns kids aren't so scary after all.
Honestly how could you go wrong with the vocal talents of John Goodman Billy Crystal Steve Buscemi and James Coburn? In Monsters Inc. they absolutely shine. Oscar-winning Coburn brings the head of Monsters Inc. Mr. Henry J. Waternoose a crablike spidery monster vividly to life. Buscemi as the evil Randall Boggs a slimy serpent monster who can camouflage himself to blend with anything plays the perfect foil to Sully a monster with grand plans who rivals the big guy in the quota for kids' screams. Crystal is hysterical as Mike with enough neuroses and wild antics to offset the sweet Sully--without stealing the show. Even the little girl Boo comes across convincingly as a two-and-a-half-year-old especially when she sings in the bathroom. It's Goodman who makes the movie complete--his Sully is one big galoot you can wrap your arms around.
Pixar Animation must constantly search high and low for the cream of the crop in animation and story development; they never settle for second best. The studio has the Midas touch when it comes to computer-animated films--its three features so far Toy Story Toy Story 2 (still one of the best sequels ever made) and A Bug's Life have grossed nearly a billion dollars worldwide. Yes Dreamworks may have given Disney a run for its money with its spectacular summer blockbuster Shrek but Pixar isn't going to roll over that easily. Monsters Inc. is a wonderfully inventive film especially in its creation of such otherworldly settings as the factory and its assembly line of closet doors. The movie combines all the right elements--there's a good guy a funny sidekick a slimebag a climactic chase scene and an adorable reason for things to end happily.
What story? For all the technological breakthroughs the plot is pure Disney formula (wisecracking comic relief obligatory romance) set in the Cretaceous period. Visually captivating but thin in plot "Dinosaur" tells the tale of a spunky Iguanadon (voiced by D.B. Sweeney) who joins a quirky band of dinos on a quest for self-discovery and a new land.
The competent voice cast includes Samuel E. Wright (Sebastian the Crab from "The Little Mermaid") as the crusty dinosaur leader and Julianna Margulies (TV's "ER") as the lizard that steals our hero's heart. But the real credit belongs to the animators who obviously went to great lengths to create expressive faces on our dino friends. It's a shame that Disney who refrained from the routine singsongs and cheesy ballads couldn't have exercised more restraint and kept these dinosaurs silent. It would've been far more thrilling to see these beasts interact as they may have done millions of years ago rather than spouting forgettable quips. James Newton Howard's score provides all the audio needed.
It took five years to create this film and it shows. Directors Ralph Zondag and Eric Leighton (supervising animator on "A Nightmare Before Christmas") deserve high praise for their innovative blend of filmed settings and CGI wizardry. Last year's "Toy Story 2" was a party for the peepers but "Dinosaur" sets a new standard in the "How'd they do that?" department. Parents take note: The film's violent dino battles are scarier than the dino Happy Meal you bought to get the dino toys.