Richard Riddick (Vin Diesel) has a really bad rep and with good reason: Five years ago convicted killer Riddick escaped the galaxy's law enforcement during a botched interplanetary prison transfer and has been on the lam ever since. As The Chronicles of Riddick picks up our antagonist finds his relative freedom has been compromised when mercenaries out for the $1 million bounty on his head discover his location and hunt him down. Riddick escapes their clutches steals their ship and sets off for Planet Helion to find Imam (Keith David) the Muslim cleric he rescued in Pitch Black and the only person who could have squealed his location to authorities. But while Riddick's hunch about Imam are correct the cleric has a reason for luring the mammoth murderer out of hiding: Helion is falling to unholy armies of Necromongers--warriors who conquer by force in the vein of Star Trek's Borg. Of course Riddick doesn't give a damn about the Helions or their plight--until he gets wind that the Necromogers want to kill him because of an old prophecy that foresees their end at Riddick's hands. Like it or not Riddick is left with no other choice but to battle the Necromongers.
The character of Riddick is unquestionably what made Pitch Black one of the most sequel-worthy sci-fi films in years. And Riddick would not have been one of sci-fi's most intoxicating characters if it weren't for Diesel. Like his Dominic Toretto in the 2001 actioner The Fast and the Furious Riddick is a villain of few words but when he speaks his carefully chosen words have impact--even if the dialogue is at times overly theatrical. Riddick is the perfect antihero; a cold-blooded and indifferent being who somehow evokes more compassion than the film's so-called good guys. Joining Riddick are some recurring characters including David as Imam but Riddick benefits the most from the addition of some new characters particularly Colm Feore as Lord Marshal the Necromonger leader whose goal is to rid the universe of all human life. Feore channeling nuggets of Julius Caesar into his role makes for one of Riddick's most thrilling foes. Another prominent addition to the cast is Judi Dench who has a surprisingly small role as Aereon an Elemental captured by the Necromongers and used for her special powers including ESP.
Writer/director David Twohy took his horror pic Pitch Black which gained a cult following since it was released four years ago and managed to successfully turn it into an sci-fi actioner of epic proportions. Everything is grander here which is almost a given considering Twohy shot Pitch Black on a dime in Australia using colored filters. In Riddick the director distinguishes the film's different environments--the Necros' mothership Crematoria's cavernous prison and Helion--using warm to cool tones that are dazzling yet more subtle than its predecessor. The CGI effects get a little gamey at times but production designer Holger Gross' gargantuan sets are impressive and help craft Twohy's otherworldly vision into a plausible one. And although Twohy jumps genres from Pitch Black to its sequel his storyline evolves logically from the original premise. But while moviegoers unfamiliar with Pitch Black will be able to follow the story easily enough they may have a difficult time grasping what makes Riddick such a big deal; the film explains the legend but never fully captures its quintessence. This could hurt Riddick's chances to broaden its Pitch Black fan base.
The tagline reads "The wives of Stepford have a secret " and boy do they ever. Of course Joanna Eberhart (Nicole Kidman) a former tough-as-nails television network president doesn't know the secret. Not yet anyway. She just thinks she's moving to the peaceful upper-class suburbs of Stepford Connecticut with her attentive husband Walter (Matthew Broderick) and their two adorable children--to try to recover from a nervous breakdown after being summarily dismissed from her high-powered job. What Joanna finds instead is a group of eerie '50s-type perfect housewives lead by the ultra-coiffed Claire Wellington (Glenn Close) who tend to their beautiful spacious homes excel at crafts and cater to their geeky husbands' every whim. The women's behavior is more than a little odd to Joanna even if Walter thinks it's all very quaint as he rushes off to join the other men folk at the Stepford Men's Association lead by Claire's manly husband Mike (Christopher Walken). Luckily Joanne isn't entirely alone in her suspicions discovering allies in recent transplants Bobbie Markowitz (Bette Midler) a frumpy best-selling author and Roger Bannister (Roger Bart) a gay-and-proud-of-it architect. Together they try to unravel the mysterious of Stepford while also managing to learn how to make the perfect Christmas ornament from a pine cone.
Stepford Wives employs a stellar cast. The over-exposed Kidman finally gets to loosen up a bit after such downers as The Hours Cold Mountain and Dogville and has fun with Joanna. Her bitchy TV executive is particularly comical as it is realistic especially when she's spouting off ideas on how to turn a tragedy into "real" television. Honestly the Oscar-winning actress can do just about anything--but it may be time for her to take a vacation. As Joanna's husband Broderick is spot-on as the mousy Walter who eventually shows some backbone (of course he does). Close and Walken also have their roles down er perfectly as the masterminds of their own little version of heaven. But the real standouts are Midler as the caustic Bobbie and Broadway actor Bart as Roger who provokes the biggest laughs from the audience with his flare for the flamboyant. Yes it may be a tad stereotypical but he sells it girlfriend. Even country singer Faith Hill tries her hand at the whole acting thing making an appearance as one of the Stepford wives--come on she certainly looks the part doesn't she?
Trouble brewed on The Stepford Wives set. Director Frank Oz (In & Out) apparently had difficulties with producers over the direction of the film (which veers completely away from the suspenseful original) as well as run-ins with co-stars Midler and Walken--and the end product reflects it. Stepford is muddled and savvy moviegoers will no doubt scrutinize the film's glaring flaws especially the whole "robot" component (are they actual robots or what?) and the over-the-top maybe-you'll-guess-it twist at the end. But Stepford's intentional ribbing of social mores and quest for perfection comes shining through thanks to Paul Rudnick's campy script. There are more than a few hysterical scenes including one where Joanna Bobbie and Roger sneak into one of the Stepford houses and after hearing a particularly vigorous lovemaking session between perfect wife #34 and her husband Roger runs up the stairs because he's "got to get some of that" or the scene where Claire talks about the great things to make at Christmas while Bobbie throws out her own clever ideas on what to do with pine cones. The important thing is Stepford Wives doesn't take itself seriously--well not really--and neither should anyone else.
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.
The Medallion sort of reads like a recipe of other film genres: a heavy helping of buddy cop mixed with a dollop of the supernatural and a dash of the protect-the-mystical-child-with-special-powers scenario (i.e. The Golden Child). The plot isn't the reason you're sitting in the theater but you go along with it for appearances' sake. Eddie Yang (Jackie Chan) a skilled Hong Kong detective is teamed up with Interpol agent Arthur Watson (Lee Evans) a snippy control freak to catch an evil crime lord known as Snakehead (Julian Sands) who has done some nefarious deeds. Their investigation takes them to a sacred temple where Eddie ends up saving a Dalai Lama-like kid named Jai (Alex Bao) from Snakehead's clutches. The ruthless criminal wants the boy because he possesses a mystical medallion that has powers of immortality only he can control. Snakehead evenutally nabs the boy and takes him to Ireland. Det. Eddie follows the villain to Ireland where he reunites with the insecure Watson and his former flame Nicole (Claire Forlani) also an Interpol agent. Soon though Eddie gets a firsthand account the medallion's awesome force when after dying while rescuing Jai once again the boy and his pendant bring Eddie back to life transforming him into an immortal warrior with superhuman abilities. Unfortunately for him the same thing happens to Snakehead. In typical fashion Eddie and company must battle many of the bad guy's minions and then Eddie takes on Snakehead in a final otherworldly confrontation. It doesn't take the mental strength of a superhero to figure how things will turn out.
No matter how derivative The Medallion is Jackie Chan's in it so you know it's got to work on some level. This Chinese marvel who excels in acrobatics stunts and martial arts truly has the uncanny ability to take the most tired of plots and make them more palatable just by karate-chopping onto the screen with a giant smile on his face. Although the visibly aging Chan is more serious here than in recent efforts such as Shanghai Knights he still can't hide the fun factor he brings to his films. Luckily he has found a worthy comic foil in Evans (There's Something About Mary) whose bumbling antics smack of Rowan Atkinson's as Mr. Bean and who brightens up the film on more than one occasion. The only real drawback to Medallion is giving Chan a love interest. Yep our favorite martial arts boy gets to kiss the girl but almost makes us cry; unfortunately Forlani (Meet Joe Black) who holds her own with the stunts has zero chemistry with the actor as hard as she tries to make us believe Nicole really loves Eddie. When a love scene comes up you clench your teeth hoping it'll pass soon enough and get back to the action. Thankfully it does. Sorry Jackie but you should just stick to kickboxing the enemy instead of kissing the girls.
What if Chan could use his uncanny skills on a supernatural level? Just imagine the possibilities. The same thought surely must have crossed the minds of those bringing Medallion to life. The thing is does Jackie really need all those special effects to pull off what he already does so well naturally? Not really. Hong Kong director Gordon Chan (no relation) is known for his slick filmmaking style that stays true to the art of a kung-fu movie; Medallion has this spirit running through it and when Chan is fighting hand-to-hand the film is exciting. Yet once Eddie and Snakehead gain their mystical powers it suddenly lapses into Crouching Tiger Hidden Dragon mode as the two foes fly through the air chase each other on top of trees and fight while dangling above ground. Ultimately these effects really don't do anything to elevate the film. In fact the camera is rather shaky the images gritty and at times it's hard to distinguish who is who. Gordon Chan should have just realized he didn't need all the highfalutin' gimmicks to make an enjoyable martial arts flick with the ever-nimble Jackie doing his stuff.
After 20 years with the LAPD Det. Mitch Preston (Robert De Niro) just wants to catch the crooks finish the paperwork and retreat to his mundane life at home where he eats TV dinners and pursues his hobby of making bad pottery. Patrolman Trey Sellars (Eddie Murphy) really wants to be an actor--he's only a cop because he made a lousy waiter. When Sellars bungles Preston's undercover case and media hounds catch it all on tape the irate Preston shoots up a news camera that gets in his face. Over-caffeinated network exec Chase Renzi (Rene Russo) upon seeing the damning evidence that could have killed her cameraman is captivated by Preston's complete lack of charm and convinces her superior she can save his crappy network by pairing Preston and Sellars up on a reality show. As expected Preston is reluctant--and even more so when he's forced to take the mugging Sellars as his partner. The two take impromptu acting lessons from iconic actor/director William Shatner (playing himself) and set off to attract an audience boost the ratings become celebrities and get the bad guys in a televised reality christened Showtime. Meanwhile the evil Cesar Vargas (Pedro Damian)--whom we know is evil 'cause he hides in the shadows he's flashy and well groomed and he mumbles in an unfathomable Third World/ European accent--is stockpiling guns powerful enough to knock down houses and blow the doors off a Brinks truck.
The movie offers a few good yuks--a coke-sniffing dog an unprecedented cameo by jive-rhyming lawyer Johnnie Cochran and William Shatner satirizing William Shatner (who does this better than anybody else satirizing William Shatner). Unfortunately we've seen a lot of his funniest stuff like the scene in which he demonstrates how to roll over a car hood cop-style in the previews. Rene Russo gives an effective souped-up Lethal Weapon-type performance with her hyper pushy fast-talking network exec desperate to make her name in the industry. De Niro's straight-man comedy is in his facial expressions--or lack thereof--and Murphy is…well Murphy. It's their first outing together and they play off each other like a foul-mouthed version of Abbott and Costello (guess who plays who?). We've seen De Niro play grumpy (Midnight Run) and Murphy play obnoxious (almost everything) before. But as you may suspect it's their grade-A chemistry that holds this badly stitched predictable though occasionally funny flick together--especially in regards to the jokes on Hollywood and the current bounty of reality TV.
You can smell the gags and The Odd Couple-versus-Goldfinger plot unfolding a million miles away. You just know Preston is hiding a gun inside that Big Gulp when he goes undercover to investigate a pawn shop and you know Vargas will make bad-guy errors in judgment like staging a robbery in downtown L.A. the day after he's confronted by our star cops in a populated disco. But that may lead you to wonder why the police--who are likewise not presented as being particularly bright in this movie--weren't trailing him as Vargas is the prime suspect in the gun-trafficking subplot. Some of the comedy borders on satire but isn't played up enough for you to tell if it was meant that way or not. The action scenes are so badly edited it's hard to tell who's chasing whom until the camera cuts back to Murphy's toothy grin and a cement-faced De Niro shooting out his car window. And speaking of commercial-laden reality TV the product placement in this movie is shameless--we get a full-length commercial for Apple Computers played not once but twice.