Real Steel – the new sci-fi sports flick from Night at the Museum director Shawn Levy – is set in the year 2020. Its vision of the future looks remarkably similar to the present save for the fact that the sport of boxing has been taken over by pugilistic robots. There are no robot butlers taxi drivers or senators – just boxers. Apparently technology in 2020 has advanced enough to allow for the creation of massive mechanized beings of astonishing dexterity but humanity has found no use for them beyond the boxing ring.
Hugh Jackman plays Charlie Kenton a has-been boxer turned small-time robot-fight promoter. A consummate hustler who’ll do anything for a buck Charlie’s fallen on hard times of late. Opportunity arrives in the diminutive guise of 11-year-old Max (Dakota Goyo) his estranged son who turns out to be something of an electronics wunderkind. Together they work to fashion Atom an obsolete ramshackle “sparring robot” left to rot in a junkyard into a contender.
Anyone who’s seen an underdog sports movie – or any movie for that matter – made in the last half-century can fairly easily ascertain how this one plays out. (The story borrows tropes from The Champ Rocky and Over the Top wholesale.) Atom proves surprisingly capable in the ring compensating for his inferior technology with grit perseverance and an ability to absorb massive amounts of punishment. Under the guidance of Charlie and Max he makes an improbable run through the ranks eventually earning a one-in-a-million shot at the World Robot Boxing championship.
Real Steel was executive-produced by Steven Spielberg; it bears his unmistakable imprint. Levy judiciously deploys Spielberg’s patented blockbuster mix of dazzling special effects and gooey sentiment wrapping it all in a highly polished if wholly synthetic package. Still Real Steel might have amounted to so much glossy hokum were it not for its champion Hugh Jackman. Other actors might eye such a project as an opportunity to coast for an easy paycheck but damned if Jackman isn’t completely invested. The film’s underdog storyline isn’t nearly as inspiring as watching its star so gamely devote himself to selling material that will strike anyone over the age of 12 as patently ludicrous. His efforts pay off handsomely: Real Steel is about as rousing and affecting as any film inspired by Rock’em Sock’em Robots can expect to be. (The filmmakers claim lineage to a short story-turned-Twilight Zone episode but who are they kidding?)
There are two ways to judge Dan Rush's directorial debut Everything Must Go. You can look at the film itself and/or you can grade star Will Ferrell’s performance. To explain my rating I would give the actual film 4 stars while Ferrell’s performance earns a solid 5. Since they go hand in hand the average represents my rating: 4.5 stars.
The film follows Ferrell as a recovering alcoholic who relapses
after losing his job. He comes home to find that his wife has left him and
put all of his stuff on their front lawn prompting his decision to live on his yard. But local laws prohibit that (and some
neighbors don’t approve) so he is forced to turn the whole thing into a yard sale within
five days. If you can spot the metaphor between the things on the lawn
and his troubles congrats! You’ve cleared Metaphors 101. We’ll cover
similes next week. Anyway living on the lawn causes Ferrell to look
back and ponder over his life decisions. Helping him along the way is
newcomer Christopher Wallace (Biggie’s son) the precocious child that
helps teach him a lesson. Again a more overused cliche couldn’t be
found but it’s done right and Wallace is a joy to watch on screen.
Rebecca Hall as the pregnant neighbor who befriends Ferrell while he's camping on the lawn is a pleasant surprise as well holding her own against the star's incredible energy.
On Ferrell’s performance: It's by no means revolutionary for the craft of acting but is a breakout turn for the funny man. A more traditional dramatic actor could’ve lazily walked through the script and come out fine on the other end but Ferrell's portrayal is stark raw and real. You know the Will Ferrell scream? Imagine someone doing that not because it's funny but because it's their only means of expressing emotion. That’s what he does in this movie. He took the energy he employs in his comedies to reach new manic heights and channeled it into the darkest corners of the human psyche. The closest thing we can compare it to is Stranger Than Fiction since it's his only other dramatic role worthy of note (in that it's something most people know about and can compare to) but that film had a strong narrative hook that took care of all the whimsy so Ferrell could just be “normal.” Everything Must Go doesn’t have the benefit of that hook so Ferrell jumps headfirst into the pits of human emotion. I highly doubt it’ll garner him any award nominations but it was pleasing to see that he can actually act. And in hindsight it makes the crazy Ferrell that much funnier.
Onto the actual film: a fairly standard black comedy and that is by no means an insult. Standard can be good as long as it’s handled well and director Rush treads through the narrative carefully. The story jumps around a bit as the characters get the inspiration they need to move on to the next plot point awfully quickly but that affords cinematographer Michael Barrett more time to capture the beautiful South West landscape. Though there isn’t anything amazing about the film it is solid movie executed really well. A refreshing change of pace for Ferrell and a delightfully dark change of mood in the doldrums of the summer blockbuster.
WHAT’S IT ABOUT?
G.I. Joe is a top-secret multi-national special forces unit comprised of highly-trained physically attractive military personnel from around the world. Equipped with the latest in superawesome vehicles and weaponry and guided by the tough but fair General Hawk they take on the baddest of the bad guys the kind of terrorists that scoff at conventional organizations. As the General himself so aptly states “When all else fails we don’t.”
That credo is put to the test however when a shadowy terrorist group armed with even awesomer vehicles and weaponry like crazy-ass laser guns and computer-guided zombie troopers infiltrates the Joes’ compound and makes off with a cache of four WMDs each of which is capable of leveling an entire city. Do the men and women of G.I. Joe have what it takes to defeat these menacing new adversaries before they mount their next devastating attack?
WHO’S IN IT?
It takes an elite group of actors to play an elite group of soldiers and the cast of G.I. Joe: The Rise of Cobra is stocked with an abundance of Hollywood’s most talented performers all adorned in various types of leather fetish apparel. White Chicks star Marlon Wayans plays Ripcord a flight specialist who can pilot any type of airplane even enemy crafts that respond only to voice commands uttered in Celtic. Channing Tatum star of Step Up and Step Up 2: The Streets plays his best pal Duke a badass infantryman who knows no fear. Preeminent ginger chick Rachel Nichols showcases her fiery crimson locks as Scarlett a shrewd intel expert whose stoic exterior hides a growing attraction to Ripcord. Barking out the orders as General Hawk is Enemy Mine star Dennis Quaid.
On the side of the bad guys is the Baroness played by Factory Girl star Sienna Miller in a push-up bra dirty librarian glasses and a raven-colored dye job. She’s the point woman for McMullen a shady Scottish weapons magnate played by Christopher Eccleston. But McMullen is no ordinary shady Scottish weapons magnate; he’s covertly amassed a huge terrorist empire headquartered beneath the polar ice caps. It’s there that “The Doctor ” a horribly disfigured mad scientist played by (500) Days of Summer star Joseph Gordon-Levitt concocts all sorts of diabolical new weapons and gadgets to unleash on the innocent.
Oh and there are ninjas too. Good guy Snake Eyes played by Ray Park wears sleek black body armor while the evil Storm Shadow played by Byung-hun Lee runs around in a updated version of Elvis Presley’s classic all-white jumpsuit.
Loaded with scene after scene of high-tech action-movie eye candy G.I. Joe: The Rise of Cobra assaults the senses with such a relentless barrage of over-the-top stunts eye-popping visual effects and stylized fight sequences that only the most coldly cynical of viewers will be able to resist submitting to its visceral charms.
As with most sugary indulgences the sweet dizzying high is followed almost immediately by a painful crash. Feelings of guilt and shame start to simmer as you kick yourself for yielding to such soulless gluttony. The next morning you awake with a throbbing headache and a heart filled with regret. The following day a doctor informs you that you have adult-onset diabetes. So in a nutshell G.I. Joe: The Rise of Cobra is the cinematic equivalent of adult-onset diabetes.
The scene where they have the big fight with all the advanced weapons and a whole bunch of stuff blows up. Oh wait that’s EVERY scene.
For the bulk of his performance Joseph Gordon-Levitt’s face is obscured by a bulky breathing apparatus and his voice is altered to sound like the computerized movie trailer's narrator. Which makes one wonder why they bothered to hire a name actor for the role in the first place.
WHAT IT’S ABOUT?
The uber-anticipated sequel Transformers: Revenge of the Fallen picks up shortly after the events of the blockbuster first film. With evil Megatron’s carcass buried at the bottom of the ocean Optimus Prime and his Autobot comrades working together with an elite group of human soldiers are now focused on hunting the remaining Decepticons scattered across the globe. Sam Witwicky hero of the 2007 movie is busy preparing for his first year at college while his unlikely girlfriend Mikaela Barnes stays behind to tend to her father’s auto-repair shop. Little do they know however that back on Cybertron a Decepticon elder known as “The Fallen” is hatching a scheme to invade Earth where hidden somewhere on the planet is the last known source of energon the life-blood of all Transformers. If he succeeds the devastation left in his wake will no doubt spell the end of the human race. With the fate of Earth hanging in the balance Sam and Mikaela must once again have to team up with Optimus and the Autobots to defeat this powerful new foe.
WHO’S IN IT?
All the major human players from the first Transformers film are back for the sequel including Shia LaBeouf Megan Fox Tyrese Gibson Josh Duhamel and John Turturro. Newcomers include Ramon Rodriguez who plays Sam’s conspiracy-obsessed college roommate Leo and The Office’s Rainn Wilson who enjoys a notable cameo as a pompous physics professor.
Of course the actors merely serve as background filler for the real stars of the show: those titular talking-alien robots. And director Michael Bay fills up the screen with enough mechanical eye candy to dazzle even the most skeptical gearhead. Returning characters include Optimus Prime Bumblebee Ratchet Ironhide Barricade Jazz (don’t act surprised) Starscream Frenzy and Megatron (again don’t act surprised).
Several new Autobots are introduced to the mix: Mudflap and Skids a pair of jive-talking ceaselessly annoying hatchbacks; Jolt a Chevy Volt; Sideswipe a silver Corvette; and Jetfire an elderly Decepticon turncoat who walks with a cane speaks with an English accent and transforms into an SR-71 Blackbird. Additions to Decepticon side include: The Fallen who we learn is the Decepticons’ real head honcho (consider him the Emperor Palpatine to Megatron’s Darth Vader); Soundwave a communications specialist who sinks his tentacles into a satellite and spies on us from above; Ravage a panther-like creature; Wheelie a radio-controlled truck who talks like Joe Pesci; “the Doctor ” a sort of mad scientist who speaks with a German accent (naturally); and the Constructicons a group of construction vehicles that fuse together to form a massive four-legged beast.
No director does over-the-top explosion-laded action better than Michael Bay and Transformers: Revenge of the Fallen features several staggering set pieces. The CGI work on this film makes the last one look like it was designed on a Commodore 64.
Any scene in which people talk — and several of the ones in which robots talk too. Just as the action and visual effects are beefed up for the sequel the bad jokes and cringe-worthy dialogue are as well. Highlights include two dogs humping John Turturro in a thong a robot humping Megan Fox’s leg a sequence involving Sam’s stoned mom and a glimpse of a very large pair of testicles on one very large Decepticon. The latter will likely go down as the “nipples-on-the-Batsuit” moment for the Transformers franchise.
The show-stopping climax set in the Egyptian desert is one extended riotous battle royale packed with so much robot-on-robot action you’ll feel overwhelmed at times.
NETFLIX OR MULTIPLEX?
This big-budget spectacle begs to be seen at the multiplex — IMAX if possible. Just bring a pair of earplugs for the dialogue sequences. You might want to bring some Dramamine as well as Mr. Bay went a little overboard with his trademark circling-camera sequences this time around.
Spanning from WWI to the 21st century Eric Roth’s screenplay (based loosely on a 1922 short story by F. Scott Fitzgerald) tells the unique story of a man named Benjamin Button (Brad Pitt). He is born in New Orleans as a very old baby the equivalent of a man in his 80s who then ages backward into youth over the better part of a century. The film is told in flashback by a very old dying woman Daisy (Cate Blanchett) who recounts her tale to her daughter (Julia Ormond) from a hospital bed during Hurricane Katrina. Left on the doorstep of a retirement home one night by his father (Jason Flemyng) Benjamin is brought up by Queenie (Taraji P. Henson) who runs the place. While there he meets a young girl Daisy who will become a key figure -- romantically and otherwise -- in his life. Ben does have some grand adventures: He goes to work on a boat sees sea battles during WWII finds love with an older married woman (Tilda Swinton) -- and gets progressively younger as the decades fly by. It all manages to be alternately haunting romantic funny epic emotional and incredibly moving and will likely to stay with you a lifetime. Brad Pitt manages to deliver a thoughtful and subtle performance through all the special effects makeup and CGI. He does so much just by using his eyes. Cate Blanchett is equally fine as she plays Daisy from a teenager to an old woman and matches Pitt in bringing an entire lifetime skillfully to light. Her aging makeup is completely natural and she’s very moving in the hospital scenes opposite Ormond. Henson is just marvelous as Queenie a warm and understanding soul. Swinton is elegant and memorable in her few crucial encounters with Ben and plays beautifully off Pitt. Jared Harris (TV’s The Riches) as the colorful Captain Mike who hires Ben on his tug boat and Flemyng (The League of Extraordinary Gentlemen) as Ben’s father are also effective in their brief screen time. Interestingly Benjamin Button has been gestating for decades in the Hollywood firmament but needed time for the proper technology to catch up to it. Director David Fincher (Zodiac Fight Club) with his early background at George Lucas’ ILM proves to be the perfect choice to marry a compelling story with spectacular visual effects achievement. He did not want to do the film unless the technology allowed one actor to play the role throughout the course of the film. Remarkably they were able to achieve this superimposing Brad Pitt’s face and eyes into all the incarnations of Ben Button. In one sequence Pitt looks just like he did in Thelma and Louise. It’s an amazing feat. He has seamlessly created a unique universe without ever bringing attention to it advancing the art of screen storytelling leaps and bounds ahead of everything else that has come before. Benjamin Button is a plaintive and provocative meditation of life death and what we do while we are here. It’s the stuff of dreams.
What no "giant sea pods" this time? Instead The Invasion skews the Body Snatchers scenario by making the alien invasion a virus rather than plant life. Said virus which comes to Earth via a mysterious crash of a space shuttle is transmitted by some form of bodily fluid-to-bodily fluid connection. For example throwing up into people's faces or coffee cups is a fun way to spread the disease. The end result however is the same: Once the infected person falls asleep they undergo a transformation and wake up looking the same but are unfeeling and inhuman—and ready to organize. As the infection spreads and more and more people are altered there are a few humans left fighting for their lives including psychiatrist Carol Bennell (Nicole Kidman) and her doctor friend Ben Driscoll (Daniel Craig). Carol’s only hope is to stay awake long enough to find her young son who may hold the key to stopping the devastating invasion. But we won’t tell you how. OK it has something to do with an immunity but that’s all we are going to say. Nicole Kidman has had a string of bad luck since winning that damn Oscar for The Hours. One wonders if maybe the golden statuette might actually be a curse (Cuba Gooding Jr. anyone?). Still regardless of the movie--be it Bewitched The Stepford Wives or Fur: An Imaginary Portrait of Diane Arbus--Kidman manages to turn in a decent performance. The same goes for The Invasion. Her mother bear act is quite believable as she races to find her son (played with spunk by Jackson Bond) while trying to stay awake and pretending to be cold and unemotional among the pod people--oh excuse me the virally infected people. You root for her all the way. Craig doesn’t have as much to do but still delivers when it counts. In a supporting role Jeremy Northam does a nice job as Carol’s ex-husband a CDC doctor who is one of the first to get infected. As does the always good Jeffrey Wright as a very clever genetic scientist. Even Veronica Cartwright one of the survivors in the 1978 Invasion of the Body Snatchers makes a cameo as one of Carol’s patients who tells her “My husband isn’t my husband!” Famous last words. Body snatching must be a popular water-cooler topic at the movie studios. Starting with the 1956 sci-fi classic Invasion of the Body Snatchers in which Kevin McCarthy barely escapes his small town with his life running into highway traffic screaming “They're here already! You're next! You're next You're next...” there have been at least two other versions including the above-mentioned 1978 film and the 1993 film Body Snatchers. To its credit The Invasion switches things up a bit nixing the pods and making it more relevant to our current socio-political climate. It even begs the question: Could we be better off if we didn’t have emotions? But the movie is still mired by its derivativeness and too-pat ending—and it also apparently had problems getting off the shelf. Originally wrapped in early 2006 rumor has it the studio didn’t like German director Oliver Hirschbiegel’s original cut and brought in Matrix’s Andy Wachowski and Larry Wachowski for rewrites and James McTeigue (V for Vendetta) to direct the new scenes. Again to its credit The Invasion surprisingly feels cohesive despite all the different influences. Let’s just say whoever came up with the tense car chase in which Carol tries to throw off the pod people (it's just more effective calling them that) draped all over the car kudos to them.