Despite boasting a couple of headliners who, at one point, might have sported enough gravitas as to pull the masses in to see any feature film, 2 Guns doesn't have a whole lot of draw. The well-worn buddy cop trope gets an interesting makeover with both parties playing undercover agents for independent organizations (Denzel Washington works for the DEA, while Mark Wahlberg is a Naval officer) unaware of the other's affiliation. Throughout, both parties manage performances that invite laughter, with Wahlberg's hybrid of badass and nebbish earning particular favor. But for some reason, the film just can't seem to muster up a full dish of appeal.
Maybe it's because 2 Guns seems to be, and proves to be, a film that sets the bulk of its attention on forwarding the criminal plotline. In this area, 2 Guns offers little in the new. Yes, the dramatic irony that both Washington and Wahlberg are officers of the law, and each under the impression that the other is a bona fide crook, is a twist with some flavor. But too heavily stocked with your standard cop movie tropes — inhabited by drug cartel baddie Edward James Olmos and sociopathic CIA man Bill Paxton — the film crumbles under its decision to take its story too seriously.
When it has fun, though, it has a good deal of it.
The high points of the film are not when Washington and Wahlberg are facing off with their laundry list of enemies — criminals, fellow lawmen, former allies, you name it... nobody likes these guys — but when the mismatched pair tustle verbally with one another.
Washington's Bobby Trench is a smooth, serious, acerbic would-be loner; Wahlberg's blathering Michael Stigman operates at peak energy and volume, wearing his lust for attention and friendship on his sleeve as he works tirelessly to win over his target/partner. Their chemistry, while nothing unprecedented in the buddy cop genre, is endearing, helping to pass the hour-and-a-half occupied by 2 Guns with just enough chuckles.
So if you're already there, having wandered accidentally into the wrong theater or affixed against your will to a diehard Denzel fan's idea of a perfect night out, buck up — the comedic scenes will get you through it. But if you're on the fence, they're not quite worth heading out to the theater for.
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February 14, 2011 12:33pm EST
Brad Anderson’s new film The Vanishing on 7th St. asks you to fear the haunting abyss that is the darkness but the more terrifying void is its story. Or lack thereof. Seeing as how it’s billed as a mystery horror-thriller and this from the director of neo-noir classics like The Machinist and Transsiberian I expected at least a few minor scares; I should’ve known they’d come only from Hayden Christensen’s performance.
The film is set in Detroit and follows a handful of survivors (including John Leguizamo Thandie Newton Jacob Latimore and Christensen) of an inexplicable power outage that seems to have consumed the entire city’s population. They must put the pieces of this puzzling event together to understand what’s happening and figure out how they can stay alive with looming shadows closing in on them.
With a less competent director at the helm this movie would’ve been a total disaster. The script is terrible focusing on one-dimensional characters their back-stories and a bunch of crackpot theories that hint at explanations but never follow through (in its defense the film is meant to be inconclusive but that doesn’t make up for bad dialogue plot holes etc.) Luckily Anderson is in his element with ambiguous narratives and creates a startling atmosphere that is interesting to examine. It has an unpolished gritty texture that brings to mind similar low-budget horror flicks but is enhanced by startling sound effects and an unnerving score from relative newcomer Lucas Vidal. Still all style and no substance only goes so far and The Vanishing on 7th St. never hits the throttle.
Essentially a creature feature without the creature the film is best looked at as an apocalyptic survival tale. The problem is that there’s nothing adventurous or enthralling about it. The characters’ encounters with the shadows are repetitive and the effect gets old quickly. Furthermore half of the cast (I’ll let you guess who) is incapable of conveying fear and if they aren’t afraid then how are you the audience supposed to be? I tried analyzing the film from an existential standpoint as a few of the characters question the reason for this human extermination but I couldn’t find any genuine moments of meditation.
Without question the star player here is Anderson who proves that he can do his job even when other members of the creative team don’t. The fact that he was able to develop such a striking tone from a sub-par screenplay is a testament of his ability as a storyteller.
Charlie (Michael Douglas) has been a mess for quite a while. A jazz musician who has battled schizophrenia and manic depression for years has spent the last couple living in a mental hospital. His 16-year-old daughter Miranda (Evan Rachel Wood) has been living on her own in the family home (mom is long gone) having quit school and gone to work at McDonald’s to make ends meet. When Charlie is released and comes home the pair begins to tentatively rebuild their relationship. The good news is that Charlie is taking his meds and handling the real world reasonably well; the bad is that he’s developed an obsession with a legendary cache of Spanish gold doubloons reportedly buried near their dusty California home. When Charlie begins to convince Miranda that he really isn’t crazy--at least when it comes to the treasure--together they begin a Don Quixote-like journey that cements their fractured relationship back together. Forget Michael Douglas as Gordon Gekko the ultra-smooth Wall Street guy or as dashing Jack Colton of Romancing the Stone fame. These days Douglas now 62 has said he needs a really good reason to leave his family so this role where he can play a scraggly bearded wild-eyed edge-of-nuts guy is just the ticket. Douglas gives one of his best performances ever as Charlie striking just the right balance of intellect insanity and inherent love for his no-longer-little girl. Plus the man whose on-screen persona has often been all about male vanity is anything but that in King of California. He’s a scrawny whippet of a guy rather than a hunky leading man and it’s a transformation that just may get him another Academy Award nomination. Meanwhile 20-year-old Evan Rachel Wood proves that she really is an acting force to be reckoned with giving a gently nuanced performance as a girl who has had to grow up way too soon yet still completely loves the father who has struggled to care for her as he struggles with his personal demons. First-time writer/director Mike Cahill has done a first-rate job of bringing this quirky funny and slightly poignant story to the screen. Perhaps the reason he’s been so successful is in the company he keeps. A film-school friend of Oscar-winner Alexander Payne (Sideways About Schmidt) Cahill enlisted his producing help for his film along with Payne’s Sideways partner Michael London. King of California bears Cahill’s own stamp however--a combination of terrific visuals that often make wry satiric statements deftly melded with an assortment of memorable characters and situations. Perhaps his biggest strength is in the casting of the film in his choice of the two talented actors who bring a believability and sense of real family ties to their roles. With King of California Cahill begins what looks to be a long and beautiful friendship with moviegoers who love to be transported to interesting and funny places.
For a few years in the '60s and '70s producer Gerry Anderson made "supermarionation" all the rage in the world of British children's television. His stop-motion puppets starred in a number of sci-fi adventure series most memorably Thunderbirds which followed the exploits of International Rescue -- a team comprised of ex-astronaut Jeff Tracy and his sons. Based out of their secret fortress on Treasure Island the Tracys (aided by lovely secret agent Lady Penelope) used their amazing rocket-powered vehicles to prevent disasters and save lives around the world. Now 40 years after Thunderbirds' TV debut Star Trek vet Jonathan Frakes has brought Anderson's characters to life on the big screen. Front and center is youngest son Alan Tracy (Brady Corbet) who dreams of the day he too can pilot one of his family's fab ships and lead missions. But first he has to prove himself to his father Jeff (Bill Paxton). That opportunity comes sooner than either expects when mysterious villain The Hood (Ben Kingsley) strands Jeff and the older Tracy boys in space and attacks Treasure Island. With only his friends Tintin (Vanessa Anne Hudgens) and Fermat (Soren Fulton) to help him Alan has to grow up quickly if he wants to save his family ... and the world!
It would be easy to mock several of the performances in Thunderbirds-- to chide Paxton for his earnest seriousness as Tracy patriarch Jeff to dismiss Corbet's angst-tinged eagerness as Alan to roll your eyes at Kingsley's over-the-top mystical fierceness as The Hood and to wince at Fulton and Anthony Edwards' nerdy stuttering as science whizzes Fermat and his dad Brains. But actors are only as good as their script and the one Frakes has given his cast (courtesy of screenwriters William Osborne and Michael McCullers) is weak and clichéd at best filled with after-school-special-worthy lessons for Alan to learn. "You can't save everyone " Jeff tells his son somberly and even Tintin has a moral for her crush when he's feeling selfish and indulging in self-pity: "This is hard on all of us Alan." Talk about insight! What makes it even more frustrating is knowing that the actors are capable of much more even the kids: Both Corbet and Hudgens did well with supporting roles in Thirteen. Thunderbirds' only real bright spot is Sophia Myles as Lady Penelope. A cross between Reese Witherspoon's Elle in Legally Blonde and Jennifer Garner's Sydney on Alias Myles' Lady P doesn't let her pink couture wardrobe prevent her from coolly kicking ass when the situation demands it. Attended by her droll driver/man-of-all-trades Parker (Ron Cook) Lady Penelope is a fresh feisty heroine with all of the film's best lines -- and the coolest car to boot.
Frakes cut his directorial teeth on episodes of Star Trek: The Next Generation and his first feature film was Star Trek: First Contact so he would seem like a natural choice to bring a cult sci-fi TV show to the big screen. Unfortunately while he does an admirable job re-creating (and improving on) the original Thunderbirds' mod sets cool ships and special effects (which are fine if a bit more TV-sized than summer blockbustery) Frakes can't seem to decide who his audience is. If he was aiming at grown-ups who remember the show fondly from their own childhood he should have embraced the source material's campiness (à la Starsky and Hutch) rather than restricting it to the Tracys' plastic Barbie-like furniture and Lady P's bouffant hairdo. If on the other hand Frakes was hoping to entertain today's kids he should have really reinvented the show for a 21st-century world (à la Stephen Hopkins'1998 Lost in Space) rather than clinging to the '60s references As it is he's stuck somewhere in the middle leaving adults bored during the kids-on-an-adventure bits and children mystified by the handful of jokes aimed at their parents.
Based on a true court
case first tried in 1953 Evelyn recounts the story of a man on a mission. Rumpled pub-crawler Desmond Doyle (Pierce Brosnan) has a streak
of bad luck when he loses his wife to another man the day after
Christmas and then loses his three
children Evelyn (Sophie Vavasseur) Maurice (Hugh McDonagh) and Dermot (Niall Beagan) to the Catholic
church and Irish courts. That he's without a wife and a regular job prompts the courts to place the tots in an
orphanage which he unsucessfully tries to steal them from. This of course was not a good move. He
gets caught and the courts see this as a strike
against him. Doyle does not give up--instead he gets his life together. But it
turns out that an obscure law that has never
been tried in the courts before requires that Doyle's estranged spouse give him
custody of the kids so he enlists several lawyers (Alan Bates
Aidan Quinn and Stephen Rea) to help him get
In the end the story ends happy ever
after but not without its up and downs. Doyle must
face the hardship of living without his children and
his children must suffer through living in a miserable
Although this story line is based in predictibility-land the actors
still come out on top. Brosnan's character with his native Irish accent anti-Bond dishevelment and
pitful story is charming. Each time he leaves the
screen he leaves you wanting more. It seems
as though this role was made for him. We are used to seeing
him in the coolly unrealistic role of James Bond and this is a refreshing change. He shows the
true acting skills that he really has as a father in
agony. Julianna Margulies
also surprises with her protrayal of Bernadette
Doyle's love interest. She is charming and feisty as
a bartender who enlists her solicitor brother's help to put the devastated father's family back together again.
He may be a double Oscar nominee but Bruce Beresford's directing here is mediocre. The director whose only decent film in recent years was 1999's Double Jeopardy makes a script that is already too obvious painfully so. Pacing is a little slow some of it is corny (ie: rays of sunshine representing faith) and some of it seems unnecessary (a love-triangle plot). The great acting and chemistry between Doyle and his kids especially daughter Evelyn is the best part about this movie.
A truck carrying hazardous materials accidentally drops one of its containers into a small lake contaminating it and its delicate ecosystem. Trouble arises when the wacky town entomologist feeds his collection of exotic spiders contaminated crickets which act as a sort of spider "steroid." The result is a horde of giant hairy spiders that prey on the town's unsuspecting inhabitants. Sheriff Sam Parker (Kari Wuhrer) doesn't believe her son Mike (Scott Terra) when he tries to warn her about what's going on but blames his "media-induced paranoid delusional nightmare" on too much boob-tube watching. Then when mining engineer Chris McCormick's (David Arquette) aunt gets spun--literally--into one of the spider's webs he enlists the help of Sheriff Parker and paranoid radio announcer Harlan Griffin (Doug E. Doug) to fight off the eight-legged freaks. Armed only with rakes ski poles and chainsaws the townspeople fight off the spiders in a losing battle before Chris comes up with a master plan that will blow the arachnids to smithereens.
Prankster Arquette (See Spot Run) tones down his funnyman routine in Eight Legged Freaks and takes on the role of the humble hero. It's refreshing to see Arquette playing a more subdued character with less of a slapstick edge although I half expected him to start yelling at people to "dial straight down the center." As the sheriff Wuhrer (Berserker) plays her dual role well as a headstrong single mother of two and the town leader. Sure she looks a little too hot to be a chief law enforcement officer but maybe some sheriffs really do look like that in small-town America. While the laughs may not have been coming from Arquette there were enough to be had thanks to Doug whose most memorable role to date has to be Sanka Coffie from the 1993 comedy Cool Runnings. His radio announcer in this film believes the government is conspiratorial and that the spiders are the alien invasion he has been warning people about for decades. Doug delivers some of the movie's funniest lines.
New Zealander Ellory Elkayem (Larger Than Life) wrote and directed Eight Legged Freaks a sort of homage to mid-1950s B-movie sci-fi thrillers like Tarantula or Earth vs. the Spider. But while these cult films were funny merely by accident--Tarantula director Jack Arnold probably wasn't being intentionally campy--Eight Legged Freaks at times seems to try too hard. Packing in one joke after another takes away from the spiders' scariness making them seem more like a practical joke than a potentially annihilating threat. The special effects are extremely slick however and the spiders are well done with techniques approaching those in the 1997 sci-fi actioner Starship Troopers (but none of the gigantic CGI spiders are as scary as the real-life tarantulas caged up in terrariums at the start of the movie). Although at 99 minutes the film moves quickly the final scene in which the townspeople are being chased through a labyrinth of mining tunnels drags on a bit too long.