Parodies are a dying art. I hate to say it — because I love them so much — but over the last few years the unrelenting hacks known as Friedberg and Seltzer have systematically killed the art form with their brainless pop culture-stroking disguised as commentary. I remember the good ole’ days of Abrams and Zucker (prior to their Scary Movie entanglements) when parodies where funny precisely because they established their own voice and didn’t use the material they were lampooning as a crutch. Airplane! mercilessly mocked the bizarre run of airport disaster movies in the '70s but it also transcended easy jokes and script aping. Today thanks to inexplicable box office validation an entire generation now thinks that the “Random celebrity what are you doing here?” gag is the appropriate formula for parody.
Kick-Ass is going to put a giant boot in the face of that mentality. It is a pitch-perfect send-up of everything that is characteristic of superhero films. It is versed enough to cite convention but clever enough to find the humor in the genre’s absurdity. And the biggest advantage Kick-Ass has in the parody department is that it is unrelentingly entertaining. It seems that in the last few years terrible parodies have made undeserved fortunes at the box office while better-crafted entries have gone largely unseen. Kick-Ass on the other hand has all the necessary components to clean up at the box office and be well deserving of its success.
The performances in the film are all top notch. Nicolas Cage showcases yet again how he can make his personal lunacy work very effectively under the right conditions. The overly Leave It To Beaver dialogue he and his daughter exchange prior to assuming their crime-fighting alter egos is charmingly silly and if you don’t get a kick out of his channeling of Adam West from the 60’s Batman series when he is in the suit I highly suggest a humor implant immediately. Aaron Johnson in the title role plays the lovable loser to perfection. He brings a lot of heart to the character that drives the emotional crux of the film. And as much as Christopher Mintz-Plasse is the most recognizable young actor in the film it’s Chloe Moretz as Hit Girl who totally McLovins the film; stealing every scene she’s in. The personality comedic timing and ruthlessness that she brings to this character demonstrate a talent level well in advance of her age.
In terms of the treatment of the teenaged characters in the film this script is tantamount to something written by the late great John Hughes in so much as the teens are allowed to speak honestly and in their own limited vocabulary without the pretense of wit. I think teen comedies are improving dramatically of late but the obsession with making teens pithy wordsmiths baffles me to no end and I’m glad they were allowed to just be vulgar. And my God this thing is vulgar…and violent to boot. We get to watch an 11 year-old drop f-bombs and stab thugs in the forebrain. I mean come on the movie is called Kick-Ass for a reason and while it is a comedy the action sequences are unstoppably exhilarating.
A smart somewhat genre subversive parody Kick-Ass is also action-packed and entertaining enough to stand on its own two legs as a film and not just a lampoon. The costumes the music the fight choreography all work in harmony to bring us a blockbuster superhero film that is legitimately humorous in both its homages and honest characterizations. Do not miss this film.
Someone’s been killing off the criminals of New York City--the ones that the law can’t seem to put away via proper channels--and it’s up to veteran detectives Turk (De Niro) and Rooster (Pacino) to crack the case and bring the killer to justice by means fair or foul. As whodunits go this isn’t a terribly compelling or suspenseful one. There are red herrings and dropped clues galore but the script (by Russell Gewirtz of Inside Man fame) is both choppy and loopy--and not in good ways. The story is needlessly convoluted and despite a few tough-guy quotes from De Niro and Pacino this is a forgettable police potboiler. De Niro. Pacino. What more could anyone ask for? A decent script perhaps? There’s a palpable pleasure in seeing these two titans share the same frame but that sensation is quickly dissipated as the clunky storyline lurches toward its inevitable finale. Pacino appears to be having more fun than De Niro who’s almost sheepish in his role as a troubled New York detective. The supporting cast--and it’s a good one--fares little better although there’s more chemistry between John Leguizamo and Donnie Wahlberg as sort of a younger version of the De Niro/Pacino duo. Carla Gugino smokin’ hot as always bats her eyelashes and struts her stuff as a police pathologist with a kinky streak. Brian Dennehy clocks in as the obligatory hard-boiled police lieutenant while Curtis Jackson (better known as 50 Cent) sleepwalks through the stock role of a club owner of dubious disposition. It just goes to show that a great cast can’t do it alone. Jon Avnet who guided Pacino through his paces in the equally clumsy 88 Minutes (for the same producers no less) is simply not up to the task of overcoming the script’s vast and many shortcomings. Even for the most devout devotees of the two superstars Righteous Kill is merely a matter of killing time … and not in a particularly righteous way.
She's a hip-hoppin' be-boppin' mean ol' nanny who whips a mean stew and your butt for not doing your homework—and now she's back! Alas we don't speak of the Mrs. Doubtfire sequel but rather that of Big Momma a.k.a. FBI Agent Malcolm Turner (Martin Lawrence). Agent Warner has cut ties with the FBI at the behest of Sherry (Nia Long)—who as you no doubt recall is the granddaughter of the real Big Momma—since she's pregnant with Malcolm's baby. But wouldn't you know that he gets sucked back in after a former colleague is killed. Posing as Big Momma he's hired as a nanny to a suburban family the deadbeat dad of which is involved in the murder and a crime plot. She does it all—cooks cleans dances and even runs down bad guys but it's a race against time to stop the potential national security crisis. That is a race against the film's (mercifully) short running time. Although Lawrence's resume includes some of the dregs of comedy it's hard to argue that he is truly blessed when it comes to physical comedy and comedic timing. He continues both trends here this time without the help of the breakthrough actors of the past two years Paul Giamatti and Terrence Howard who yes both starred in the first Big Momma's House. That means Lawrence's urban mania is truly on its own and absurd and juvenile as the film may be even film snobs can't hold back a few laughs at his Big Momma outlandishness. Longreturns for no more than a select few scenes and to provide a minor conflict in the story. The notable newcomer is CSI's Emily Procter as the sterile mother who hires Big Momma. She does a serviceable job as a suburban Petite Momma. Might she be the next Giamatti or Howard to bolt to bigger and better things in time for the next sequel? No.
Big Momma's House 2 is right up director John Whitesell's alley. He's the guy behind such misses—though not necessarily financially—as Malibu's Most Wanted and See Spot Run and he's right at home here. Whitesell doesn't hold back in (literally and figuratively) pulling the robe off Big Momma but he clearly knows that nothing is to interrupt Lawrence's antics not even the thin story line. Aside from that he knows quite well how to execute thinly veiled rip-offs of the aforementioned Mrs. Doubtfire as well as countless other hidden-motive comedies (i.e. Kindergarten Cop Houseguest et al). Because while the main guise is the Big Momma fat suit Whitesell parades the film about as a feel-good/family flick.
On the surface Stay seems to be a straightforward psychological drama about a psychiatrist Sam Foster (Ewan McGregor) who is trying to keep a mysterious patient Henry (Ryan Gosling) from killing himself. But the deeper we get into it the decidedly weirder it gets. And not necessarily in a good way. Sam and Henry seemed to be inexplicably connected. While his girlfriend and former patient Lila (Naomi Watts) looks haplessly on Sam’s lightly held grip on the rational world begins to melt away. He can no longer figure out what is true and what is happening only in his head--all climaxing in a titular confrontation between life and death. Twilight Zone’s Rod Serling would have loved this one. Although he was surprisingly good as the romantic lead in The Notebook the usually somber Gosling is best known for playing quiet psychotics in such films as The United States of Leland and Murder By Numbers. In Stay he’s back to his old tricks as the suicidal Henry. Pale with mournful eyes and a perpetual cigarette in his mouth Henry is certainly a tortured soul looking for some relief. On the flip side Watts brightens the otherwise dismal surroundings as Lila but there’s also a tinge of sadness about her. The only weak link is McGregor. He can’t quite pull off playing the dedicated psychiatrist slowly losing his mind--but the Scottish actor sure has mastered the American accent (ditto for the Australian Watts). Director Marc Forster (Monsters Ball Finding Neverland) seems a bit out of his league with this jumbled-up hard-to-understand psychological fare. Granted the visuals are arresting. Forster strives to create a world which at first seems real but then little by little turns into a wildly shifting dreamscape in which scenes blend into one another seamlessly. The real problem here is the script by David Benioff (25th Hour). It tries to say “Look how clever!” by throwing you for loop after loop--except the loops don’t make much sense. You eventually stop saying “What the hell?” and start to get a pretty good idea how Stay is going to end up. And when the final twist is handed down it’s surprisingly not all that disappointing.
In this film based on the Newbery Award-winning children's book by Kate DiCamillo Opal (AnnaSophia Robb) is a lonely 10-year-old girl who has moved to a sluggish small town in Florida with her preacher father (Jeff Daniels). She has a tough time getting through to her dad: when he is not preaching the gospel he walks around in a haze haunted by the departure of Opal's mother many years before. But when Opal adopts Winn-Dixie named after the supermarket where she found the mutt things start to brighten up for the little girl. With her special companion by her side Opal ends up meeting some pretty interesting people in the town. They include Miss Franny (Eva Marie Saint) the local spinster librarian who spins great stories; Otis (Dave Matthews) the shy drifter working at Gertrude's Pet Shop; and Gloria (Cicely Tyson) an old blind lady living with ghosts from her past. Through Opal's sunny disposition and Winn-Dixie doggone tenaciousness they help the town find their joy and their sorrow. And at the same time they mend Opal's troubled relationship with her father. Collectively now awwww!
All the players fit snugly in this warmhearted movie especially the talented young Robb who makes her feature film debut in Winn-Dixie. It's imperative to cast an adorable child and Robb doesn't disappoint keeping things genuinely fresh with the big eyes infectious smile and Rebecca of Sunnybrook Farm charm. Daniels too doesn't overplay it as the wounded preacher--aptly described by Opal as a turtle--who rarely sticks his head out of his shell. Veterans Eva Marie Saint and Cicely Tyson do what they can with their stereotypical parts as the kindly spinster storyteller and kindly old wise woman respectively. But it's singer-turned-actor Dave Matthews who stands out as the drifter with a troubled past but can "sing most anything " even charming the animals in the pet shop á la the Pied Piper. His poignant performance is up there in the sentiment department.
Here we go with the children and the animals again. Wayne Wang (Maid in Manhattan The Joy Luck Club) is the latest director to take a stab at guiding those most unpredictable of actors. As he explains "Sometimes the going is slow. But then suddenly something magical happens that you couldn't possibly have planned or anticipated." It's true. There are definite moments of inspired sweetness especially between Opal and Winn-Dixie played by a Picardy Shepherd a rare breed of dog from France that has the look of a big old lovable mutt. And of course you can't go too wrong using heart-tugging material based on a beloved children's novel on par with Where the Red Fern Grows and Rebecca of Sunnybrook Farm. That's also Because of Winn-Dixie main problem. Fans of the book will certainly love the film but overall it doesn't really offer anything new in this genre. It's the same general premise about the kid and a dog--or a horse a deer whichever animal works best--who can change the lives of those around them just from being pure of heart. Maybe it's the curmudgeon in me but Winn-Dixie just doesn't stand out among the plethora of films similar to it.
Based on the bestseller by Nicolas Sparks the film begins with Duke (James Garner) and Allie (Gena Rowlands) an inseparable couple living in a nursing home. While Duke remembers their life together Allie who suffers from progressive dementia does not. Their only bond is a faded notebook from which Duke reads to Allie every day telling her the same story over and over. It's a sweeping tale of two South Carolina teens country boy Noah (Ryan Gosling) and city gal Allie (Rachel McAdams) who spend one glorious summer in the early 1940s falling madly in love. Unfortunately the couple is soon separated first by her disapproving parents and then by World War II but after seven years apart after taking different paths they are passionately reunited. There's a catch though; Allie is now faced to choose between the man she once loved and the successful businessman (James Marsden) she is engaged to. It's really no surprise who the young Allie chooses in the end--but for Duke the only thing that keeps him going is the fact that every day somehow through the power of this story the mentally impaired Allie miraculously remembers their love if only for a very brief moment before slipping back into oblivion. Tears being jerked from your eyes yet?
The talented cast certainly elevates The Notebook's romantic drudgery. McAdams takes a departure from all the Mean Girls she's played lately (including The Hot Chick) and easily wins you over as the spirited young Allie while the usually intense Gosling also tackles something lighter so to speak than his previous darker roles such as his Jewish-turned-American Nazi leader in The Believer. While infusing a certain sense of brooding and melancholy into Noah especially in the years he spends pining for Allie Gosling manages to exude Noah's genuine warmth and sensitivity as well. And between the two of them real sparks fly as the actors paint a fresh and inviting picture of young love that stands the test of time. Marsden is completely wasted however as Allie's fiancé Lon a upstanding Southern gentleman Allie's parents expect her to marry who offers little as to why Allie should stay with him. As the older contingency veterans Garner and Rowlands who take the sappiest material and turn it into something meaningful inspire some truly heart-ripping moments as the aging couple holding onto their love as tight as they can. In the supporting cast Joan Allen has some shining moments as Allie's uptight mother with a secret of her own.
In bringing the popular novel about enduring love to life director Nick Cassavetes (Unhook the Stars) may have used his own experiences having seen his parents--the late John Cassavetes and his lady love and muse Gena Rowlands--play out their own real-life love affair. Cassavettes gets to the heart of the material right away and permeates the screen with the beautiful surroundings of South Carolina where The Notebook was filmed. We glide through lush moss-filled swamps and sleepy Southern towns marvel at languid shots of the South Carolina coastline. It's very clear Cassavetes has a way with actors much like his father did gently coaxing realistic performances from his young somewhat untested leads while allowing old guards like Garner and Rowlands to simply work their magic (imagine telling your Oscar-nominated mother how to act. Right). The problem is the story itself which not only offers nothing new to the romance genre but also isn't very compelling. There are no great tragedies (save perhaps for the whole dementia thing) no real villainous presence to keep the lovers apart no peril at all. It's boy-meets-girl boy-loses-girl boy-wins-girl-back--ho-hum. Where's the sudsy soap opera when you need it?