Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
Anyone who’s been to the zoo has considered the possibility that once all the visitors and the zookeepers go home the animals come out from their enclosures and talk about the day. And so while Frank Coraci's Zookeeper is kind enough to show us what that fantasy looks like it isn’t kind enough to show us much else.
In Zookeeper Kevin James plays Griffin Keyes who’s so in love with his girlfriend Stephanie (played by Leslie Bibb) that he doesn’t realize she’s terrible until he proposes to her and she says no because she doesn't like his job. After the breakup Griffin focuses on his work and is totally aware of how he wishes he had someone in his life to care for him the way he cares for the wildlife at the Franklin Park Zoo. When the animals (being the astute creatures that they are) notice how badly their favorite zookeeper has been feeling since the demise of his relationship they decide to break their vow of silence to show their appreciation for him by sharing all the tips and tricks that have helped them all get mates. The imparting of this knowledge paves the way for Kevin James to regurgitate onto the audience all the talent for physical comedy he’s accumulated over the course of his acting career and it means Griffin spends the majority of the movie rubbing his back against a tree like a bear or peeing on a tree like a wolf because he thinks his ex-girlfriend will take him back if he asserted his dominance more.
One of the more skillful things the film does is give each of the animals their own personalities in a relatively short period of time and credit should be given to the actors who voiced them. Sylvester Stallone’s Joe the Lion was the leader of the group and his frequent lover’s quarrels with Janet the Lioness (voiced by Cher) will particularly resonate with parents. Adam Sandler’s Donald the monkey delivered some nice one-liners and unapologetically bragged about his opposable thumbs. Judd Apatow Maya Rudolph Jon Favreau and Faizon Love also provided worthy comedic contributions to the animal group but it was Nick Nolte’s role of Bernie the gorilla that particularly stood out. After an incident with an abusive zookeeper (strangely played by Donny Wahlberg) where Bernie gained the reputation of being dangerous he was extricated from his beautiful and open enclosure and dropped down into a cement pit to be punished over a misunderstanding. But even though Bernie was out of site and otherwise inaccessible to the zoo’s patrons Griffin didn’t forget about him and worked arduously to convince him that not every human is cruel by putting a yellow polo shirt on him and taking him to T.G.I. Fridays. Though completely random and almost irrelevant the sentiment was very close to nice.
But the movie's biggest problem isn’t the fact that its animals talk or that Griffin listens to them without realizing he’s trying to win back a human by acting like a wombat. It’s that because Griffin's first love Stephanie was a bad person filmmakers were burdened with concocting a new love figure for him (because like all protagonists he's supposed to rediscover his self-worth and self-respect after it has been misplaced). The director acknowledged this challenge by manufacturing Rosario Dawson’s character Kate the eagle expert/veterinarian. Kate’s close proximity to Griffin at the zoo and possession of a slinky black dress meant she became his accomplice when he tried to use the skills the animals taught him to win Stephanie back at his brother's wedding. Eventually it becomes clear that the audience is supposed to root for a union between Griffin and Kate but it's an almost impossible task because Griffin barely has any screen time with Kate and because of all the talking animals going on there is no room for a relationship when the film is already busting at the seams.
Theoretically Zookeeper sounds decent. And for the most part the scenes where the animals are coaxing Griffin are actually enjoyable. But the framework of the film makes the plot unnecessarily complicated…which means not only do audience members not get enough of what they wanted but they also get a whole bunch of other things they didn’t sign up for.
Author Stephanie Meyer unleashed a phenomenon with her Twilight novels a teen vampire romance that has spurned a teen cult following. The good news is the movie is surprisingly just as potent -- a spellbinding terribly romantic hypnotic and entertaining film. At its heart are the elements that make any teen drama work; in this case it’s forbidden love. It starts with 16 year-old Bella Swan (Kristen Stewart) who relocates from her sunny Phoenix to the cold gray foreboding atmosphere of Forks Washington to live with her father. At her new high school she meets the incredibly attractive but mysterious Cullen clan including the allusive Edward (Robert Pattinson) who immediately intrigues her. What she doesn’t know yet is that Edward and his “family” are a group of vegetarian vampires who drink only animal blood and must live in the terminally cloudy region of Northwest. Edward tries to drive a determined Bella away by revealing his true identity but soon realizes she is the girl of his dreams. But as the two begin their complicated romance things get dicey when another group of um meat-lovin’ vampires target Bella. Teen Beat should clear their covers for a new group of stars sure to become huge with the female teen set -- and probably their mothers as well. Exuding a brooding reserve and air of mystery the follicley-endowed Robert Pattinson is reminiscent of James Dean and completely believable as a conflicted bloodsucker who becomes dangerously attracted to a mere mortal. His Edward’s unpredictable nature becomes irresistible for the attractive Kristen Stewart’s Bella as she grows closer to him despite his attempts to keep her at arm’s length. Not since Baby yearned for Johnny Castle in Dirty Dancing has there been such an effective pairing for the acne-challenged set. Pattinson and Stewart simmer with teen angst and desire and could be the next big thing -- especially if there are more Twilight sequels to follow. The Cullen clan led by foster parents Peter Facinelli and Elizabeth Reaser is perfectly cast with a good looking bunch of vampiric thesps including newcomers Ashley Green Kellan Lutz Jackson Rathbone and Nikki Reed. Red-headed Rachelle LeFevre as bad vamp Victoria is ideal along with Cam Gigandet and Edi Gathegi as the guys in her group of nomadic vampires. Director Catherine Hardwicke has certainly shown she understands the ever-changing moods of youth with her previous efforts (Thirteen Lords of Dogtown). But those flicks were just warm-ups for what she taps into with Twilight. She creates a wonderful creepy kind of muted dark and cloudy society with imposing camera angles and aching teen lust from her bright red-lipped hormonally charged leads. And thankfully she leaves the fangs on the cutting room floor. These vampires are actually relatable and Hardwick takes what could have been an awful juvenile programmer and lifts it into a different league creating not only a movie that should cross over beyond it’s target demo but one that makes us genuinely excited for the inevitable sequels.
Completely stripping Catwoman of her "Batman" connections the geniuses behind this comic-book movie--at least as bad as Spider-Man 2 is good--also stripped it of any pleasure. Neither campy a la Julie Newmar and Eartha Kitt of the old TV series nor sexy vamp like Michelle Pfeiffer of Batman Returns Halle Berry's Catwoman is well one lost little kitty in the big city. Actually she's Patience Philips--an annoyingly mousy graphics designer for a top cosmetics firm who despite her job has no fashion sensibility no self-confidence and no boyfriend. (Yeah riiiight!) She is befriended by a mystical Egyptian Mau cat which--courtesy of lousy digital effects--often looks disturbingly like Toonces and sounds like Linda Blair in The Exorcist when it meows; moreover its way of befriending Patience is to lure her into a suicide attempt--one of many plot points lacking a rationale. When Patience discovers that the cosmetics firm's villainous owner (Lambert Wilson) and aging supermodel wife (Sharon Stone) are marketing a toxic disfiguring facial cream she is killed--flushed through a drainage system into the ocean. But here comes that darn cat again to revive her as she's lying in sludge and mud. Next thing she knows she's sleeping on her apartment's bookshelf eating tuna by the caseload looking longingly at Jaguar hood ornaments as if they're long-lost relatives and jumping about walls basketball courts and whatnot faster than a speeding bullet. She also takes to wearing a pointy-eared black-leather dominatrix outfit along with too much makeup but at least no whiskers. She also starts sniffing around that foul cosmetics firm which leads to a martial-arts showdown with Stone. What the Oscar-winning Berry doesn't do regrettably is get a CAT scan to see what kind of ailment convinced her to make this lamebrain movie.
I've seen better acting on 7-Eleven surveillance videos than in Catwoman. Berry is cloying in the film's early stages when she's playing insecure lonely Patience and she's more pathetically childlike than anything else. Once she's Catwoman though she's really terrible tilting her head for endless close-ups and giving lots of wide-eyed stares meant to conjure feline curiosity but that more recall George W. Bush's "deer-in-the-headlights" gaze. The screenplay makes a few lame attempts to observe the duality of women in the way Patience changes to Catwoman but it's not there in the performance. Yet Berry's turn is a career-peak gem compared to Stone who can't decide whether to play the power-mad Laurel Hedare as a broad cartoonish send-up or as someone connected to reality. Looking like a vampiric Susan Powter and barking sarcastic lines without a hint of emotional connection to her character Stone is just awful. On the plot's fringes Benjamin Bratt does his best as a police officer (gee what else) who is both infatuated with Berry and suspects her of murder.
The one-named French director Pitof (short for "pitoful"?) supposedly is a digital-imaging expert who has worked with City of Lost Children's Jean-Pierre Jeunet but you'd never know it here. Either he doesn't know much about directing actors or maybe he only gives directions in French. The effects--especially action scenes involving a digitalized version of Berry--move at such a chaotic breakneck pace that she looks completely phony. Plus there's absolutely no sequential logic whatsoever to where Catwoman moves and when--apparently invisibility is one of her superpowers. These awkward clumsy scenes are usually accompanied by distractingly loud music. Pitof's only other directing credit is some obscure French flick starring Gerard Depardieu…one hopes Catwoman will be his last.