If there’s one positive thing about Delta Farce is that is actually follows a tried and true comedy formula-- namely the fish-out-of-water scenario—with moderate success. Down on his luck after losing his job and his girlfriend on the same day Larry (of the Cable Guy variety) decides to join his neighbor Bill (Bill Engvall) and his combat-happy buddy Everett (DJ Qualls) for a relaxing weekend of playing army. But when the three unlucky guys are mistaken for Army Reservists they’re loaded onto an army plane headed for Iraq--and mistakenly ejected in a Humvee somewhere over Mexico. Don’t ask. Convinced they’re actually in the Middle East the clueless wannabe soldiers turn into Magnificent Seven meets the Three Amigos and save a rural village from a siege of bandits proving to be real heroes after all. If you need to laugh at the war on terror you might as well do it with Larry the Cable Guy. He serves up his particular brand of comedy making light of a bad situation. In fact not only does he come off somewhat sympathetically as the hapless boob with a heart of gold he also gets the hot chick at the end of the movie. Go Larry! As his accomplice fellow stand-up Bill Engvall follows his own comic routine playing a hen-pecked trailer trash denizen who views this adventure as a great way to escape his overbearing wife and snotty kids. As the third doofus DJ Qualls (Hustle & Flow) plays a trigger-happy wannabe jarhead who sees this opportunity as a way to gain some street cred. And in a supporting role Danny Trejo a Robert Rodriguez regular pokes fun at his scary looks as the leader of the marauding bandits aptly named Carlos Santana. Yes the jokes are plenty. Director C.B.Harding is obviously a Larry the Cable Guy crony since his only other feature film credit is the Blue Collar Comedy Tour movie. Honestly all that’s really required of him is to point and shoot with maybe a few action sequences to coordinate here and there. But while the formula works as a cohesive movie having to sit through Delta Farce’s comic stylings is the tricky part. What it really boils down to is whether you’re a fan of Larry the Cable Guy. If so you’ll (I would hope) realize you’re watching a pretty stupid comedy but will laugh in the appropriate parts. If not I would really wonder what the heck you are doing sitting in the theater.
Set during the Spanish Civil War of the 1940s—a favorite area of exploration for writer-director Guillermo del Toro—the story follows dreamy 11-year-old Ofelia (Ivana Baquero) as she’s uprooted and relocated to a remote military outpost when her sickly mother (Ariadna Gil) marries the wantonly cruel camp commander Captain Vidal (Sergei Lopez). With the compassionate but secretive housekeeper Mercedes (Maribel Verdu) as the closest thing to a friend she has in the oppressive environment Ofelia escapes into a richly textured fantasy world. She follows a dragonfly she believes is a fairy into a landscaped but neglected garden maze she recasts as the lair of the goatish godling Pan (Doug Jones). He tells her she’s the last heir to a magical otherworldly kingdom and charges her with several tasks to help her reclaim her birthright. As her personal world grows more and more grim—the impending birth of her half-brother threatens her mother’s health her step-father grows colder and colder in his bid to crush the resistance and Mercedes’ hidden agenda places her in jeopardy as well—Ofelia soon finds herself tangling with hideous monsters both imagined and all too real often having difficulty distinguishing which is the more dangerous. The astonishingly real performance of the amazing young Spanish actress Baquero as Ofelia anchors the film firmly in both its real world and fantasy environments as only the convincing imagination of a child could. Lopez is an equally compelling discovery as the callous Vidal pitiless vicious and malevolent while still remaining believably human throughout. He’s unblinking in his depiction of a thoroughly vile and cruel man but avoids any aspect of cartoonish evil. And Verdu (Y Tu Mama Tambien) as Mercedes is a wonder as well with her remarkably expressive face unlimited by the film’s Spanish language barriers. Kudos too to Doug Jones a whisper-thin actor who specializes in “creature” roles (he’s played Abe Sapien in del Toro’s Hellboy and will be the Silver Surfer in the Fantastic Four sequel) who somehow magically delivers fully-formed performances as both the faun Pan and the freakish Pale Man through layers and layers of latex. Pan's Labyrinth is unquestionably Guillermo del Toro’s finest film work to date as pure an artistic vision as is likely to be committed to celluloid. He wisely worked outside the Hollywood system in his native Spain to bring his dark tale to life. The story exists in that shadowy netherworld between childhood and adulthood innocence and awareness of the world’s more sinister nature and its characters and themes are explored in ways that no mainstream film would ever allow. On the surface the trappings are Tim Burton-esque but the dark corners Pan's Labyrinth peers into are grim and gloomy indeed; del Toro is never afraid to delve into the murkiest of directions that to audiences used to more conventional movies are heart-wrenching even gut-churning but ultimately emotionally honest and in unexpected ways as immensely satisfying as they are haunting. The film is the announcement of the complete arrival of a major filmmaker and we can only hope that the qualities del Toro brings to this work do not get lost in the maze of Hollywood for future films.
Based on the best-selling book of the same name Fast Food Nation has three intertwined stories revolving around the fast food industry. Don Anderson (Greg Kinnear) is a corporate marketing guy assigned to put a positive spin on the bad news that fecal traces has been found in the meat. He goes to the meat factory to investigate and doesn’t like what he sees but no one offers him a viable solution. Then there’s Raul (Wilmer Valderrama) and Sylvia (Catalina Sandino Moreno) Mexican immigrants who cross the border illegally. The only job they can get is in the meat factory. She bears with demeaning sexual advances while he faces the unhealthy and dangerous conditions to try for the American Dream. Finally we meet Amber (Ashley Johnson) who works in a local franchise. She’s just a high school girl trying to pay for her car insurance. This isn’t her future but it dominates her present. The corporate story is a comedy about ineffective management and media spin. The immigrants’ story is a hard drama about a bad life. Amber’s story straddles both lines--a slacker teen comedy but also introspective about what the job is doing to her soul. It may be no secret these days but it’s still fascinating. There is plenty of juicy dialogue for actors to sink their teeth into (pun intended). Kinnear plays the corporate suit as lovably as possible. He’s the put-upon business cog similar to his characters in The Matador and Little Miss Sunshine but funnier because it’s the system that’s futile not his own dreams. Valderrama has a smaller part just supporting his wife going through a horrible life with noble determination. Moreno is as heartbreaking as she was in her Oscar-nominated performance in Maria Full of Grace. You sense so much potential in her and she’s stuck in the factory demeaned by sexual harassment and unable to save her sister from succumbing to it. She adds new colors of despair to the immigrant experience. Johnson is careful not to make her character too wise beyond her years. She really is just a normal kid. High school sucks so do counter jobs. It’s not about being unique just relatable. Cameos stand out too. Ethan Hawke plays the coolest uncle ever. He comes to town for two scenes spouts off his cool-uncle advice and then leaves. Even though he’s a self-confessed loser he’s convincing. And he buys her beer. Bruce Willis gives a speech on the meat industry with his David Addison smirk while chomping into a burger. We’re sold. Director Richard Linklater does a good job keeping the comedy and drama balanced. He cuts back and forth between stories at sensible intervals. Towards the end Greg Kinnear disappears for a long time but Ashley Johnson’s story beefs up to compensate. Showing the inner workings of the meat factory is pretty powerful. Cow guts falling out and bodies mangled by machinery are not fun things to watch but they are important to remember. It’s all up there on the screen but not gratuitous—and doesn’t have to ruin meat forever. Just think how all foods have processes that we don’t see and still taste good. There are plenty of scenes in which the characters are talking a real Linklater specialty (Before Sunset Before Sunrise for example). Whether they’re talking about meat or minimum wage jobs or life ambitions the conversations have a catchy flow. The satire of corporate America and slacker lifestyles juxtaposed against the drama of immigrant life makes Fast Food Nation both ridiculously funny and appropriately uncomfortable.
Innocent Voices depicts the brutal reality of El Salvador’s 1980 civil war as seen through eyes of an 11 year-old boy who may soon get drafted by the army despite not understanding what the war is about. Though both sides were soldiered with young boys it was the government that actively recruited all 12-year-olds and forced them to fight. Eleven year-old Chava (Carlos Padilla) is about to turn but that doesn’t stop him from trying to enjoy life. Since he’s the man of the house--his father left to earn money in America and never returned--Chava wants a job so he can help his overworked mom (Leonor Varela) who quit her restaurant job to stay home and shield her three children from stray bullets. His first job comes when he stumbles upon an old bus owned by a jovial but careless bus driver (Jesus Ochoa). The two become instant friends as Chava rides the railing and calls out the stops. Meanwhile he discovers love after summoning the courage to ask the teacher’s daughter to fly paper fireflies with his friends. All the while the moment he has dreaded--his 12th birthday--looms large over his days. His Uncle Beto (José María Yazpik) a guerilla fighter on the run tries to convince his mother to let Chava live with him in the hills where it’s safe but she can’t let him go. Once he turns Chava must hide with the other boys when the soldiers come around to recruit. But he grows tired of hiding and takes matters into his own hands running off to join the guerillas where he discovers a fate worse than fighting--that of never seeing his family again. Perhaps the strongest element in the film is the surprisingly mature Padilla. Getting a child actor to perform on any level can sometimes be an exercise in futility but director Luis Mandoki manages to get Padilla able to run the gamut of emotions--joy fear the awkwardness of new love--in a very real and convincing way. While most directors would shy away from placing so young an actor into difficult situations particularly the climactic scene where Chava faces execution and watches his two best friends get shot in the back of the head Mandoki defies conventional wisdom and challenges Padilla who is most worthy of the call. As Kella Varela exudes strength despite her constant worry over her children particularly Chava whose arrival home after curfew causes her to feel rage worry forgiveness and joy in a matter of seconds. Legendary Mexican actress Ofelia Medina has a small but important supporting role as Kella’s mother--she provides her daughter’s family with their last peaceful refuge before their lives are destroyed by the army. Minor characters such as Uncle Beto the Bus Driver and Chava’s classmates all serve their purpose though Xuna Primus the classmate Chava falls in love with handles emotional scenes with Padilla with similar maturity. Innocent Voices marks the first Spanish-language film for Mandoki since the international success of Gaby-A True Story--and he’s back true to form. With Innocent Voices he has crafted a powerful and emotionally gripping film that never shies from the ugly realities of how war destroys families and makes men of boys well before their time. Sharing screenwriting credit with actor Oscar Torres on whom the story is based Mandoki benefits from his strong cast particularly Padilla; a wrong choice in casting Chava could have sunk the film. Mandoki masterfully lulls us into thinking that Chava might have some hope of living a normal life in El Salvador--he plays with friends just like any other kid. But every time it looks as though Chava is experiencing life as he should bombs explode machine guns erupt and soldiers come storming in to remind us that he’s living in the middle of a civil war. Ultimately Chava’s only escape is to America but he must leave behind his family much like his father in the beginning. It’s a nice bookend to Chava’s development: Despite the chaos around him his position as head of the family and the specter of being recruited into the army his real transformation into manhood comes when he finds the courage to strike out on his own.
Apocalypse pretty much picks up where Resident Evil left off. Alice (Milla Jovovich) the heroine from the original who escaped the Umbrella Corp.'s underground "Hive" and its zombie denizens awakens in a cold laboratory to find herself alone in a ravaged Raccoon City. Apparently the T-cell virus that destroyed the Hive has been unleashed on the city turning the metropolis into Michael Jackson's "Thriller" video. On a more positive note Alice has also somehow been genetically altered and now possesses superhuman strengths senses and dexterity--which is nice. Her skills comes in handy when she joins up with a rag-tag group of uninfected survivors including Jill Valentine (Sienna Guillory) a member of the Umbrella Corp.'s elite Special Tactics and Rescue Services (meaning she's excellent at shooting guns); Carlos Olivera (Oded Fehr) a biohazard countermeasure force leader (he's not too bad at the gun thing either); Teri Morales (Sandrine Holt) a journalist trying to get the "real" story and L.J. (Mike Epps) a wisecracking civilian caught up in the mayhem. But in order to get out of Dodge Alice and the gang need to wade their way through the relentless onslaught of the ravenous undead as well as the malevolent Umbrella forces and bio-engineered weapons. Yeah and you thought going to work on Mondays was bad.
Just by looking at the petite Milla Jovovich one wouldn't imagine the sort of physical prowess she possesses; she can really pull off this action-heroine stuff. Not like that's a big surprise. Ever since The Fifth Element and the original Resident Evil Jovovich has easily convinced us she is more than capable of kicking the bejeezus out of the nasty baddies she encounters while also managing to convey some genuine human emotion. Yet Apocalypse has an extra bonus because not only is there one kick-ass female but two which thankfully makes Apocalypse much more exciting than say the incredibly boring Lara Croft: Tomb Raider. British actress Guillory plays the sexy Jill Valentine a popular character from the video game (who of course is scantily clad in a tube top short skirt and big black boots) who has the same steely self-control as Alice firing off her weapons with aplomb. Although prickly at first the two gain some hard-earned respect. As the only male zombie-kicker Fehr (The Mummy) complements the ladies nicely with his handy dandy knife-throwing and well-choreographed moves while Epps (The Fighting Temptations) offers appropriate comic relief without being too obnoxious about it.
The first two Resident Evil installments is reminiscent of the first two installments in the Alien series. Differing from Alien only in the fact it was already a well-known video game the original Resident Evil kept things contained and creepy as a small band of soldiers investigate what happened in the Hive as did Alien. Then when it came time for the sequels both franchises decided to come out like gangbusters with more guns more monsters and more explosions. The formula works. First-time director Alexander Witt who worked with the original Resident Evil director Paul W.S. Anderson as an assistant director gets the hang of things pretty quickly inundating audiences with eye-popping thrills and Matrix-esque action sequences. Witt also brings back some favorites from the original including the undead Dobermans who look like they've been turned inside out; and the Lickers those lovely biochemical experiments with long-whipping tongues they use to snatch their prey. The problem is the film's flow; it simply is too much like a video game. While the individual segments are seat-grabbing the overall cohesiveness gets lost at times even if the ending leaves things wide open for a third film.