Did Hollywood have anything to do with the emergence of the Occupy Wall Street movement? The whole thing seems a little bit convenient. Last month saw the behind-the-meltdown docudrama Margin Call and the sci-fi metaphor In Time. Now we have Tower Heist a comedy that pits the blue collar staff of the Trump Tower against a thieving Bernie Madoff-esque tenant. The movie's an Ocean's 11 for the 99% with a sense of timeliness that makes the simple plotting and wisecracking that much more effective.
Ben Stiller stars as Josh Kovacs overseer of all the goings-on at the Tower. He wakes up before dawn and heads home after sunset spending his day catering to the occupants of the ritzy apartment complex and managing his eclectic crew—including former Burger King cook Enrique (Michael Peña) Jamaican maid Odessa (Gabourey Sidibe) and his slacker brother-in-law Charlie (Casey Affleck). The crew's greatest concern is multi-billionaire Arthur Shaw (Alan Alda) the penthouse resident Tower board member and thanks to attention paid trusted friend of Josh.
Trusted...until the FBI busts Shaw for stealing millions including the Tower employees' pensions.
Like all good tower heists Josh's titular harebrained scheme is prompted by a drunken night out with lead investigator Claire (Téa Leoni) who tips the irked manager off to Shaw's hidden stash: a possible eight-figure sum hidden somewhere in his apartment. In pursuing the American dream of revenge Josh recruits his slighted co-workers along with distraught former-millionaire Fitzhugh (Matthew Broderick) and Josh's childhood friend-turned-thief Slide (Eddie Murphy). Together the motley crew concocts a plan to retrieve what's rightfully theirs—all while sinking Shaw in the process.
Tower Heist isn't as slick or intricate as the Ocean movies but its straightforward take on the crime genre is strengthened by Stiller Murphy and the rest of the cast's ability to inject ridiculous humor into sympathetic characters. When Josh realizes his decade spent commanding the operations of the Tower were for naught he wigs out marching up to the top floor to beat the crap out of Shaw's priceless convertible (it was owned by Steve McQueen in case you were wondering why anyone would keep an antique car on the top floor of a building). Not entirely realistic but relatable which sums up every over-the-top satisfying scenario these characters find themselves throughout the film.
Most importantly Tower Heist delivers on the funny. Playing the straight man is an art and Stiller's one of the masters (although you'd never know it from his Night at the Museum shtick or wackier roles like Zoolander) riffing off his co-stars while giving them ample time to be complete weirdos. The movie is being touted as a comeback for Murphy but he wisely steps into a supporting role delivering on his character's manic charm while never trying to steal the spotlight. The one who really steals the show is Broderick whose clueless neurotic Fitzhugh can't help relapsing mid-heist into memories of luxurious trips to Greece.
Credit goes to director Brett Ratner who cranked out three Rush Hour movies and an X-Men threequel while never really nailing down what it takes to make a group dynamic work. Here he pulls it off finding the right beats to make Tower Heist funny and thrilling. There are moments during the actual heist scene set during the Macy's Thanksgiving Day parade that cause quite a stir—a rarity in today's run-of-the-mill thrill rides.
Tower Heist is the definition of a cinematic softball avoiding risky choices and utilizing each actor to their previously known (and successful) traits without feeling lazy. As the holidays roll in and families look for something they all can enjoy Tower Heist delivers a little something for everyone. Except maybe Bernie Madoff.
In true straightforward comic-book style TMNT starts with a brief backstory (without the laborious explanation on why four turtles and a rat become human-like in the first place) and then launches into the heart of the movie. After the defeat of their old arch nemesis The Shredder the Turtles—fun-lovin’ Michelangelo (Mikey Kelly) tech guru Donatello (Mitchell Whitfield) hotheaded Raphael (Nolan North) and pragmatic leader Leonardo (James Arnold Taylor)--have grown apart as a family. While Leo is off honing his craft the turtles no longer fight crime--except Raphael who still fights crime under the pseudonym Nightwatcher. Struggling to keep them together is their rat sensei Master Splinter (the late Mako). But strange things are brewing. Tech-industrialist Max Winters (Patrick Stewart) is amassing an army of ancient monsters to apparently take over the world. With the help of old allies April O'Neil (Sarah Michelle Gellar) and Casey Jones (Chris Evans) the Turtles finally come together as brothers to fight the good fight and once again face the mysterious Foot Clan who have put their own ninja skills behind Winters' endeavors. As opposed to hiring just A-list actors TMNT is a nice eclectic mix of veteran voice-over artists who give the Turtles their voices and regular actors such as Gellar Stewart and Evans. Crouching Tiger Hidden Dragon’s Ziyi Zhang also gets in on the action providing the voice of the Foot Clan leader Karai who was once an enemy of the Turtles but now sees the value in what they do. Of course there isn’t a Robin Williams or Ben Stiller to laugh with but Kelly is pretty funny as Michelangelo who has had to resort to entertaining kids at birthday parties as “Cowabunga Carl ” a clown-for-hire in a “fake” turtle suit. It will all depend on whether those ninja-fightin’ pizza-eatin’ giant turtles still have a monetary appeal but methinks a new TMNT movie franchise has been born. The comic book was created in 1984 by Peter Laird and Kevin Eastman as a spoof to the superhero stories and quickly took off into merchandising heaven with a toy license and then a television series. The original 1990 live-action movie used state-of-the-art animatronics but somehow felt static and fake. Since the last TMNT movie in 1993 the whole Turtle phenomenon has sort of fallen off the radar at least in the U.S. so the time was ripe for a renovation. Using the innovative CGI we know and love this new TMNT--created by a team of animators from California and Hong Kong under the watchful direction of Kevin Munroe--gives the Turtles not to mention all the otherworldly monsters they have to fight a realistic look and feel. With this kind of freedom the film can focus on the action which is the best part of the TMNT lore. Though the demographics may skew male ages 8-11 (as well as those 8-to-11-year-old boys who loved it back in the day and are now grown men) TMNT is just your basic supercharged animated fun.
With stories like this who even needs the “Inspired by true events” shield? Primeval tells of the world’s most prolific killer Gustave. You see Gustave is a crocodile and he remains at large to this day. His thirst for human blood goes unpublicized until he chows down on a white woman at which point an American newsman Tim Manfrey (Dominic Purcell) his cameraman Steven (Orlando Jones) and TV personality Aviva (Brooke Langton) head down to Burundi Africa where they hope to document the capture of Gustave. They’re joined by a wildlife preservationist of sorts (Gideon Emery)—a rare breed in a post-Steve Irwin world—who doesn’t want to harm Gustave. The deep jungles of Africa become a veritable obstacle course when the locals embroiled in a long-standing civil war and unwilling to have some damn Yankees televising their homeland stand in the crew’s way not to mention Gustave proving an evasive 20-foot-long um little bugger! The names might not ring a bell but you’ve seen these three stooges before--all on TV in fact. Purcell is currently enjoying about half the 15 minutes of fame of Wentworth Miller on Fox’s slipping Prison Break. Purcell plays Tim with steel and virility as he hides his Aussie accent for the most part but he’s still got a ways to go to reach Clive Owen’s caliber of acting--and more importantly Owen’s caliber of roles. Langton of The Net (the TV show adapted from the Sandra Bullock movie of the same name) and Melrose Place fame shows off the beauty that will afford endless opportunities to prove herself as a “real” actress—which is ironically similar to her character’s plight—but will never get there with roles in movies like Primeval. And Jones still best known for and plagued by his 7-Up commercials is in true negligible-sidekick mode here--worthy of a snicker approximately once out of every dozen times he tries overzealously to get one. Jaws may come to mind based on the water creature-stalking-man plot but well it’s tough to even mention those two in the same sentence. Director Michael Katleman a TV fixture himself at least doesn’t even aim high enough to reach that level. No from the get-go he’s shooting more for an Anacondas feel—and yes that’s the horrific sequel to the so-terrible-it’s-fun J.Lo “original.” Katleman almost reaches Anacondas-ian highs but not quite. Among other notable problems the director cannot for one moment strike the right balance between the aforementioned level of guilty pleasure-dom and genuine horror. Instead he catches us off guard with what are supposed to be the thrills—and also with the comedy. Finally once Gustave is revealed which should essentially be the moviegoers’ reward the croc looks more a prop sitting in a theme-park lot. And the script from John D. Brancato and Michael Ferris (Terminator 3 co-writers)—well let’s just hope with the story being uber-derivative and cheesy enough as it is Orlando Jones ad-libbed all of his unlaughable comedy!