A strong film, an important work, and already a lightning rod for controversy and (one hopes) healthy debate. But another instant Steven Spielberg classic? Not quite. With a script drafted by heavy-hitters Tony Kushner (Angels In America) and Eric Roth (Forrest Gump), Munich is largely a fictionalization of the events that transpired after that tragic day at the 1972 Olympics in Germany, when a group of Palestinian terrorists known as Black September slaughtered the Israeli athletes they were holding as hostages. The movie reveals that, in an effort to exhibit their toughness to the world, the Israeli government sent a select band of assassins to eliminate everyone who was responsible for the Munich massacre.
Spielberg and his writers bring to vivid life this motley crew of enforcers: Avner (Eric Bana), the sensitive leader of the group; the fiery getaway driver Steve (Daniel Craig, aka the new James Bond); the meticulous clean up man Carl (Ciaran Hinds); the jittery bomb maker Robert (Mathieu Kassovitz); and the pensive forger Hans (Hanns Zischler). Spielbergs muddying of the moral waters is already drawing heat (primarily from Jewish leaders), but its to his credit that he asks the hard questions and doesnt flinch from any unsettling truths that might emerge.
THE RINGER P 1/2
In need of quick cash, a struggling office worker named Steve (Johnny Knoxville) is persuaded by his sleazy uncle (Brian Cox) to pretend to be a mentally challenged athlete named Jeffy so he can enter the Special Olympics and come away the big winner. The movie may sound outrageous and offensive, but truthfully, navel-scratching slobs won't enjoy this any more than navel-gazing snobs once they catch a whiff of its overwhelming timidity. Because the filmmakers respect the plight of the mentally handicapped (indeed, the movie's executive producer is Tim Shriver, Chairman of the Special Olympics), they go out of their way to avoid anything that might be construed as demeaning. This in turn means that, except for a smattering of scenes with Cox's character (who openly calls the athletes "'tards"), the film's only outlet for any risky business is Knoxville, and he falls in line by offering up a performance-within-a-performance (i.e. a regular guy pretending to be handicapped) that's so meek, it's often hard to differentiate between when he's playing Steve and when he's playing Jeffy.
FUN WITH DICK AND JANE PP1/2
The 1977 original employs Jane Fonda and George Segal in a lumbering yarn about a well-to-do couple who turn to crime once the husband loses his job. Jim Carrey and Tea Leoni play the new Dick and Jane, who find themselves in a similar predicament once the CEO (Alec Baldwin) of Dicks company bails out, leaving thousands of employees without jobs, pensions or benefits. After working a series of low-paying odd jobs (the pictures funniest sequences), the couple eventually turn to robbing local shops with a squirt gun, earning enough dough to engage in even more elaborate heists.
MEMOIRS OF A GEISHA PP1/2
Director Rob Marshalls adaptation of the Arthur Golden novel plays like a Disney version of a Zhang Yimou movie, though the end result isnt as dreadful as that designation might suggest. As movie artifice, its above average, but it goes no deeper than that. Two Crouching Tiger, Hidden Dragon alumni handle the key roles: Ziyi Zhang plays Chiyo, the penniless foster child who grows up to become the legendary geisha known as Sayuri, while Michelle Yeoh essays the role of her mentor, Mameha. The Last Samurais Oscar nominee Ken Watanabe has the principal male role as the Chairman, the older man who catches Sayuris eye at an early (pre-pubescent) age and finds himself the center of her adoration over the ensuing years.
THE PRODUCERS PPP
Mel Brooks commercial failure but cult success was resurrected by the comic legend himself as a Broadway musical, one so successful that it earned a record 12 Tony Awards to go along with its enormous box office booty. That a movie version would follow is no surprise; whats startling is how the picture plays as little more than a static filming of the stage play. In the Gene Wilder role of the timid accountant Leo Bloom, Matthew Broderick strains too hard to be funny. Nathan Lane is a riot in the Zero Mostel role of Max Bialystock, the struggling producer who determines that a show called Springtime for Hitler is his ticket to riches.
RUMOR HAS IT PP
Sarah Huttinger (Jennifer Aniston) learns through a series of events that the best-selling novel The Graduate was based on the experiences of her own family. Over 30 years ago, both her mother (now deceased) and grandmother (Shirley MacLaine) had slept with Beau Burroughs (Kevin Costner), who in more recent times has become a billionaire. She maneuvers to meet him in person, only to find that, like her mom and grandma before her, she cant resist his roguish charm. The hook turns out to be the most entertaining aspect of the film, as Sarah strives to learn exactly how all the pieces of the Graduate puzzle fit together. Director Rob Reiner then proceeds to make matters worse, repeatedly mistaking frantic for funny.
What could be more idiotic than releasing a foreign slasher flick in the high-profile summer movie season? How about releasing a foreign slasher flick on Christmas Day? This Australian import strands three college-age kids (Cassandra McGrath, Kestie Morassi and Nathan Phillips) in the Australian Outback, whereupon they meet a hulking roughneck (John Jarratt) who proceeds to slice and dice them as he sees fit.
KING KONG PPP1/2
Peter Jacksons new Kong will make a fortune, and it saddens me that it will be viewed by scores of people who wont even give the original 1933 take a passing glance because they lack the imagination to immerse themselves in the world of vintage black-and-white cinema. But thats their loss, and certainly not Jacksons fault. Hes done his part by treating the property with love and respect, and, much to my surprise, his Kong is a -- pardon the pun -- roaring success. The first portion of the film details how visionary filmmaker Carl Denham (Jack Black) elects to head out into uncharted waters to make his epic adventure movie, recruiting a struggling actress named Ann Darrow (Naomi Watts) to serve as his leading lady. Denham is all business, meaning that Anns romantic escapades arrive in the form of Jack Driscoll (Adrien Brody), a sensitive screenwriter. The second part charts the sea voyage and the arrival on Skull Island, whereupon Ann is co-opted by the local natives for the purpose of serving as a human sacrifice to the great ape known as Kong. The climactic third act finds Kong captured and taken to New York, where, billed as King Kong, The Eighth Wonder of the World, he becomes the featured attraction in Denhams lavish theatrical production. Naturally, Kong escapes and goes on a rampage. Ultimately, Jackson respects that King Kong is above all else a love story -- thats why Fay Wray is remembered so fondly from the original picture, and why Naomi Watts will emerge the most triumphant from this new version.
THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE PPP
C.S. Lewis source material sprinkled Christian allegories throughout a fantasy yarn that was aimed primarily at children, and the movie steadfastly respects Lewis intentions. Its religious themes -- issues involving honor, forgiveness and redemption -- embody the true spirit of Christianity and in effect serve as an antidote to the sadistic theatrics of Mel Gibsons garish snuff film, The Passion of the Christ. Lewis and The Lord of the Rings author J.R.R. Tolkien were friends and contemporaries, so its not surprising that the films based on their respective works often resemble each other in style and structure. In fact, Id wager that it took the massive success of the LOTR flicks for Narnia to even be given the green light. Therefore, its easy to see the plucky Pevensie children -- Peter (William Moseley), Susan (Anna Popplewell), Edmund (Skandar Keynes) and little Lucy (Georgie Henley) -- as human Hobbits, bravely entering enemy territory to defeat an evil entity whose cruel reign threatens all sorts of races and civilizations.
THE FAMILY STONE PP1/2
This ensemble piece centers on the Stone family, a liberal New England clan whose members prove to be remarkably close-minded when it comes to accepting a conservative prude into their abode. Oldest son Everett (Dermot Mulroney) brings girlfriend Meredith (Sarah Jessica Parker) home to meet his parents (Diane Keaton and Craig T. Nelson) and siblings, but except for his laidback brother Ben (Luke Wilson), all the family members -- especially bitchy sister Amy (Rachel McAdams) -- treat their guest poorly.
Bob Barnes (George Clooney) is a CIA field operative whos stunned when his years of service count for naught once his superiors decide its in their best interest to betray him. Syriana offers little hope and no answers, catering instead to the substantial number of Americans who feel that the bad guys -- chiefly, Big Business and Big Government -- have already won, and theres not a damn thing we ordinary citizens can do about it. For those who already believe this, the movies a well-executed downer. For those seeking to educate themselves, the movies a must-see. w
AEON FLUX P1/2
An impersonal slab of sci-fi sameness, Aeon Flux wears its lethargy as a badge of honor, with Karen Kusamas draggy direction and Charlize Therons monotonous performance front and center in every scene.