Many of the elements that have made the contemporary romantic comedy such a grueling (and formulaic) experience are present in Must Love Dogs, and yet the movie nonetheless will work for those willing to surrender themselves to its dreamy passion. The films success begins and ends with its leading players, and yet its important not to under value director Gary David Goldbergs script (adapted from Claire Cooks novel), which adds some interesting quirks to a familiar framework. Diane Lane, so beautiful that it almost hurts to look at her, plays Sarah Nolan, a recent divorcee who takes a chance on meeting single men who contact her through an Internet dating service. John Cusack, so adorable that even heterosexual guys might feel inclined to give him a big bear hug, portrays Jake Anderson, one of her prospective suitors. Over the course of the film, they date and dally with other people, yet they find themselves repeatedly drawn to each other. Elizabeth Perkins (as Sarahs sarcastic sister), Christopher Plummer (as their suave dad) and especially Stockard Channing (as the dads girlfriend) excel in key roles, yet the movie firmly belongs to its stars: Lane as a warm and empathic woman whos generous to a fault and Cusack as a sensitive artist-type (he builds wooden boats by hand) who watches Dr. Zhivago incessantly. You either buy into this fantasy or you dont -- me, I happily wallowed in it.
THE DUKES OF HAZZARD P1/2
Airing from 1979 to 1985, the TV series The Dukes of Hazzard was basically created for people who had trouble following the plotlines featured on Threes Company. Inspired by the glut of so-called hick flicks that dominated drive-ins throughout the 1970s, the hit show was primarily an excuse to showcase good ol boy shenanigans amidst plenty of car collisions. This film version follows suit, and the entire enterprise, appropriately enough, can be summed up in the sort of blurb found in TV Guide: Bo (Johnny Knoxville) and Luke (Sean William Scott) try to prevent the corrupt Boss Hogg (Burt Reynolds) from seizing all the land in Hazzard County for his own devious purposes. Daisy: Jessica Simpson. Uncle Jesse: Willie Nelson. 97 minutes. (Repeat) An extended sequence in which Bo and Luke drive through downtown Atlanta suggests that the movie could have worked as a clever reimagining in which the coarseness of the Old South repeatedly bumps up against the sensibilities of the New South, but this promise quickly dissipates to allow more room for the usual mix of lame slapstick humor and smashncrash auto theatrics. But lets be honest: If youre a fan of either the original series and/or Johnny Knoxville, youll probably get your moneys worth, so just ignore the critics and zoom on over to the nearest multiplex.
An award-winning audience favorite at Sundance, Murderball is a movie thats easier to admire than adore, and its makers wouldnt have it any other way. Though its focus is quadriplegic men who play wheelchair rugby, this documentary refuses to traffic in easy pathos and cheap sentiment: Its emotional moments are earned the hard way -- that is to say, honestly -- and its most startling declaration is that many of its subjects didnt turn into crude, caustic men angry at the world once they received their life-altering injury. On the contrary, some of these guys were jerks since Day One, long before they found themselves leading their lives sitting down. The movies poster boy (literally; hes in all the ads) is Mark Zupan, an intense wheelchair warrior who earned his injury in a car accident; the other major character is Joe Soares, a team coach who somehow manages to be even less appealing than Zupan. Clearly, Murderball doesnt want us to feel uplifted by the everyday struggles of these men; instead, it neatly averts the audience condescension thats invariably generated by documentaries of this ilk by forcing us to view its characters as equals, as guys -- sometimes likable, often not -- who are macho jocks first and physically impaired men second (as Zupan declares, hed rather have someone punch him during an argument than back down because of his condition; hell punch them right back). The movie loses steam whenever its attention turns to the on-the-court rivalry between the U.S. and Canadian teams; far more compelling are the personal glimpses of people whose broken bodies are no match for their brawny spirits.
SKY HIGH PP1/2
Better than Fantastic Four but nowhere near the league of The Incredibles,Sky High is yet another feature film that centers on a family of superheroes. Cribbing as much from X-Men and the Harry Potter series as from the aforementioned pair, this live-action Disney romp stars appealing Michael Angarano as Will Stronghold, the son of superhero legends The Commander (Kurt Russell) and Jetstream (Kelly Preston). As a freshman at Sky High, a high school populated exclusively by kids with special powers, Will is expected to emerge as a hero ahead of his time; instead, his lack of powers finds him relegated to the Hero Support classes, where he and other underachievers learn the basics to becoming a sidekick. As long as Sky High tweaks the superhero genre, it remains on solid ground, thanks to knowing dialogue and smart casting (Russell and Bruce Campbell certainly have the square jaws required of superheroes, and former Wonder Woman Lynda Carter appears as the school principal). But whenever the movie gets distracted by the conventions of the typical teen flick (the Heroes are the popular kids and the Sidekicks are the nerds -- get it?), it becomes a pale imitation of Mean Girls, Clueless and half the John Hughes oeuvre.
THE ISLAND PP
I wasnt a fan of Michael Bays first two films, Bad Boys and The Rock, though I can at least understand their appeal to action-film wonks. But Armageddon and Pearl Harbor were simply stupid and noisy and sloppy, while Bad Boys II was unwatchable. Lately, Bays been plundering Hollywoods past as a producer, offering execrable remakes of horror films both classic (The Texas Chainsaw Massacre) and clunky (The Amityville Horror). But The Island has enough going for it to assuage a substantial number of critics who may view the film as the directors first baby steps toward respectibility. Because the movie deals with the hot-button issue of cloning, expect to see critical blurbs pushing the film as Bold!, Smart Entertainment! and Complex And Challenging! Set in the not-so-distant future world of 2019, The Island casts Ewan McGregor as Lincoln Six Echo and Scarlett Johansson as Jordan Two Delta, two survivors of a global catastrophe that has destroyed most of the worlds population. Like everyone else still left alive, they exist in a carefully controlled environment, an enormous facility in which all their activities are carefully monitored by Dr. Merrick (Sean Bean) and his vast army of security guards. Merrick constantly assures the populace that the police state has been established for their own protection; to give the people hope, he periodically holds a lottery in which the lucky winner will be allowed to take up residence on The Island, a shimmering paradise thats reportedly the only place left on Earth thats inhabitable. Conservative opponents of stem cell research may view the film as a cautionary tale, while leftists can appease themselves with the appearance of a beady-eyed U.S. President whos dismissed by one citizen with the line, Hes an idiot. Yet a summer film from Michael Bay isnt about to weigh itself down with heady themes, so all thought goes out the window whenever Bay deems it time to amp up the volume by staging a massive action scene. The whole enterprise feels like a clone of a dozen earlier films: When the movie isnt busy emulating Coma or Gattaca or Blade Runner, its frantically borrowing from Minority Report or Logans Run or THX-1138. And as if to further accentuate its status as nothing more than a commercial commodity, The Island features an astounding amount of shameless product placements. Brand names like MSN, Aquafina and Xbox dont just appear hazily in the background: Theyre each accorded their own close-up, hogging so much screen time that they should have received star billing.
HERBIE FULLY LOADED PP1/2
The first Herbie picture, The Love Bug, hit theaters back in 1969 -- yet given the sort of cacophonous kiddie dreck that routinely fills the auditoriums today, this blast of old-fashioned sentiment isnt half-bad. Lindsey Lohan, whose tight outfits continually threaten to put the kibosh on the films G rating, stars as Maggie Peyton, a third-generation member of a NASCAR family whose lineage includes her deceased grandfather, her retired pop (Michael Keaton) and her clumsy brother (Breckin Meyer). Forbidden by her dad from ever taking part in races, Maggie goes against his wishes once she discovers that the rusty VW she rescues from a junkyard is magically endowed.
As is often the case with historical sagas, the picture relegates lots of fascinating material into a few blocks of text at the end, giving short shrift to the subsequent accomplishments of two people who refused to be defined merely by their physical appearances.
Keanu Reeves is again suitably taciturn as the former assassin who, just when he thought he was out, gets pulled back in, and the criminal world created for the first picture — a landscape in which there exists neutral-zone hotels in which no blood may be spilled – retains its unique appeal.
The major liabilities of the first picture have been neatly carried over into this latest endeavor, beginning with the fact that the general prudishness permeating throughout American society makes it impossible for Hollywood to produce an honest, provocative or explicit film about S-E-X and have it receive an R rating.