Good Luck Chuck *
Upchuck would have been a more accurate title for this abysmal effort — not only does its mere existence instantly elevate the already high standing of such accomplished “raunchy comedies” as The 40-Year-Old Virgin and There’s Something About Mary, it also makes them seem as refined as an Ernst Lubitsch farce from the 1930s by comparison. Dane Cook, whose popularity continues to elude me, plays Chuck, who, as a 10-year-old, was placed by a Goth girl under a hex which states that whenever he sleeps with a woman, she will then marry the next man who woos her. This allows Chuck to have sex with all sorts of buxom babes without worrying about commitment issues. But he grows tired of such a shallow lifestyle, especially after meeting Cam (the eternally vapid Jessica Alba), a klutzy penguin specialist he’s afraid he’ll eventually lose to the curse. Cook and Alba generate about as much chemistry as a mongoose paired with a rattlesnake, while Dan Fogler, as Chuck’s foul-mouthed best friend, will likely endure as the movie year’s most obnoxious sidekick. After the film’s advance screening, sponsors handed out eMusic cards good for 35 free song downloads, perhaps as a goodwill gesture for having to sit through such a torturous experience. In my case, it wasn’t compensation enough: Considering my suffering nothing short of full partnership in eMusic would have sufficed.
Just as 1978 saw the release of two Vietnam War flicks that complemented each other in their portrayals of the skirmish — The Deer Hunter and Coming Home — along comes September 2007 and its entree selection of two Iraq War dramas. The Kingdom is basically a Rambo retread outfitted with a thin veneer of topical import. Director Peter Berg (Friday Night Lights) appears to be an American apologist at heart, which may explain why, after a fascinating title sequence illustrating the United States’ complicated ties to Saudi Arabia the movie quickly devolves into a standard us-against-them revenge flick. The film opens with a shocking sequence in which a base for American families in Riyadh, Saudi Arabia, is destroyed by terrorists, thereby prompting a group of elite FBI agents to undergo a secret mission to find the culprits once the Saudi and U.S. governments both balk at creating an international incident. Collectively, the four agents — played by Jamie Foxx, Chris Cooper, Jennifer Garner and Jason Bateman — are devoid of much in the way of personality, but that’s OK: Their only purpose in this story is to kill Middle Easterners. Lots of them.
1/2 Writer-director Paul Haggis will forever be lambasted in many circles because his arch drama Crash unfairly shanghaied the clearly superior Brokeback Mountain at the Oscars. But those quick to write off Haggis as a pandering huckster tend to forget that he also penned the exquisite screenplays to two Clint Eastwood triumphs, Million Dollar Baby and Letters From Iwo Jima. It’s that Paul Haggis who shows up with In the Valley of Elah, a powerful drama that employs a murder-mystery template to initially camouflage what ultimately proves to be the picture’s true intent: Examine the repercussions of war on the psyches of the youngsters we ask (or order) to defend us in battle. Tommy Lee Jones, in a superlative performance, stars as Hank Deerfield, a retired officer trying to find out why his son went AWOL upon returning from a tour of duty in Iraq. It’s obvious from the outset that Hank won’t find his son alive, and once it’s ascertained that the boy was murdered, the morose father teams up with equally glum detective Emily Sanders (Charlize Theron) to solve the case. On its own terms, the mystery is set up and followed through in a satisfying matter, and only those expecting an elaborate Agatha Christie-style unmasking of the killer will be disappointed in this aspect of the story, which wraps up well before the actual movie does. Clearly, Haggis’ main story is about the toll that the Iraq War — and, by extension, all battles, especially those (like Iraq) created for bogus reasons — takes not only on the soldiers sent to participate in the bloodshed but also on their families and friends. For all his surface simplicity, Hank Deerfield is a complicated and conflicted individual, a conservative patriot who would never question the military but who can sense that its ideals, along with those of the country he loves, have changed since his time of service. Even more daringly (and likely to spark debates among war vets), Haggis’ film attempts to depict the manner in which the specter of war can follow a soldier back to civilization and inform every subsequent decision and action.
A sprawling, messy yet occasionally affecting adaptation of Charles Baxter’s novel, Feast of Love finds Oscar-winning director Robert Benton (whose last film was the grossly underrated The Human Stain) orchestrating a series of intertwined storylines that all push force the notion that the true meaning of life can be found in the arms of a loved one. Morgan Freeman once again plays his stock role, a gentle soul who’s smarter than everyone else around him; here, that translates into the character of a happily married and semiretired professor who notices that love — and, in some cases, lust, deception and betrayal — is all around him. In what could probably be construed as first among equals in terms of the competing storylines, he befriends a coffee shop owner whose wife (Selma Blair) leaves him for another woman and who then becomes involved with a realtor (Radha Mitchell) who can’t seem to break off her affair with a married man (Billy Burke). The Mitchell-Burke relationship is given plenty of screen time on its own; ditto the puppy-love romance between two young coffeehouse employees (Alexa Davalos and Toby Hemingway). Happiness and tragedy are doled out in equal measure — usually falling where we expect — but a fine cast and some touching moments help make the film if not exactly a feast, then at least an edible appetizer that will keep our hunger for a great movie romance at bay a while longer.
A confirmation has proven difficult to nail down, but it’s long been rumored that Clive Owen, who was seriously considered for the role of James Bond, turned it down early in the series revamping process, presumably because the Oscar-nominated Closer actor wanted the freedom to explore more serious fare. But if Shoot ‘Em Up — the antithesis of “serious fare” — is any indication, Owen turned down the role because — let’s face it — Bond is kind of a wuss when compared to the he-man Owen plays in this nonstop demolition derby of a movie. Certainly, 007 bedded his share of women in the Ian Fleming franchise, and plugged holes through an endless succession of villainous henchmen. But both at the same time? A piece of cake for Owen’s singularly named Smith, who never experiences coitus interruptus with sex partner Donna Quintano (Monica Bellucci) even as he rolls around the bed and floor (and slams up against the wall) simultaneously banging Ms. Quintano and bang-banging the baddies. Clearly, Shoot ‘Em Up is simplistic, nihilistic, misogynistic, sadistic and just about any other “-istic” that comes to mind. Just as clearly, this is the movie that writer-director Michael Davis obviously wanted to make: It’s a picture with a purpose, and that purpose is to shoot first and never get around to asking questions later. Sharing some plot DNA with Eastern Promises, the story involves the protection of a newborn (and instantly orphaned) baby by folks who want to keep the child out of the clutches of murderous mobsters.
One of the central gags in Knocked Up involves the efforts of Seth Rogen and his pals to create a website that catalogues all the nude appearances made in motion pictures by actresses of all ranks. Of course, sites of this nature really do appear all over the Internet, though it’s unknown (at least by me) if a similar site exists that tackles male movie-star nudity with such dedication. If so, then Viggo Mortensen’s turn in David Cronenberg’s Eastern Promises will be right at the top of the site’s “Most Searches” list. In one of the climactic scenes, Mortensen’s Nikolai Luzhin, a taciturn chauffeur who works for the Vory V Zakone outfit (the Russian mafia) in London, is relaxing in a steamroom when he’s attacked by two knife-wielding (and clothed) assassins. Without time to even pick up his discarded towel, he ends up fighting both assailants in the buff, and thanks to cinematographer Peter Suschitzky’s camera angles, we can examine Mortensen from vantage points that even his personal doctor probably hasn’t seen (it’s astonishing that the prudes on the MPAA board gave the film an R instead of an NC-17). Some might think that Cronenberg is merely giving the ladies in the audience equal time, but on a thematic level, the skirmish makes sense: Nikolai has been living a life full of betrayal and deceit, and it’s time to strip down to his essence in order to make an attempt to reclaim his true identity. In a sense, Eastern Promises is a bookend to the last film made by Cronenberg and Mortensen: 2005’s excellent A History of Violence, about an ordinary cafe owner who may or may not have been a vicious mobster in his earlier years. Both films run along parallel tracks, full of whispery menace, marked by probing studies of masculinity at its extreme boundaries, punctuated with bursts of sexual and violent excess, and coping with abrupt endings. As the mob driver and occasional enforcer, Mortensen delivers a measured and restrained performance, whether dealing with the drunken son (Vincent Cassel) of the powerful crime lord (Armin Mueller-Stahl, absolutely chilling as the soft-spoken yet vicious kingpin) or trying to protect a hospital midwife (Naomi Watts) whose recovery of a dead prostitute’s diary places her right in the middle of a particularly sordid scenario.
The Brave One is basically a retread of Death Wish, only with a sex change for its protagonist and, given the director (The Crying Game’s Neil Jordan) and star, a more distinguished pedigree. It also purports to add dramatic heft to the moral implications of the situation at hand, with an ad line that blares, “How Many Wrongs To Make It Right?” But the movie itself clearly doesn’t believe in its own promotion, resulting in a finished product that works as exploitation (like Death Wish) but fails at anything more socially relevant. Jodie Foster stars as Erica Bain, the host of a particularly dreadful-sounding NYC radio show called Street Walk. She and her fiancé David (Naveen Andrews) are blissfully happy, but everything changes after a brutal attack by street punks leaves David dead and Erica in a coma. Once Erica awakens, she’s become a different person, afraid of the city she calls home and terrified by even the thought of leaving her apartment. Mustering up her courage, she goes out and illegally buys a gun for protection. But quickly learning that happiness is a warm gun, she sets about using the weapon on anyone who threatens her, from punks on the subway to a killer in a convenience store. Detective Sean Mercer (Terrence Howard) obviously has no love for the victims, but he feels that it’s nevertheless his duty to stop this vigilante. Via a massive coincidence, he also becomes friends with Erica, little suspecting (at least at first) that she and the vigilante are the same person. Obviously believing they’re creating something meaningful, Jordan and scripters Roderick Taylor, Bruce A. Taylor and Cynthia Mort add superfluous moments that lessen rather than heighten the story’s impact. Still, the very setup of the movie makes it impossible not to line up firmly behind Erica, and on that primal level, The Brave One delivers the goods, as a string of evil men get what’s coming to them. Foster is rarely less than excellent, but for years now, she’s settled into making movies in which she portrays a largely desexed woman who’s all business and no pleasure (Panic Room, Flightplan, Inside Man, etc.). Mind you, I’m not suggesting an insipid romantic comedy opposite someone like Bruce Willis, but I’m sure there’s a happy medium to be found somewhere.
3:10 to Yuma proves to be a rarity among remakes. It doesn’t slavishly copy the original, nor does it update it for modern times. Based on a short story by Elmore Leonard, the 1957 3:10 to Yuma retains its status as a solid Western, typical of the psychologically rooted oaters that emerged in force during that decade. Adding roughly a half-hour to the original’s 92-minute running time, the new take, directed by Walk the Line’s James Mangold, includes more characters and more action sequences, but it takes care not to water down the battle of wills between its two leading characters. In Glenn Ford’s old role, Russell Crowe plays Ben Wade, a notorious outlaw who’s finally captured by the authorities and scheduled to be transferred via train to the prison in Yuma, Arizona. Dan Evans (Christian Bale in the Van Heflin part) is a rancher by nature — he’s so mild-mannered that his own wife (Gretchen Mol) and son (Logan Lerman) are often disappointed in him — but because he’s about to lose his home and cattle, he agrees to help transport Wade for $200. Yet while Wade may appear to be the captive, he’s in many ways the one in charge, charming Dan’s family, killing the armed escorts who rub him the wrong way, and keeping Dan on edge with his taunts and bribes.
By borrowing from Jacques Tati, Jerry Lewis and silent-cinema icons like Buster Keaton and Charlie Chaplin, Rowan Atkinson managed to concoct his own singularly unique comic creation in the bumbling Mr. Bean. It’s just a shame that the actor has yet to find a feature film to do his character justice. Mr. Bean’s Holiday has some amusing moments scattered throughout but they’re not enough to sustain an entire picture.
Exactly 50 years ago, Max Von Sydow was exploring philosophical issues of life and death in Bergman’s masterpiece The Seventh Seal; now, he’s shunted to the background to make room for the increasingly unfunny antics of Chris Tucker. If there’s a more depressing commentary to be made on the current state of cinema, I can’t imagine what it might be.
One of this summer’s few out-and-out delights, smoothing out but never compromising the issues that made John Waters’ original film such a quirky delight. An ode to being different, Hairspray stars delightful newcomer Nikki Blonsky as Tracy Turnblad, an overweight teenager who won’t let her pleasantly plump figure get in the way of following her dream in 1960s Baltimore. And her dream is to become famous, preferably by showing off her dance moves on The Corny Collins Show, a local American Bandstand-style program that’s a hit with the kids. Her obese mom Edna (John Travolta in drag) is afraid her daughter will get hurt, but her dad Wilbur (a warm Christopher Walken) encourages her to go for it. Impressing Corny Collins himself (X-Men’s James Marsden), not to mention the show’s reigning pinup star Link Larkin (Zac Efron), Tracy does indeed land a coveted spot on the show, much to the disgust of Link’s girlfriend Amber Von Tussle (Brittany Snow) and her wicked mom Velma (Michelle Pfeiffer). Compounding the tension is that Tracy has become friends with the blacks who are allowed to perform on the program once a month (on “Negro Day”), an open-minded attitude that infuriates the racist Velma to no end. The film’s hot-topic issues are all presented in the realm of feel-good fantasy, meaning that reality has no place in this particular picture. But that’s not to say the movie is insincere in its intentions, and when Tracy and “Negro Day” host Motormouth Maybelle (Queen Latifah) lead a march promoting “Integration, Not Segregation,” it’s hard not to get swept up in the emotionalism of the piece.
Those who like their Potter black will find much to appreciate in Harry Potter and the Order of the Phoenix, the fifth and moodiest of the J.K. Rowling adaptations to date. Chris Columbus’ first two entries — both underrated — focused mainly on fun and games, with the subsequent installments helmed by Alfonso Cuaron and Mike Newell taking on decidedly darker dimensions. The level of malevolence is raised even further here, thanks to the taut direction by unknown David Yates and a forceful performance by series lead Daniel Radcliffe. With only one to two years separating each Potter flick, it’s been easy to spot the relative growth of Radcliffe (as well as costars Rupert Grint and Emma Watson) as he sprouted from wide-eyed tyke to troubled teenager. Yet between the last film (Goblet of Fire) and this new one, it’s startling to note how the actor and the character seem to have aged multiple years, a testament to the maturity Radcliffe brings to the role.
Villainy abounds in The Order of the Phoenix, with Lord Voldemort (Ralph Fiennes) haunting Harry’s every move, a fluttering fascist named Dolores Umbridge (Imelda Staunton) taking over the Hogwarts school, and an escaped prisoner known as Bellatrix Lestrange (Helena Bonham Carter) arriving late to kill off a popular character. Add to those threats Harry’s issues of abandonment and estrangement, and it’s no wonder the lad can’t keep those roiling emotions in check. In this respect, Phoenix operates not only as a story-specific fantasy flick but also as a universal teen angst tale, a far-flung Rebel Without a Cause in which the protagonist tries to comprehend the adult world he’s on the verge of entering while simultaneously struggling to cut the umbilical cord of childhood. Because of this slant, this emerges as the most dramatic of the five films to date.