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my 4 year old nephew is obsessed with that movie and Megamind
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"It's the revenge of the dicks that's nine cocks that cock nines" -
Stomp the Yard: Homecoming
Directed by Rob Hardy.
2010. Rated PG-13, 87 minutes.
Cast:
Collins Pennie
Kiely Williams
Pooch Hall
Stephen Boss
David Banner
Keith David
Tika Sumpter
Columbus Short
Rickey Smiley
Jasmine Guy
Dance movies are pretty much critic-proof. Take the original Stomp the Yard, for example. It’s largely a rip-off of Drumline, right down to how the climactic battle plays out. Still, it was a modest financial success and has developed a devoted following of people who won’t hear a negative word about it. The high energy routines are infectious. People enjoy dance movies, regardless of their narrative issues. This is why Stomp the Yard was made in the first place. It’s why lots of people still tune in to cable airings of You Got Served and Honey. It’s why there have been three Step Up movies. Alas, it’s why we have Stomp the Yard: Homecoming.
Homecoming is, of course, set during homecoming weekend at fictional Truth University. Our hero from the first movie, DJ (Short) has apparently movie on in life, only appearing briefly here. By the way, Short is the film’s executive producer. This time, our wayward but talented dancer is Chance (Pennie). For continuity’s sake, he’s pledging to the same fraternity DJ did in the original, the Thetas. His major issue is he owes a thug from back home a hefty sum of money after losing a battle he thinks was fixed. It doesn’t take a genius to figure out the bad guy and his cronies will be coming after him. Rap fans will recognize the bad guy is played by artist David Banner. Chance’s other issue is that even though he seems rather happy with his current girlfriend, his ex-girl that he can’t stand has come sniffing around for a roll in the hay and possibly more. Oh, there is one other thing. This is a dance movie, lest we forget. That means the Thetas are also busily preparing for the National Step Competition in which they hope to beat their arch rival fraternity, the Gammas. Yes, just like DJ was in part one, Chance isn’t so thrilled with the routine his frat brother have come up with. From there, we simply paint by numbers until our generic picture is complete.
None of this matters. Like action-flick fans looking for explosions and car chases, dance movie fans are in it for the dancing, or stepping, in this case. The stepping is a bit subpar when compared with the original movie. Budgetary constraints seem to leave it a step behind, if you will. Still, there are a few creative sequences. You get what you come for. If you’re looking for anything more, pick another movie.
MY SCORE: 3/10Comment
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Edge of Darkness
Directed by Martin Campbell.
2010. Rated R, 117 minutes.
Cast:
Mel Gibson
Ray Winstone
Danny Huston
Bojana Novakovic
Shawn Roberts
David Aaron Baker
Jay O. Sanders
Dennis O’Hare
Damian Young
Gbenga Akinnagbe
Det. Craven (Gibson) is about to rush his daughter Emma (Novakovic) to the hospital. Just as the two step out the front door, a gunman fires a single shot, kills her and speeds off. It’s assumed the bullet was meant for him. After all, he’s been a cop for long time and has presumably made a number of capable enemies. He’s not so sure. Maybe it was, but she’s been acting awfully strange since he picked her up earlier that evening. She wouldn’t say much about it, but seems to be going through a tough time. Physically, she’s a total wreck. Every so often, she’ll suddenly vomit. The she has a spontaneous nosebleed. That’s when dad tries to get her to the hospital. Then there is that plant she works at that does something or another with nuclear energy. Hmmm.
Our hero tells his bosses that he is going to be involved in the investigation of his little girl’s murder, regardless of policy. Oddly enough, this doesn’t involve any yelling. In fact, he doesn’t get much of a fight at all. After this, he’s got people to see, starting with Emma’s boyfriend. From there, let’s just say he meets some very interesting, wealthy and/or powerful people.
We follow Det. Craven on his crusade to serve justice. In turn, we’re rewarded with a solid thriller/mystery. After a short while, it becomes apparent who killed Emma. The mystery actually lies in figuring out why. When we get the thrills, they often start with a jolt and are pretty brutal.
Mel Gibson plays the lead with a constantly pained look on his face. He ably conveys the emotions of a grieving father, albeit on who is an action hero, but a grieving dad nonetheless. However, his attempt at a Boston area accent doesn’t work too well. Part of the problem is it sounds exaggerated. The rest of the problem is that no one else seems to be doing one at all. This makes his efforting to say things such as “cah” instead of car that much more obvious.
Gibson’s accent, and your personal feelings about him, aside, Edge of Darkness is a solid flick that has some easy answers, but doesn’t necessarily give us the easy ending. Because of the way it’s presented, whether or not it’s a happy one is open to debate. Luckily, even though it’s not an action flick there is just enough of it interspersed to keep us interested until we get that far.
MY SCORE: 6.5/10Comment
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Dinner for Schmucks
Directed by Jay Roach.
2010. Rated PG-13, 114 minutes.
Cast:
Steve Carell
Paul Rudd
Stephanie Szostak
Zach Galifianakis
Jermaine Clement
Bruce Greenwood
Lucy Punch
Ron Livingston
Larry Wilmore
After one of his co-workers is fired, Tim (Rudd) joins the mad dash to replace the guy in hopes of a raise and a large office on the 7th floor. He comes up with an idea to potentially lure a huge client which makes himself the prime candidate for the promotion. To seal the deal, he not only has to land the client, he has to attend a very special dinner at the boss’ house. What makes it special is that it is the annual “Dinner for Winners.” The “winners” are really people that the execs at the company think are idiots. Each of them must bring one such person that they will all make fun of. At the end of the night, they give a trophy to whoever they deem is the biggest idiot. However, they call him or her the most extraordinary person and never let them in on the joke. Tim’s dilemma is that the girl he’s been practically begging to marry is appalled at the idea and wants him not to go.
To complicate matters, a person that fits the bill to a tee practically falls into his lap. In a case of neither guy paying as much attention as they should, Tim hits Barry (Carell) with his car while Barry is trying to pick up a dead mouse he’s spotted in the street. It turns out he uses the deceased critters to create his artwork. Some of it is original, some are replicas of already famous pieces of art. Think “The Mona Lisa,” only using a rodent instead of a woman. Of course, Tim invites Barry to that special dinner. From that point on, Tim’s life is turned upside down.
A huge chunk of the movie proceeds as follows: Barry does something dumb and/or presumptious with predictably catastrophic results. Tim yells at him. He tries to help fix the problem, but makes it worse. Some of it is funny, a lot of it isn’t. There is also the subplot of Tim’s girl Julie (Szostak) possibly sleeping with over-sexed and eccentric artist Kieran (Clement). Things finally take a turn for the better when we meet Barry’s boss Therman, played brilliantly by Zach Galifianakis. The intense gaze on his face and his cheesy magician’s mannerisms are perfect. Almost all of the funniest scenes in the movie involve him. This includes the “pudding” joke which has a perfectly orchestrated delayed effect.
Galifianakis doesn’t show up until late in the second act. He elevates the movie to the level of watchable, at least while he’s on the screen. He can’t make the ending acceptable, largely because we know what’s coming right from the start. The bigger issue is we can’t quite muster up the sympathy needed to make it work. We can’t because even though Barry is certainly pathetic enough, he’s not likeable enough. The problems he’s caused can’t be attribute to naivete even though that’s what we’re supposed to believe. They’re things that, if I were Tim, would’ve caused me to try and do him bodily harm. In other words, we don’t feel bad when Tim makes him feel bad. We think he deserves it. The effect on the movie is that we don’t really care how it turns out, we just want it to end.
MY SCORE: 4.5/10Comment
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FYI Dell, all the links on your 1st post don't work. The new server update fucked them up. Happened to me as well, but thankfully I only have a third of what you have.Comment
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Tony Manero
Directed by Pablo Larraín.
2008. Rated R, 98 minutes, Spanish.
Cast:
Alfredo Castro
Paola Lattus
Héctor Morales
Amparo Noguera
Elsa Poblete
Ask movie critics to name the greatest American dance movies and they’re likely to recite the titles of films starring Fred Astaire or Gene Kelly. No offense to those classics, but in the hearts of regular folks they were dethroned in 1978 by a little movie named Saturday Night Fever. At the time, it was the epitome of cool. It’s arguably the absolute peak of the disco era. Thirty years later, lead character Tony Manero is still the role most associated with John Travolta.
Apparently, the fictional Manero is an icon in Chile, also. When we meet Raul (Castro) in the days shortly after the film became a global phenomenon, he’s trying to get on a cheesy TV show that’s holds look-alike contests every week. He has shown up the week they’re doing Chuck Norris. He’s told he’s in the right place because they ask people to register a week in advance. Next week they’re doing Tony Manero. Very shortly, we find out he’s also the lead dancer in a SNF tribute show he’s constantly rehearsing for. It’s put on at the cantina that he lives above. The rest of his troupe includes his girlfriend, her daughter and the daughter’s boyfriend. Of course, he plays Manero. Seemingly, once a day he makes it down to the local movie theater which is currently running SNF. Clearly, he’s obsessed.
Raul’s obsession of choice, combined with the fact that he’s over 50 years old might seem a bit off putting. However, its just quirky enough to root for. What works against him, because it mortifies us, is that he’s a bad guy. I mean, he’s really a bad guy. His fixation on becoming the best Tony Manero he can be drives him to nearly unfathomable depths. Suffice it to say, as far as he’s concerned, murder is always a viable option. There is a political element at work here, as well. It is set during the early days of the Pinochet dictatorship. The director, Pablo Larraín, is known to be critical of his own culture. In this instance, could he implying that his people’s fixation on western culture is unhealthy?
The small dance troupe, plus the lady that owns the cantina make up Raul’s inner-circle. They’ve no idea of the atrocities he’s committing against the local population, but he’s hardly nice to them, either. He’s brooding, self-centered and has a hair-trigger temper. Still, the women involved pretty much throw themselves at him. It makes some sense because they’re a tight, if often bickering unit. We get the impression these ladies a) are horny and b) don’t get out as much as they used to. This makes him the most viable option. He soaks it all in, remorselessly doing whatever he pleases. Ironically, this doesn’t include actual sex. Despite his best efforts, we see him fail, time and again, in graphically miserable fashion. Another stab at our decadent lifestyle, perhaps? Maybe, this is a dig at those in power in Chile at the time. Both?
Through it all, the focus on his goal remains. The contest Raul wants so badly to win is rapidly approaching and the man he wants so badly to be is fleeting. The steps he takes toward achieving both goals repulses us. However, because of those steps his determination is almost admirable. He comes to define the word antihero. Possible politics aside, this a truly fascinating character study. When the credits roll, we’re not completely sure how we feel about it even though we know how we should feel. It seems Raul has much more in common with another 70s American movie icon, Travis Bickle of Taxi Driver.
MY SCORE: 9/10Comment
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The Nanny Diaries
Directed by Shari Springer Berman and Robert Pulcini.
2007. Rated PG-13, 106 minutes.
Cast:
Scarlett Johansson
Laura Linney
Chris Evans
Paul Giamatti
Donna Murphy
Nicholas Reese Art
Alicia Keys
Every once in a while, you go into a movie fearing the worse and are pleasantly surprised. The Nanny Diaries is one such movie. Charged with picking out “something for everyone,” I settled on this, as it seemed to be the sort of flick my girls would like. “My girls” consists of my wife and two daughters. With my son away at a friend’s, I’m severely outnumbered, in terms of gender. This was not the time to pluck a testosterone fueled adventure from the shelf.
Our tale begins with Annie (Johansson) graduating from college. She’s more than a little unsure what she’s going to do in “the real world.” As luck would have it, she quite literally stumbles into a job as a live-in nanny to a very wealthy family on New York’s Upper East Side. Actually, calling her a nanny is understating her job quite a bit. She is more like a post-natal surrogate mother. She merely has to do everything for Grayer (Art), the little boy she nannies. Dad (Giamatti) is almost always on a business trip. Somehow, he’s still absent even on those rare occasions he’s actually in the same room as his son. Mom (Linney) dictates all activities but doesn’t participate. Apparently, she just can’t do with less than 12 hours of “me time” every day. As a result, “me time” is something Annie finds hard to come by. On top of that, she’s lying to her own mother (Murphy), whom she is hiding her occupation from. Then there’s Harvard Hottie (Evans). He’s the handsome rich guy who lives on the 12th floor and has taken a liking to Annie.
Johansson acquits herself nicely in the lead role. However, it’s Linney’s excellent turn as the control freak mom that drives the movie. She’s oblivious to her own villainy and operates through the fog of pain she’s trying desperately not to show. Her self-worth hinges on the two men in her life, her husband and son. Their failures, both real and imagined, keep her teetering on the edge of full blown depression. Linney plays it perfectly.
TND could’ve settled on the slapstick and pratfalls that mark Annie’s first day at work. Luckily, it finds its brain going forward. Perhaps, this makes it less funny, producing fewer laughs. However, it also makes it smarter, more enjoyable. When we get to the end, even though it’s fairly predictable, it’s somewhat satisfying. It doesn’t feel rushed or seem to come in out of left field. It also says what we’ve been dying to say for the last hour leading up to this.
MY SCORE: 6/10Comment
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Dell, you should see the French film Dinner for Schucks is based on. It's called Le Diner des Cons (The Dinner Game) and it's one of the funniest movies I've ever seen.
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Faster
Directed by George Tillman Jr.
2010. Rated R, 98 minutes.
Cast:
Dwayne Johnson
Billy Bob Thornton
Carla Gugino
Oliver Jackson-Cohen
Moon Bloodgod
Michael Irby
Mike Epps
Tom Berenger
Adewale Akinnuoye-Agbaje
Driver (Johnson) gets out of prison today. There’s no one at the gate to pick him up. Instead, he hoofs it to the nearest junkyard where someone has left him a car with a gun stashed under the seat. His first order of business is to drive to a local business office and shoot some poor schlub in the head before he can even get out of his cubicle. Nice. Before you go thinking Driver is a random nut job about to kill everyone in the joint, he only pops the one guy and calmly walks out. It seems this dude had it coming. We learn pretty quickly that Driver’s brother was murdered by some double-crossers after a bank robbery and cubicle man was somehow involved. We can easily figure out now that Driver’s out of jail, a lot of people have it coming.
Since the law frowns upon vigilante justice, no matter how scummy the victims, there have to be police officers trying to stop Driver. Cicero (Gugino) is working the case. Just so we know how tough she is, she huffs out straight talk while keeping her hands on her hips. Reluctantly, she allows Cop (Thornton) to work with her. The first thing we find out about Cop is he’s got a drug habit. He also sucks as a dad. Hey, that’s a hard job. Trust me. The two of them trying to track down Driver as he wastes one sleaze bucket after another ensues. Oh, I almost forgot something. Someone who knows what’s going on has hired Killer (Jackson-Cohen), a hitman. Okay, so there wasn’t much thought put into the names in this movie. Anyhoo, not only does Driver have some killin’ to do, he’s being chased by Cop and Killer. Poor guy.
In case you’re still not sure, let me make this perfectly clear. This is an action flick, no more no less. If you want deep metaphors and explorations of the human spirit, look elsewhere. If you want to see The Rock kick some ass, get your popcorn and beverage of choice and enjoy. One of the reasons he became a superstar is because men lived vicariously through his wrestling persona. Whe he first broke into movies, that whole act transferred seamlessly to the big screen. In recent years, he’s headlined a few kiddie-flicks and basically lampooned his own image. Sure, these movies made a lot of money, but the people who made him a star stayed away in droves. They couldn’t smell what The Rock was cooking. Faster returns him to the mold in which he was cast: action hero.
None of what I’ve written should be construed as a pitch to make you believe this is the greatest movie ever. It is not. It is deeply flawed. For one, it would be a completely different film if Cicero asks a question at the beginning of the movie, like she was supposed to, instead of waiting until the end. She didn’t, and we got this. It is a dumb action flick. That doesn’t matter. What does is that it’s fun, brutal, fast, faster.
MY SCORE: 7/10Comment
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Dell's Classics Presents...
The Treasure of the Sierra Madre
Directed by John Huston.
1948. Not Rated, 126 minutes.
Cast:
Humphrey Bogart
Walter Huston
Tim Holt
Bruce Bennett
Barton MacLane
Alfonso Bedoya
Fred C. Dobbs (Bogart) is an American living in Mexico in 1925. He’s homeless and jobless, making his way through life begging for handouts from any of his countrymen who happen to find themselves in his path. His standard line is “Say buddy, will you stake a fellow American to a meal?” Finally, he bumps into a guy who won’t give him any money, but offers him a job. He and Curtin (Holt), his buddy who is of the same social class, go to work. However, getting paid for their labor proves to be much more difficult than it should. Eventually, they manage to literally wrestle their earnings away, an absolutely fantastic fight scene by the way. With this money, they decide to go prospecting for gold, taking Howard (Huston) along. He’s the old man from the shelter who seems to know a thing or two about it.
Howard is our wise, old sage and something of a narrator. His mouth is moving a mile a minute and is constantly imparting his knowledge of gold digging and warning us of what’s to come. He tells us without blatantly doing so. Still, in “history repeats itself” sort of way, the things he says he’s seen often reoccur.
Someone once told me she didn’t like westerns. Hopefully, I’m not being disrespectful by saying she is of the age to have grown up when they were more popular. Her dad used to watch them all the time, so she’s had plenty of exposure. Her logic is that everything looks dirty, especially the men. She said that they look like they stink. This disgusts her. I don’t know if she’s ever seen The Treasure of the Sierra Madre, or not. If so, it probably turned her stomach. I swear I could smell Bogart and his buddies through the screen. In Bogie’s case, this aids his performance. His sweat glazed face, scraggly beard and tattered clothing complement the crazed look in his eye perfectly. I’ve often said that he’s an overrated actor. Most of his performances are stiff, mechanical even. He drolly delivers his lines while standing still, except for the hand raising a cigarette to his lips. I still feel that way. However, he’s truly mesmerizing in this movie. His character’s descent into madness is completely well played. The way he portrays it, and understanding where he came from, it’s easy to believe that the precious gem clouds his vision a little more each day.
The ending is a bit curious. We know precisely how it turns out for Dobbs and Howard. We’re less certain about what lies ahead for Curtin. His story remains to be written. In that way, he is like us. After experiencing TToSM, we know we’ve been enriched, as he was. However in his case, neither he nor we can decide if it was a success. As we move forward and experience other things, we can revisit it and see how we feel at that moment.
MY SCORE: 10/10Comment
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Going the Distance
Directed by Nanette Burstein.
2010. Rated R, 102 minutes.
Cast:
Drew Barrymore
Justin Long
Christina Applegate
Charlie Day
Jason Sudeikis
Rob Riggle
Oliver Jackson-Cohen
Ron Livingston
Jim Gaffigan
Boy meets girl a few hours after breaking up with some other girl. The boy is Garrett (Long). He works at a record company and is tasked with managing a band he hates. The girl is Erin (Barrymore), an intern at a newspaper with hopes of becoming a full-fledged reporter. However, with that industry steadily going the way of the dinosaur this seems unlikely. They meet in New York. Her internship is only six weeks long, after which she’ll head home to California. She tells Garrett this pretty much up front, warning him not to get too attached. As you might expect, thes crazy kids can’t help but fall in love over that span. The two decide to carry on a long-distance relationship after she moves back to the west coast, hence the title.
It’s pretty much the same old, same old. The ups and downs of their relationship play out as lots of other movie relationships have. It’s complete with surprise trips across the country, spontaneous sex and trust issues. It’s also funny in spots. To me, most of these spots involve Erin’s sister Corinne (Applegate) and her husband Phil (Gaffigan). They get the best lines and Applegate’s high-strung, control freak/germophobe act is great.
Most of the other funny parts come from Dan (Day) and Box (Sudeikis), Garrett’s misfit buddies. They are both an asset and a detriment to the movie. They’re an asset because occasionally they are hilariously funny. They’re a detriment because of what they aren’t, yet try so very hard to be. They’re basically an imitation of the slacker buddies that populate the Judd Apatow clan movies. Think Knocked Up or The 40 Year Old Virgin. Try as they might, these guys don’t quite measure up. This, combined with the occasionally raunchy dialogue of all the characters makes the whole thing feel like a copycat production.
Like many of the movies GtD tries to duplicate, the chemistry of the two leads is questionable. In this case, the problem is they exist as much to put themselves in awkward situations in front of others as they do to fall in love. Their relationship is a string of these occurrences. Others can always hear or see what they’re doing and jokes are made of this. Since neither of them is funny, this is how they provide comedy.
GtD is a fairly typical rom-com of the rated R variety. It has more curse words and blatant sex talk than its PG-13 rated siblings, but the story is the same. There are pockets of good humor, just not enough to save it from itself.
MY SCORE: 5/10Comment
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I've seen The Nanny Diaries like 4 times solely to look at Scalett Johansson.
I know you don't watch that many shows but have you heard of Laura Linney's "The Big C"? She does a great job of acting in it. She won "Best Actress" at the Golden Globes.Comment
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