New Releases
THE GAME PLAN After his film career began floundering, action star Vin Diesel turned to the family audience with The Pacifier and ended up with a $113 million hit. Along the same lines, Dwayne “The Rock” Johnson now throws himself on the mercy of the small fry and their easy-to-please parental units with The Game Plan, an innocuous mediocrity whose biggest sin is its punishing running time. Rocky stars as Joe Kingman, a narcissistic quarterback who’s blindsided when 8-year-old Peyton (Madison Pettis) shows up on his doorstep claiming to be his daughter. Livin’ la vida loca with a lavishly designed bachelor pad, a European model for a girlfriend, and a flashy sports car to complement his lifestyle of the rich and famous, Joe (whose clunky gridiron nickname is “Never Say No Joe”) learns that in order to become an effective parent (which he does so begrudgingly), he has to accept a pink tutu being placed on his bulldog, his football trophies getting BeDazzled, and his mode of transport getting downsized to a station wagon. Considering that The Game Plan holds next to no surprises for anyone who’s ever seen a movie before, a 90-minute length would have been plenty; instead, this gets mercilessly stretched out to 110 minutes. The extra footage allows the mind to wander and mull over related topics; for instance, since Kingman plays quarterback for the fictitious Boston Rebels and has to contend with a child from a former lover, is this a dig at New England Patriots QB Tom Brady, whose double-dipping among women has led to out-of-wedlock woes? And was there ever a chance that Kingman’s bulldog might have fallen into the hands of Michael Vick? And will a soggy comedy ever resist the slightly racist urge to include a muscular, fearsome black man (white America, lock your doors!) who turns out to be a softy by the end? (In addition to Kingman’s teammate here, see also Ving Rhames in I Now Pronounce You Chuck and Larry, Michael Clarke Duncan in See Spot Run, etc.). Pettis mostly relies on calculated precociousness, but Johnson actually proves to be Rock-solid as Kingman, displaying modest but sufficient amounts of charm and comic timing. **
IN THE SHADOW OF THE MOON A riveting documentary that unfortunately tapers off significantly during its second hour, In the Shadow of the Moon is a timely film that instills a sense of American pride at a period in our history when the current administration has poisoned our reputation around the world and even among half of our own populace. Its focus is NASA’s Apollo program that, between 1968 and 1972, sent nine rocketships to the moon. The spirit of John F. Kennedy hangs over the entire film, as it was his drive that largely inspired America to set its sights on outer space; one astronaut states that JFK was either a visionary, a dreamer or politically astute, before concluding that he was probably all three. Interviews with 10 Apollo astronauts provide the narrative thrust, combining with awe-inspiring shots taken from the various Apollo spacecraft as well as other little-seen NASA footage from history’s archives. As expected, the bulk of the movie centers on the Apollo 11 mission manned by Neil Armstrong, Buzz Aldrin and Mike Collins — it’s a thrill to revisit the events surrounding the historic moment when Armstrong became the first person to set foot on the moon’s surface. From there, the movie rushes through the other Apollo missions — the ill-fated Apollo 13 voyage earns some extra minutes, but not enough (presumably, the makers figured everyone’s seen the Ron Howard-Tim Hanks drama Apollo 13) — and the film becomes progressively more scattershot as it tries to wrap up (comments by the astronauts about our planet’s fragile environment feel like outtakes from The 11th Hour). And the decision to conclude the film with these heroes defending the missions against ludicrous conspiracy theories claiming they were all faked here on Earth was a major misstep, akin to if Steven Spielberg had ended Schindler’s List with real-life survivors having to refute morons who claim there was no Holocaust. Overall, though, In the Shadow of the Moon is a rousing achievement that makes us wish we could once again reach for — and touch — the stars. ***
Current Releases
THE BRAVE ONE It was simpler back in 1974, when it was called Death Wish. After thugs murder his wife and rape his daughter, businessman Charles Bronson hits the streets with the purpose of blowing away all human vermin. As a film, it’s unpretentious, straightforward and effective as hell. 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 (Jodie Foster), a more distinguished pedigree. It also purports to add dramatic heft to the moral implications of the situation, 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 but fails at anything more socially relevant. Still, the very setup of the piece — radio host Erica Bain turns vigilante after street punks kill her fiancé (Naveen Andrews) — makes it impossible not to line up firmly behind her, and on that primal level, this delivers the goods. Tempering the bloodshed is the relationship that develops between Erica and a sympathetic detective; Terrence Howard is effectively low-key as the cop, just as Foster brings everything to the table for her raw performance. I just wish she would accept a different sort of part; she’s 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 Bruce Willis, but I’m sure there’s a happy medium to be found somewhere. **1/2
EASTERN PROMISES In a sense, Eastern Promises is a bookend to the last film made by director David Cronenberg and star Viggo 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. A History of Violence‘s hurried third act still carried enough weight to leave viewers satisfied, but Eastern Promises falls a bit short in the final count, taking some turns that are far more conventional than just about anything Cronenberg has ever done in his long and eccentric career and not allowing viewers enough time to come to terms with these contrivances. As Nikolai Luzhin, a taciturn chauffeur who works for the Vory V Zakone outfit (the Russian mafia) in London, 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. A steamroom sequence in which Mortensen’s character fights two assassins in the buff is sure to generate plenty of Internet chatter — if only Frodo could see him now. ***
FEAST OF LOVE Across the Universe, the Julie Taymor film scored to a catalogue of Beatles tunes, has yet to reach Charlotte, but in the meantime, here’s Feast of Love to offer its own interpretation of one classic Fab Four tune: “All You Need Is Love.” A sprawling, messy yet occasionally affecting adaptation of Charles Baxter’s novel, this 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 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. **1/2
GOOD LUCK CHUCK Upchuck would have been a more accurate title for this nauseating 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 was long ago placed 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 (and, in a couple of cruel sequences straight out of Norbit, obese ones as well) 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. The central premise is no more farfetched than those exhibited in such frothy comedies as 13 Going on 30 and Big, yet Good Luck Chuck forgoes quirky charm and endearing characters in order to focus on bottom-of-the-barrel gross-out gags involving sex with grapefruits, stuffed penguins and a woman with three breasts. 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. *
INTERVIEW The true worth of Interview, a remake of a 2003 Dutch film by the late Theo van Gogh (murdered by a Muslim extremist in 2004), rests in its appeal as an actors’ showcase. Take the screenplay, highlight a couple of the more emotionally volatile passages, include them in one of those books with titles like Scenes For Two Actors, and — voila! — instant gratification for theater majors on college campuses across the nation. Beyond its potential in print, however, there’s very little that’s memorable about Interview, which seeks to explore the strained relationship between the media and the celebrity set yet does so in a manner that’s overreaching and unconvincing. Steve Buscemi (who also directed and co-wrote the adaptation with David Schechter) plays Pierre Peders, a political correspondent who’s outraged that he’s asked to do an interview with Katya (Sienna Miller), a B-movie actress and soap opera star known more for her off-screen exploits than her choice of roles. The pair immediately dislike each other, but as the night wears on, both begin to relax and open up to each other. Or do they? There’s a measure of truth in the hostility that erupts between the journalist, who views his subject with contempt, and the star, who’s angered when she feels that the line between expected media exposure and her right to privacy gets crossed. But despite fine performances by both leads, the film works better in concept than execution, with lapses in logic and a denouement that’s not too hard to sniff out. Even at a brief 84 minutes, you’ll be glad when this Interview‘s over. **
IN THE VALLEY OF ELAH Writer-director Paul Haggis will forever be lambasted in many circles because Crash unfairly shanghaied Brokeback Mountain at the Oscars. But those quick to write him off 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 this powerful drama that employs a murder-mystery template to 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. Once it’s ascertained that the boy was murdered, the morose father teams up with an equally glum detective (Charlize Theron) to solve the case. On its own terms, the mystery is presented 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. The 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, and Haggis should be saluted for taking this angle further than most. ***1/2
THE KINGDOM Overshadowed by another current movie focusing on Middle Eastern tensions (In the Valley of Elah), this is basically a Rambo retread outfitted with a thin veneer of topical import. Director Peter Berg 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 (and, of course, its riches), 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. The four agents (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. The message of this 110-minute movie is revealed in its very last line, meaning it arrives about 100 minutes too late. Because of this lack of clear intent, the picture has no choice except to work as a visual and aural assault on our senses. In that respect, it succeeds in much the same way as The Brave One, as a cathartic palate cleanser that allows us to watch bad guys plowed down without sullying our own hands. There’s a sympathetic Saudi officer (Ashraf Barhoum, very good) who, by providing the few moments of warmth, might diffuse arguments that Berg’s movie isn’t anti-terrorist but anti-Middle East — a huge difference, for those who didn’t realize. **1/2
THE KING OF KONG: A FISTFUL OF QUARTERS When the video game phenomenon exploded during the early 80s, the charge was led by such innovative — and now charmingly retro — challenges like “Pac-Man,” “Galaga” and “Asteroids.” But it was “Donkey Kong” that emerged as the most popular — and reportedly most difficult — of all these primitive games. The King of Kong initially centers on gaming deity Billy Mitchell, who, as a teenager back in the day, set the “Kong” high-score record, a feat that hadn’t come close to being equaled in over 20 years. But cut to the present, and along comes Steve Wiebe, a family man who, possessing a pinch of the autistic about him, proves himself to be a “Donkey Kong” player extraordinaire. Steve catches the attention of the gaming community, and the old guard begins to worry that this affable guy can overthrow their figurehead. As for Billy Mitchell, he turns uglier and uglier right before our eyes, as his actions resemble those of a bratty child more than a world champion. Documentaries about competitions (Spellbound, Mad Hot Ballroom, Wordplay) invariably lead to a climactic contest to determine who’s the best of the best, but with The King of Kong, director Seth Gordon has managed to tap into a true-life tale that veers off-course more than once. A study of both chronic adolescence and the need to win (and keep winning), as well as a compendium of memorable characters (wait until you get a load of the self-named “Mr. Awesome,” who’s anything but), The King of Kong is a documentary that successfully takes it to the next level. ***1/2
SHOOT ‘EM UP 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 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. From its opening scene to its final image, it’s an orgy of death and destruction, and while gorehounds and fanboys will love it (if only because of two examples of death by carrot stick), it’s 50-50 as to whether other palates will savor this particular dish. The first half-hour is especially painful, but once the absurdist heights to which Davis aspires become obvious, the remainder is easier to endure. Sharing some plot DNA with Eastern Promises, the story involves the protection of a newborn baby by folks who want to keep the child out of the clutches of murderous mobsters. That’s pretty much where the similarity ends, as Shoot ‘Em Up takes its cue from Looney Tunes cartoons (Clive Owen’s hero even says “What’s up, doc?” while munching on a carrot) more than anything else except maybe the Quentin Tarantino oeuvre. This stylish but soulless picture also gives us a lactating hooker (don’t ask), a having-its-cake-and-slinging-it-too plot strand involving the blessings of gun control (this from a movie that makes The Wild Bunch look like On Golden Pond by comparison), and a sneering turn by Paul Giamatti as an eye-rolling scumbag who at one point exclaims, “Fuck me sideways!” Sideways? Is that line merely a coincidence, or a deliberate reference to Giamatti’s career high point? Only the actor’s agent knows for sure. **
2 DAYS IN PARIS Not to be confused with the Paris Hilton porn flick One Night in Paris (yes, let’s not make that mistake), 2 Days in Paris is a romantic comedy in which both the romance and the comedy are of the sour-pucker variety. The romance is diluted by the sort of emotional outbursts, petty tirades and jealous rages that often define real-life relationships: As we watch 30-something lovers Marion (Julie Delpy) and Jack (Adam Goldberg) spend a couple of testy days in the title city, we wonder if they’ll make it through the picture together, let alone remain a couple for the rest of their lives. As for the humor, it’s smart and tart, not only springing from the lovers’ innate insecurities but also from the xenophobic attitudes that seem to run rampant in every city in the world. Delpy, who’s been appearing in movies since she was a child (she’s 37 now), exhibits great multitasking capabilities by serving as star, director, scripter, co-producer, editor, score composer and co-writer of the end credit tune. A vanity project? Hardly; more like the work of an accomplished filmmaker who knew exactly what type of movie she wanted to make. Besides, her generosity toward her co-stars is apparent throughout the film: Goldberg is allowed to match her quip for quip, while her real-life parents, Albert Delpy and Marie Pillet, steal scenes as her character’s folks. A bit less starry-eyed than Richard Linklater’s European twofer, Before Sunrise and Before Sunset (both starring Delpy opposite Ethan Hawke), 2 Days in Paris nevertheless displays a generosity of spirit, even if it’s tempered with a pinch of melancholy. A problematic relationship is indeed sad, the film seems to say, but luckily, there will always be enough love to go around in this crazy world of ours. ***1/2
OPENS FRIDAY, OCTOBER 5:
FEEL THE NOISE: Omarion Grandberry, Giancarlo Esposito.
THE HEARTBREAK KID: Ben Stiller, Michelle Monaghan.
IN THE SHADOW OF THE MOON: Buzz Aldrin, Jim Lovell.
THE JANE AUSTEN BOOK CLUB: Emily Blunt, Maria Bello.
THE SEEKER: THE DARK IS RISING: Alexander Ludwig, Ian McShane.
This article appears in Oct 3-9, 2007.
