Day 143: Lawless

"Do you have any idea what a Thompson machine gun does to a mortal?"

There's an old adage about a collective work of art being less than the sum of its parts, and that adage can be firmly and appropriately applied to the new film Lawless. It features a fantastic acting ensemble, a director who knows his way around desolate and sparsely violent landscapes, and a screenwriter/composer who has proven himself adept at both of those worlds, but these parts just don't add up to a great film. Which is unfortunate, because it had all the potential in the world to be one of the year's best.



Based on Matt Bondurant's novel "The Wettest County in the World", Lawless tells the Prohibition-era true story of a family of crooked bootleggers in the mountains of Virginia. The Bondurant Brothers, Forrest (the always fantastic Tom Hardy), Howard (Jason Clarke) & Jack (Shia LaBeouf) find themselves in a bit of a pickle when a Special Deputy by the name of Charles Rakes (Guy Pearce) is sent to deal with the family, but informs them that he has other interests in mind.

The boys get in even deeper when a rival bootlegging gang headed by Floyd Banner (Gary Oldman) begins muscling in on their territory. When their de facto leader Forrest is wounded, Jack finds himself in the position of having to man up and protect his family's business, or watching the whole thing come unraveled.



There are some truly unusual circumstances that lead up to the ending, which are almost impossible to discuss in a spoiler-free review. Needless to say, you'll find yourself shaking your head in disbelief and will likely chalk it up to the fact that the truth is sometimes stranger than fiction.

The film is beautifully shot by Benoit Delhomme, who handled DP duties for director John Hillcoat's 2006 film, The Proposition. If you were a fan of that film, I think it's safe to say you'll find a lot to like here, but not much to love beyond how gorgeous the film looks. The film owes its entire existence to Arthur Penn's Bonnie & Clyde, and seems at times to be desperately aping that film's beautifully violent aesthetic. That film is one of my all-time favorites, and likely the reason that I didn't enjoy this film as much as I should have because it seems to be trying to one-up Bonnie & Clyde rather than paying homage to it.



The performances are all solid, with the glaring exception of LaBeouf. He is so firmly out of his element in this rugged ensemble that his third act transformation is not only thoroughly unbelievable, it's downright laughable. LaBeouf is hardly one of the premier actors of his generation, and he looks like a rank amateur in such formidable company. Hardy, Oldman, & Pearce are all top-notch, as is Jessica Chastain as the object of Forrest's affections. Mia Wasikowska is also good in a small and largely thankless role.

The filmmakers would have been smarter to swap LaBeouf with the much better and severely underused Dane DeHaan. DeHaan, whom you may know from this year's Chronicle, plays the family's genius moonshine cooker, Cricket. He's a magnetic screen presence, and does so much more than LaBeouf does with so much less material. He is definitely an actor to watch for in the future.



Screenwriter & composer Nick Cave has a unique ear for dialogue & captures a wonderful interplay of dialogue between these varied characters, but ultimately the film falls apart in the third act & really fails to stick the landing. Without the benefit of having read the book, I'm not sure at who's feet the fault for this lay, but what started out as a fun, engaging thrill-ride ended up running out of gas and basically sputtered to a halt.

I had high hopes for the film, and maybe if you go into it with lowered expectations, you'll enjoy the film more than I did. There's certainly a lot of great elements on display, some excellent performances, and a really strong first two acts, but in the end, it fails to be better than the sum of its parts. It's not as big a failure as, say, a film like Troy which had similar third act issues combined with otherwise great technical elements, but it still fails to live up to its potential. And at the end of the day, that's almost a greater crime than just being flat-out terrible.

GO Rating: 2.5/5


[Photos via Box Office Mojo]

Day 142: Premium Rush

"You have a real knack for making things worse."

Before I get into this review, I have to preface it by saying that this is not a movie that everyone will enjoy. I can see the average movie-goer walking out of the theater thinking that it was a massive disappointment. However, there is a gem of a movie buried under a premise that has no business working whatsoever, and for those that enjoy B-movies and get on the same wavelength as the filmmakers, you're in for a hell of a ride.



Wilee (Joseph Gordon-Levitt) is a bike messenger in New York City. He helps to establish the world of the film with an opening voice-over that lets us know that bike messengers are part of an unspoken fraternity that takes care of their own, and are among the most able-bodied workers in the entire city. At the end of a long day, Wilee is requested by an acquaintance (Jamie Chung) to pick up a package from her and deliver it to an address in Chinatown.

He immediately attracts the attention of a man calling himself Forrest J. Ackerman (Michael Shannon) who claims to need the letter back from Wilee. When Wilee refuses, Ackerman gives chase, and the film turns into a race across New York City that involves cops, crooks, other bike messengers, the Chinese mafia, and virtually everyone in between.



The movie plays fast and loose with the real-time structure, although the events unfold more or less in real time. There is a ticking-clock that shows up from time to time to let you know when the events you're watching took place, as there are constant flashbacks and scenes told from multiple vantage points, and while it is a bit confusing at first, the pieces begin to fall into place a little more than halfway through.

The handful of times that the action does slow down or stop, are fraught with tension and strategically placed to give the audience a breather. Other than that, it's pretty much non-stop, wall to wall action and suspense. What at first seem like superfluous details like Wilee's failed relationship with one of his co-workers Vanessa (Dania Ramirez) or his rivalry with another (Wole Parks), all come into play throughout the course of the story, and what at first seem like unnecessary details, come to reveal a fully realized world.



David Koepp is a writer who, when he's on his game, understands structure and timely reveals better than almost anyone out there. As a director, he's hit and miss at best, but again, when he's on, he's a force to be reckoned with. I would place this film right alongside his other B-movie masterpiece, 1999's Stir of Echoes, as a fantastic exercise in genre filmmaking. It also bears more than a passing resemblance to his screenplay for Brian DePalma's Snake Eyes as another film smart enough to know it's playing into the very tropes it seems to be parodying.

The performances here are as good as can be expected for the kind of film this is. JGL is far and away one of the most affable actors working today, and he coasts here on his endless charm and the fact that you just can't help but root for the guy, no matter what. Shannon is an absolute blast, and handily walks away with the entire film. I wouldn't hesitate for a moment to compare his performance here to another of his contemporaries in a similarly so-bad-it's-good film from last year, and that would be William Fitchner in Drive Angry. Both actors are savvy enough to know how pulpy the material is, and thankfully manage to have a ton of fun playing these over-the-top villains.



What I'm getting at, again, is that this is the sort of movie you have to know is going to be ridiculous and fun and be willing to just go with it. The film borrows liberally from everything like Run Lola Run, Two Lane Blacktop, & Looney Tunes, and the more you give yourself over to the fun everyone on screen is having, the more you'll find yourself getting caught up in it as well.

I'm sad that this film is seriously under performing at the box office (I was the only person in the theater this afternoon), but it's no surprise. This film would have been a better match for a February or September release, and just got buried in the end-of-summer doldrums. If you're looking for a fun, breezy, ninety minute B-movie thrill-ride though, you can't get much better than Premium Rush.

GO Rating: 4/5

[Photos via Box Office Mojo]

Day 141: ParaNorman

"Say that you'll do it! Swear!" "Like, the f-word?"

The latest film from Oregon-based stop-motion studio LAIKA, opens with a kitschy throwback opening sequence that perfectly sets the tone for the adventure ahead, including 70s-style studio logos and an "Our Feature Presentation" card ripped right from the grindhouse. It instantaneously alerts you to the fact that you're in good hands, and does nothing to betray that trust in the ensuing ninety minutes. In other words, I'm happy to report that a summer filled with family films lacking in imagination, goes out with a bang, as this film has imagination & inspiration to spare.



Norman (Kodi Smit-McPhee) is cursed with a gift of being able to see and communicate with dead people. He sees them everywhere, including the ghost of his beloved Grandma (Elaine Stritch). Unlike another famous character with the same gift, however, Norman doesn't view this as a curse; It's everyone else that treats him differently. His parents (Jeff Garlin & Leslie Mann) don't understand him, his sister (Anna Kendrick) downright despises him, and the class bully (Christopher Mintz-Plasse) dishes out nonstop punishment to the besotted boy.

Fate has big plans for Norman though. There is an imminent invasion of the undead, and according to Norman's crazy uncle (John Goodman), Norman is the only one that can prevent it. When he fails to prevent it, due to circumstances beyond his control, Norman must convince the entire town that he's the only one that can set things right.



One of the things that ParaNorman does incredibly well is instill in the audience that things are not always what they seem. One of the things that I was apprehensive about regarding this film in the first place, was that it was yet another zombie movie. Zombies are all the rage right now, and every possible metaphor that they could represent seems to have been used up a dozen times over. If it's at all possible, though, I'd love to convince you that there is refreshing twist that this film has for the undead, and therefore I won't spoil it here.

LAIKA's last film was 2009's Coraline, and that film set the bar sky high for anything else they would do in the future. Rest assured, though, that ParaNorman is a worthy successor in quality, much the same way Pixar's A Bug's Life was to Toy Story. It's a pleasantly different story told with the same twisted sensibility. The film is very funny, appropriately dark, but still family friendly, containing a wonderful message along the lines of those who fail to remember and learn from their past being doomed to repeat it.



The voice talent is solid, top to bottom, with Smit-McPhee conveying a wonderful sense of exasperation, desperation, loneliness & determination. As Norman's only friend Neil, Tucker Albrizzi is also fantastic & Casey Affleck is great as Neil's older brother. Casting an actor like Mintz-Plasse to voice a giant bully was inspired, and pays off great dividends. I still don't understand the phenomenon of casting, pardon the expression, fat actors to play fat characters, but both Garlin & Goodman are great. I guess I just don't get the sensibility behind casting directors only casting these great voice actors to play fat guys.

The animation is amazing, as to be expected. Three years have passed since Coraline, and LAIKA surpasses even that film's great look. The film's climax is a wonder to behold & the way they superimpose the ghosts onto the frame is inspired and eerie. The use of 3D is minimal and mostly adds depth rather than being gimmicky, but it's a better use of the technology than, say, Brave or Ice Age made.



I took my six-year old daughter Clementine with me, and she had a blast, laughing up a storm. After we left the theater, she said to me, "Dad, Norman's dad didn't believe in him. That's really sad," and that to me is an indicator of how good the film's creators were at establishing and conveying their message. What could have been a pat exercise in the standard "believe in yourself" tropes got turned on its ear. It's not surprising that this film is rooted in a story as old as the tale of Chicken Little, but it's a powerful tale that gets better in the re-telling.

With Pixar and Ghibli already established animation powerhouses, and Dreamworks beginning to finally assert itself as a force to be reckoned with, I think we can safely say that we're in a bit of an animation renaissance. Let's hope that LAIKA sticks around for the long haul, because they're currently batting a thousand. Quality animated films are a win-win for studios and audiences, and now that we finally seem to be past the days of rapid-fire pop-culture references as substitutes for actual storytelling creativity, I think we can look forward to a bright future for the animated film. If only the next batch is half as smart as ParaNorman, we're in for a hell of a ride.

GO Rating: 4/5


[Photos via BoxOfficeMojo]

Day 140: The Campaign

"I am not beholden to my opponent's questions, I am beholden to only one man, the greatest American that ever lived... Jesus Christ."

Much like another comedy from earlier this summer, The Dictator, The Campaign seems to have been made solely for one late film scene where a character sums up the entire issue with our modern political world in an on the nose tirade. I'm not saying that it's not enjoyable and there aren't a lot of funny things that happen over the course of its running time, but continuing to bury prescient political digs in sophomoric humor is only going to diminish your point when you finally get around to making it.



Four-time Congressman Cam Brady (Will Ferrell) is running unopposed for a fifth term in his small district in southern North Carolina. That is until his campaign begins to fall victim to several political scandals, almost all of which involve his rampant infidelity. Seeing an opportunity to take control of this solidly Democratic district, the conservative billionaire Motch Brothers (John Lithgow & Dan Aykroyd) look to insert an opposition candidate into the race that they can easily control & manipulate and allow them to introduce their nefarious & illegal business practices into the region.

Enter Marty Huggins (Zach Galifianakis) the black sheep son of a former Republican bigwig (Brian Cox) in whom the Motch Brothers see the perfect man to turn the political tide their way. Huggins is a sweet & innocent soul, ripe for molding into the ultimate political pit bull who will spout whatever pithy talking points they give him. The film then quickly devolves into a series of each candidate trying to one-up the other through political attack ads, debate distractions and various other tricks & games.



The film has some smart and incisive things to say about the current political atmosphere in this country and the way that elections are bought, if not outright, than through means that skirt issues of legality. It's nothing that hasn't been said before, it's just all consolidated here into one storyline that spans roughly five months rather than the seemingly never-ending campaign cycle we currently live in. It's a tad dumbed-down but it's right on target for the average comedy seeking American heading to the multiplex to see it this weekend.

If you've seen the trailers, you've gotten a general sense of what the film is and what it's going for, but thanks to the film's R-rating, it does have a handful of genuinely funny vulgar moments that couldn't be revealed in the advertising. Unfortunately, the R-rating almost seems like an afterthought. It seems as though there were a handful of things they just didn't want to cut and were saddled with the rating, rather than going full bore for the R like some comedies have lately. This isn't necessarily a criticism, more of an observation.



Ferrell is funny as always, if you're amused by what he does. I happen to be a fan and am willing to follow him down roads that many others may not, so if you're not a fan, you're not likely to be won over by his character and performance here. Galifianakis is the true star here however, playing essentially a variation on his stand-up created "twin brother" Seth Galifianakis. Watching him run the gamut from wide-eyed innocent to cold-blooded politician and back again is a joy and for someone who's been a fan of his for years, it's great to see him get a role where he can show his versatility, rather than just showing one facet of his personality like his roles in The Hangover & Due Date have.

The supporting cast is good, but largely underused. Jason Sudeikis, another guy I love in pretty much anything, isn't given much to do here as Cam's campaign manager, but he makes the most of it. Dylan McDermott also does well with his role as Marty's Motch brother financed campaign manager, and Katherine LaNasa & Sarah Baker similarly make the most of their small roles as Cam & Marty's respective wives. Lithgow, Aykroyd & Cox, all formidable screen presences, are almost entirely wasted in thoroughly unfunny glorified cameos.



Director Jay Roach has proven that he can do great political satire with his HBO films Recount & Game Change, but here he appeared to be more comfortable returning to his role as director of safe, crowd-pleasing comedies like Meet the Parents & Austin Powers. I wish he had retained more of his bite, but I suppose that a dumb comedy with teeth is better than one without any teeth at all.

As I said earlier, if you're not a fan of this sort of comedy, this isn't going to win you over and make you see the light. If you are, however, you may find yourself getting caught up in the silliness of it all, and only later will you begin to wonder why the film couldn't settle into a rhythm of either being a gross-out comedy or a sharp political satire, because in its current state, it just doesn't belong in either camp.

GO Rating: 2.5/5

[Photos via BoxOfficeMojo]

Day 139: Prometheus

"There is nothing in the desert. And no man needs nothing."

I think it fitting that I chose a quote from Prometheus that was actually lifted from another film. Prometheus, as a film, didn't need to add in the specter of another film hovering above it. Positioning itself as a prequel to Alien built that in to the experience to begin with, however, the filmmakers (and I say that because I don't know if it was a script choice or a director choice) decided to give one of the characters an obsession with Lawrence of Arabia. Thankfully they picked the best actor in the film (Michael Fassbender) to give that obsession to, but any time you take one of the greatest films ever made, insert it in to your own film, and reference it more than once, you're only serving to remind your audience of all the better things they could be doing with their time.

And thus is the paradox that is Ridley Scott's Prometheus. What begins as an ambitious science fiction film that sets out to tackle weighty issues like the origin of human life and religious belief systems, turns into a base, sophomoric attempt at being a (thoroughly unpleasing) crowd-pleaser. For its first 45 minutes (excluding a thoroughly ridiculous prologue), the film is actually surprisingly good, and I was having a hard time understanding where the film's detractors were coming from.

The film chronicles an expedition to the vast reaches of the solar system, funded by an enigmatic & wealthy benefactor named Peter Weyland (Guy Pierce), aboard the eponymous vessel. The ragtag group of people aboard include the captain (the always great Idris Elba), the woman running the operation (Charlize Theron, never blander) and the two archaeologists (Noomi Rapace & some guy that looks like a low-rent Tom Hardy) whose discoveries on earth have led Weyland to believe that the answers to the origin of life on Earth reside on the moon of a distant planet. Also aboard are a bunch of other utterly forgettable supporting players and an android named David (Fassbender) who has spent the two year voyage of the ship watching the dreams of the other passengers in between language lessons & viewings Lawrence of Arabia.

Anyone who's seen at least one science fiction film knows that there's more awaiting this crew than meets the eye when they arrive. What makes the film so utterly stupid is the fact that the characters will, in time, receive the answer to virtually every question that they have. Pins are set up just to be knocked down & it diminishes the whole point of bringing up such heavy issues. Why does there have to be an answer to everything? Do you care where the Alien in Alien came from? You'll get your answer here. Did you absolutely have to know what the space jockey in Alien was? Watch Prometheus for a truly stupid answer. It doesn't matter where everything comes from, but it's funny that the entire theme of Prometheus is people seeking answers to unanswerable questions. It's like they're letting you know what you're in for right there in the god damned log line.

No one's motivations make any sense. A single word is spoken, unnecessarily, by Charlize Theron's character, almost as a reason to help you understand why this wholly unlikable person is the way she is. I'm really not sure I understand why the two guys left in the cave would so eagerly approach a phallic alien life form when they've avoided every imaginable danger up until that point. I also don't understand the filmmakers motivations, like why they were so slavishly faithful to the costume and set designs from the original Alien. Has everyone just plain run out of ideas, or do you not trust your audience enough that you have to spell absolutely everything out for them?

Apart from Elba & Fassbender, the performances are nothing to write home about. There was nothing distinguishable about any of them. I think there were just too many people. The original Alien worked because the cast was so streamlined and everyone had their distinct character traits. Here, everyone wants to be shrouded in mystery and cast in shades of grey that they all wind up fading into the background due to their insistence on being meaningful and three-dimensional.

I genuinely miss the days when a director could surprise you. There was a time when a guy like Ridley Scott could come seemingly out of nowhere with a genuinely entertaining film like Gladiator and remind you why he was an elite director in the first place. Now we're reduced to waiting for the other shoe to drop halfway through even the most promising of efforts by directors that lost their mojo long ago.

There might have been a good film in here somewhere, but like the Star Wars prequels before this, the filmmakers became obsessed with turning virtually every little unexplained nuance of the original into some deep, meaningful entity with a backstory. I think Hollywood views moviegoers as people who are no longer willing to expect the unexpected, and with every new film that comes along, the need to classify it as a total success or a total failure has only bred that contempt studios have for us peons even further.

Unless you're a die-hard fan of Alien and need to know where everything came from, avoid Prometheus at all costs. It may only end up tarnishing your memories of an otherwise great film. As a matter of fact, I'm going to cleanse my palate with a viewing of Alien right now.

[Header Image]

Day 138: The Watch

"Did anyone else here cry themselves to sleep last night?"

If The Watch suffers from too much of any one thing, it's laziness. What could have been a truly inspired comedy ends up becoming an exercise in famous people falling back into their comfort zone and doing the same thing that they've been doing for years. That's not to say that there aren't some genuinely funny things in the film, it's just that the laughs run out about seventy minutes into a one hundred minute film, leaving the audience to wonder why the film switches genres in the home stretch.

Let me back up for a minute. For those of you that don't know, The Watch is a comedy co-written by Seth Rogen & Evan Goldberg, the team behind Superbad, and directed by Akiva Schaffer, one-third of the comedy trio Lonely Island, and director of 2007's supremely underrated Hot Rod. In other words, it's got pretty decent comedic pedigree, depending upon how your sensibilities skew. Ben Stiller plays Evan, a suburban everyman who spends more time starting up clubs than he does with his sex-starved wife (Rosemarie DeWitt). He manages the local Costco, and when his night watchman turns up dead one night, Evan vows to find the killer by forming a neighborhood watch. His call for recruits falls on mostly deaf ears, and only three other dudes show up for reasons that vary wildly, but nevertheless, the quartet rally together to take back their neighborhood from a criminal element.

The other members of the crew are Bob (Vince Vaughn, playing a variation on his character from Old School) a dad who's major motivation seems to be to have a good time; Franklin (Jonah Hill, at his thinnest) a psychopath who failed to become a cop, so now seeks to be a vigilante; and Jamarcus (Richard Ayaode from The IT Crowd) a British divorcee looking for kinky adventures with Asian housewives.

If you've seen the commercials or trailers, you know that they quickly stumble upon an imminent alien invasion seemingly born out of sheer laziness. Honestly, there were so many directions they could have gone, and the alien thing is just about the least interesting variation on the "social outcasts become saviors" film that this ends up becoming. Making the threat an outside force like aliens is a total copout. I know that this film was in the can long before the incident in Florida that forced the title change, but imagine how much more incendiary and incisive the film could have been if the killer(s) had been someone that couldn't handle the mundanity of suburban life that these men had embraced. The issue, ultimately, falls on the writers for not being imaginative enough to tackle anything other than rote science fiction/comedy summer crowd-pleaser, and the film ends up as none of those things.

As for the cast, it was nice to see Vaughn back in the mode that made him famous in the first place, but even he looks bored with the material that he was given, particularly in the film's third act. Ayoade also acquits himself nicely, playing an outsider just trying to fit in. Among the bit players, Will Forte is hilarious as a small-town bumpkin cop & Billy Crudup is fantastic in a miniscule role as Evan's creepy neighbor.

The major issue with the casting falls squarely on Stiller's shoulders. Stiller is a good enough comedian to understand the role of the straight man, yet he never plays one effectively. The last time he decently played the straight man was in There's Something About Mary, and even then he had his moments where he couldn't help himself. Stiller's problem is that he's never the funniest one in any given scene, yet he doesn't trust himself enough to let other people get the laugh, and he constantly has to overplay moments and go for the laugh. If a comedian is being reigned in and directed well, they can be the best of the best to play the straight man.

One of the best examples of a comedian brilliantly playing the straight man is Robin Williams in The Birdcage. He sets everyone else up amazingly and underplays all of his scenes (except the "eclectic celebration of dance" scene). Stiller just doesn't understand what the function of the straight man is (although he doesn't really get it in the other direction either. For a prime example of this, see his endless mugging in Dodgeball, which featured a brilliant straight man in his co-star from this film, Vince Vaughn).

By sheer virtue, Jonah Hill ends up being odd man out here. He's not given enough to do to really stand out, and the handful of big moments he does have fail to land effectively. Bottom line, his role wasn't very well written, and he flounders as a result.

If you've seen both the red band and green band trailers for the film, you've seen virtually every funny scene in it. The handful of funny moments that aren't in those, all of which involve Vaughn, Forte or Crudup, aren't worth your ten bucks just to see. If you're a diehard, go for it, but lower your expectations. A lot. And for god's sake, can we put an end to the "white guys strutting in slow motion to hip-hop" trend once and for all? Schaffer likes that bit so much he includes it at least three times here. It's pretty played out at this point, and just goes towards proving my point about the laziness on display in this film. There's no greater sin for a film than having wasted potential, and this film has got that in spades.

[Header Image]

Day 137: Magic Mike

"You're not just stripping. You're fulfilling every woman's wildest fantasies."

Demystifying sexual fantasy has been done before on film in everything from Boogie Nights to Flashdance. It's no coincidence that Steven Soderbergh's latest film, Magic Mike, owes a huge debt to both of those films, as it continues the same tradition of rectifying the bright light fantasy with the harsh light of reality. I can also state, without even a hint of irony, that it is also the best film of the summer (thus far).



Loosely based on his days spent as a male stripper in the late 90s, Channing Tatum plays the eponymous bringer of female fantasy, a man who longs to not be defined by his chosen career. "Magic" Mike Lane spends his days toiling as a construction worker and his nights at a Tampa strip club called XQuisite, but he dreams of owning his own custom furniture business. He has convinced himself that the fast cash jobs he finds himself in are a means to an end, but it's clear that the older he gets, the harder it's becoming for him to break out of the rut he finds himself in.

Mike becomes fast friends with aimless wanderer Adam (Alex Pettyfer), and fast tracks him to a career at his club. The club is run by Dallas (Matthew McConaughey), who gives "The Kid" a shot. The film seems to be veering towards an All About Eve retread, but thankfully skirts that by focusing on the fact that Mike doesn't care about being usurped. The film also becomes something of a love story when Mike falls for Adam's older sister Paige (Cody Horn) who sees right through Mike's facade, understanding him better than he does himself.



The film gets off to a slow start, but once we enter the world of Dallas' club, the film comes to life. The other strippers at the club include Big Dick Richie (Joe Manganiello), Ken (Matt Bomer) & the over-the-hill, but unqualified to do anything else, Tarzan (Kevin Nash, yes, that Kevin Nash). Mike spends his time away from the club seemingly spinning his wheels, as he's unable to secure a bank loan to open his custom furniture business. A scene in which he dresses up and goes to the bank owes a bit too much to Buck's disastrous attempt to do the same in Boogie Nights, but it never feels derivative.

The Kid has his own problems as well. He falls victim to the allure of the fantasy of it all, and it's not long before he finds himself falling down the rabbit hole. It's not long before we can see him ending up in debt drug dealers, a plot development that felt forced into the film, and would likely have made the film better had it been jettisoned.



The most interesting thing that Soderbergh and his writer Reid Carolin do is how they create Mike as a character that has convinced himself that he's above the work that he does, yet is so immersed in the world, he doesn't see that he's as trapped as everyone else is by it. It's the thing that makes the film so successful, and makes Tatum's performance pretty damn good. You can never tell if he's aware that he's a startling hypocrite because he seems to believe that he isn't. I never thought I'd say this about Tatum as an actor, but he manages to do quite a lot without saying very much of anything.

The rest of the cast is good to great. Pettyfer is solid as The Kid, and doesn't give in to the instinct to make his character likable. He's okay with being a scumbag, and it makes his performance that much more effective as a result. Horn is good as well, though she overplays a key scene near the end to almost comedic effect, ruining any possible emotional impact it may have had. Nash is fantastic as Tarzan, a man with nothing else in the world other than a profession he's about twenty years too old for.




The absolute pinnacle of the cast, however, is McConaughey. This is the kind of performance he was born for. Not since his screen debut in Dazed & Confused has a director been able to wring the marrow from his bones like this. You know exactly who Dallas is just by looking at him, and the actor is savvy enough to play into every single one of your expectations while simultaneously defying them. I think he needs to be exploited by directors in this way more often, because he's such a charismatic actor and when he's on top of his game, there's no one on screen more watchable.

Magic Mike is destined to be remembered as "the male stripper movie" for the rest of time, but it's not more fitting a description than calling Traffic "the drug movie." I use that comparison because this is Soderbergh's best film since Traffic, as it is smarter than it appears to be. It never allows the audience to have too much fun without being brought back down to earth moments later. It also deals with some lofty concepts like being true to yourself and not letting your profession define who you are as a person, while simultaneously reminding us that dreams aren't enough to define you either.

Ladies, go see it, if you haven't already. I know you weren't waiting for the go-ahead from me, but you'll enjoy it more than you think that you will. Guys, I promise, I know that you've managed to convince yourself that there's nothing in this film that's appealing to you, but if you can put your hyper-masculine guard down for two hours and go see this film, you won't be disappointed. There's a lot to love about Magic Mike, and you're only making yourself look like an idiot for not wanting to get caught up in it.


PopGO Rating: 4/5

[Photos via BoxOfficeMojo]

Day 136: Ice Age: Continental Drift

"Who says an old lady can't drive?"

You just kind of have to roll your eyes and keep going when anachronistic lines like that show up in animated movies in this day and age. The Ice Age film series certainly has never been known for its cutting edge humor, animation, storytelling, character development, or plot innovations, yet here we are, a full decade since the release of the first film in the series, and the thing just keeps on ticking.

So is this latest entry in the series worth your time or your money? Read on to find out, although I think we both already know the answer to that question...



To bring you up to speed, the Ice Age series is the continuing adventures of a Wooly Mammoth named Manny (Ray Romano), a sabretooth tiger named Diego (Denis Leary) & a sloth named Sid (John Leguizamo). They were first brought together to protect a human baby, then to relocate their herd, then to fight dinosaurs, I think, and now to get back to their home after a continental shift causes them to be separated from their family.

The characters were never all that memorable, save for some of Sid's antics, and could barely sustain one film, let alone the four they've now been in. The filmmakers have wisely added peripheral characters with each installment (a love interest for Manny (Queen Latifah) & two possums (Stifler & Josh Peck) in Part 2 & a crazed dinosaur hunter (Simon Pegg) in Part 3) though they've now piled on so many characters in this fourth installment, it's hard to tell any of them apart anymore.



When Manny, Sid & Diego get separated from Manny's family, which has now grown to include daughter Peaches (Keke Palmer), they are set adrift in the ocean on an iceberg, along with Sid's crazy grandmother (Wanda Sykes). They run afoul of a band of pirates, led by the primate Captain Gutt (Peter Dinklage), and they go on all manner of adventures after this, including a high seas escape, commandeering a ship, gathering a band of small animals to aid in their fight, and avoiding the wily call of a group of deadly sirens.

The film is chock full of great character actors in supporting roles, including Nick Frost, Alan Tudyk, Rebel Wilson, Aziz Ansari, Josh Gad, Alain Chabat, & a hilarious cameo from Patrick Stewart, but all of the major voice work is given to fairly indistinguishable "celebrities." Jennifer Lopez is nothing but bland as a female sabretooth. Drake is equally unmemorable as the object of Peaches' affection, and Nicki Minaj has the most grating & out of place voice as another wooly mammoth.



There's undeniably a ton of diversity in that cast, particularly when held side by side with other animated films from other major studios, but I don't honestly know how much that matters in an animated film. It's not like the voice of the performer gives away keys to ethnicity (unless they sound like Minaj, who must have thought she was voicing a character on The PJs or something). I don't want to get into a lengthy dissertation about this, but I think it's valid to question whether a voice actor's race or ethnicity have any factor on the story, beyond their potential to bring in a more diverse audience?

There's plenty of good voice work happening here, just nothing beyond the level of commitment you'd expect from professional actors being paid to do their job. Dinklage is probably the ace in the cast, and I'm surprised no one's thought to tap into his potential as a voice actor before now. He's appropriately menacing and brings a new dimension to this series as its first true villain. Leguizamo is also pretty good, as is Frost & much of the remaining cast I had mentioned previously, but there's nothing here to write home about.



My biggest issue with this series is that it's very much like an animated cartoon series from the late 80s or early 90s. The problems the characters had to deal with in the last installment are a distant memory by the time the new installment begins. For example, in 3, Diego was dealing with getting old and soft, but because that was conveniently wrapped up by the end of that film, it's a non-issue in this one. None of these characters do any sort of developing from film to film. All the development is done by the end of the film you're watching.

I know I'm nitpicking here, but when you're expecting parents to shell out premium ticket prices, you've got to bring more to the table. Dreamworks is only just now coming to this realization, and hopefully Blue Sky will follow suit, but I doubt it. When you take all that I've mentioned into consideration, and add in the fact that this film has the most ridiculous, deus ex machina conclusion imaginable, there's no other conclusion to draw other than the fact that this franchise just needs to be put to bed.

Two reasons I actually would recommend seeing it, however, are The Simpsons' short that precedes the film "The Longest Daycare." It's everything you love about The Simpsons (spot-on satire & Ayn Rand jokes) in a quick and awesome short about Maggie. Also, the epilogue to the actual film itself, where the squirrel Scrat discovers the lost island of Scratlantis, feels like the logical conclusion to that character's arc. Let's all just pray that enough is enough.

GO Rating: 2/5


[Photos via BoxOfficeMojo]

Day 135: Lisztomania

"Wagner, no! Stay in hell where you belong!"

Although he started out directing pretty straight forward films like Billion Dollar Brain & The Music Lovers, Ken Russell's career took a turn for the surreal with 1971's criminally under seen & underrated The Devils. In 1975, he released two films featuring Roger Daltrey, the lead singer of The Who. The first was a film adaptation of that band's 1969 masterwork rock opera Tommy. The other is another under seen film, yet one that I would hesitate to call underrated: Lisztomania.



To say that Lisztomania plays fast and loose with historical events might be the biggest understatement I've ever made. The film takes a devilish delight in being historically inaccurate. It posits Hungarian composer Franz Liszt (Daltrey) as the first "rock star" in music history, giving him legions of ravenous fans & an insatiable libido that rivals that of Jim Morrison, Mick Jagger & virtually any other rock star you could name.

The film is not really a musical, if for no other reason than it brashly defies categorization of any kind. In the film, Liszt becomes fast friends with fellow composer Richard Wagner (Paul Nicholas), and after falling victim to her feminine wiles, he intends to wed the Russian Princess Caroline (Sara Kestelman). After eloping, Liszt is summoned to the Vatican, where the Pope (Ringo Starr) condemns his marriage, and forces him to work exclusively composing music for the Catholic Church.



The Pope calls Liszt into action, however, when a plan is uncovered in Germany wherein they are using Wagner's music to conquer the world. Wagner, reincarnated as a Frankenstein/Hitler hybrid, is unleashed & begins using an electrical guitar/sub-machine gun to kill thousands of innocent people. This sets up the ultimate showdown of good versus evil, Catholicism versus fascism, love versus hate.

To say I'm oversimplifying this film is the second biggest understatement of this review thus far. His seduction at the hands of the Russian Princess involves a dream sequence of sorts where he is sucked up into her nether-region & tormented. The film opens with one of the more bizarre swordfights ever committed to film, and only gets weirder from there. By the time Liszt rides a twelve foot long phallus through a cabaret number, you'll have to have made the decision whether or not you're willing to go along for the ride (no pun intended).



Is there a method to the madness? Yes and no. Russell tends to be the sort of director who tries to cram every possible bit of symbolism into his films until it's almost all rendered meaningless. He condemns fascism with his right hand while also equating it with religion with his other, until it all becomes a jumbled mess. Lord knows who he was targeting with this film, but at the same time, it gives one pause to ask, who wasn't he targeting?

At the same time, however, the film cannot be dismissed outright. Visually it's an accomplishment like very few others. It's interesting to juxtapose this film with last week's Baron Munchausen, as Terry Gilliam is very clearly a visual disciple of Ken Russell. It's influence can also be felt in the surrealist films of Guy Maddin, The Brothers Quay, Ralph Bakshi & Jan Svankmajer. Even a film as prestigious as Amadeus can said to have been influenced by this film's free-wheeling, rock star lead composer.



The performances are about as good as can be expected from two musicians like Daltrey & Starr. Never the most gifted actors, they make up for it with their boundless charisma. Keep an eye peeled for some great cameos from Russell regular Oliver Reed, and Nell Campell, or Little Nell, from Rocky Horror Picture Show.

The most unfortunate thing for those of us residing in the US is that this film is extremely hard to come by. I have a VHS copy of it, but it's never seen a Region 1 dvd release. There are several foreign dvds available & it's even on blu-ray, but you may have a hard time tracking down a copy of the film.

If you do, I entreaty you to open your mind and give yourself over to the absurd imagery on display. If you think for a moment that you're expected to take any of this seriously, you're missing the point of the film entirely. Just bask in its weirdness and allow yourself to be transported to a time when major studios were giving directors like Russell millions of dollars to realize their singularly strange vision. I wouldn't hesitate for a moment to say that such a time will never come again.

[Photos via imfdb.com]