Movie Review Made of Honor

Made of Honor (2008) 

Directed by Paul Weiland

Written by Deborah Kaplan, Harry Elfont

Starring Patrick Dempsey, Michelle Monaghan, Kevin McKidd, Kathleen Quinlan, Sidney Pollack

Release Date May 2nd, 2008

Published May 2nd, 2008

Forget about An Inconvenient Truth or Leonardo DiCaprio's recent enviro-doc The 11th Hour or any nature movie you've ever seen. The most environmentally conscious film ever is without a doubt the new romantic comedy Made of Honor, the first movie ever made entirely of recycled materials. Recycled script, recycled characters, recycled plot, recycled everything. There is in fact next to nothing in Made of Honor that isn't recycled from some other romantic comedy right down to the stock scenes of a chase to the church and a character who gets punched in the nose at a wedding.

Grey's Anatomy star Patrick Dempsey stars in Made of Honor as Tom, an amoral ladies man who lives to sleep with a different woman every night. He has the perfect set up, he sleeps with random babes but has his best friend Hannah to provide him with the kind of female companionship he truly desires. Unfortunately, Hannah has a trip to Scotland that disrupts Tom's set schedule. With Hannah out of the country and mostly out of touch Tom realizes that his life stinks without her. He decides that he loves her and will tell her when she returns. However, Hannah doesn't return alone.

While in Scotland she fell for a hunky Scot named Colin (Kevin McKidd) and accepted his proposal. On a whim, she is getting married and she wants Tom to be her Mate of Honor. If you can't predict what happens from there then you have likely never seen a romantic comedy before. From the chase to the church to someone getting punched out at the wedding, Made of Honor recycles every imaginable rom-com cliché. The movie, directed by Paul Weiland even tosses in some questionable low brow humor for good measure.

Made of Honor is so astonishingly clichéd and predictable that had it included an all cast sing along to a well known pop song it would tip completely over into an ironic rom com parody and I could recommend it. As it is, Made of Honor is an earnest attempt at romantic comedy that fails on familiarity alone. On most every level the film is... competent. Patrick Dempsey is appealing. Michelle Monaghan is love and everything from the supporting cast to the direction is competently crafted. The problem is we've seen it all before. The script from three different writers recycles every cliche in the book and somehow expects us to simply accept it.

No acceptance here, Made of Honor stinks like the compost of dozens of similar romantic comedies. No matter the appealing  elements we've seen it all before and thus there is no reason to see Made of Honor.

P.S

As for the bizarre title "Made of Honor". Now having seen the movie, I still can't make sense of it. Tom is the Maid of Honor but why the title goes with 'Made' is a complete mystery.

Movie Review Marley & Me

Marley & Me (2008) 

Directed by David Frankel

Written by Scott Frank and Don Roos

Starring Owen Wilson, Jennifer Aniston, Alan Arkin

Release Date December 25th, 2008

Published December 24th, 2008

I haven't had a dog since I was a kid. His name was Rusty. I have this painting that someone bought at goodwill or a garage sale that just happens to be of a dog that looks exactly like Rusty. I cannot walk past it without smiling. Rusty was the dumbest dog in history. He would answer to any name shouted loud enough and he chased parked cars. But he was my dog and I loved him. The new movie Marley & Me with Owen Wilson and Jennifer Aniston inspires that sort of pet related introspection. The movie based on John Grogan's bestselling book is filled with spot on recreations of the kinds of memories dogs leave behind.

John Grogan wanted to be a globetrotting journalist who wrote the stories that changed the world. Instead, he went to work at the Sun Sentinel in Florida and covered city council meetings and wrote the occasional obituary. When he got his big break it wasn't going to Columbia to track the drug trade like his pal Sebastian (Dr. McSteamy, Eric Dane).

Nope, John Grogan's big break came when a columnist quit the Sentinel on short notice and his editor (Alan Arkin, in all his cantankerous glory) needed someone to fill 600 words in the lifestyle section. That was when John wrote his first article on his dog Marley, aka the world's worst dog, and launched himself to national syndication.

Marley was the world's worst dog. He ate everything from shoes to drywall. If there was a thunderstorm he might do more damage than the storm itself. John and his wife Jenn, also a journalist, got Marley when Jenn began talking about having a baby and John decided, behind her back, that he wasn't ready. Sebastian suggested getting the dog as a way of putting her off and it worked for a while. Eventually however, the Grogan's did have a baby and the family and Marley continued to grow.

Directed by David Frankel, the movie made from John Grogan's bestseller is filled with heart and humor in a most earnest fashion. It's something unlikely in the age of irony and disaffection for a movie to be so bravely serious about the day to day life of a family. The risk is being labeled cheesy, sentimental or cornball. Director David Frankel doesn't seem to care about the labels and in not caring the film is almost heroic.

There is nothing wrong with irony but once in a while a movie like Marley & Me is a welcome respite from the modern form of humor all detached and 'meta' and weird for the sake of weird, or awkward for the sake of awkward. Marley & Me treats the family life of John and Jenn Grogan with a seriousness that keeps the movie from becoming the Beethoven sequel so many of us imagined.

If Frankel and writers Scott Frank and Don Roos had given the same care to John Grogan's work life I might have a lot more nice things to say about Marley & Me. Unfortunately, the filmmakers give such a strange and distorted idea of how journalism works that it becomes distracting. Trust me when I tell you that no journalist has ever shown hesitation about being promoted and been handed double his pay as an enticement. Even if there were an ounce of truth to this story, the movie doesn't make it remotely believable by playing it as Arkin and Wilson play out the scene in Marley & Me. 

It's a little thing but it irritated me.

Aside from the job stuff, Marley & Me is a fun, thoughtful, well crafted family movie that gets right every aspect of owning and loving a dog. Even if you don't own or love dogs you will appreciate the way Director David Frankel and stars Owen Wilson and Jennifer Aniston never condescend to the audience. The film is serious about the way it treats the Grogan family and the humor emanates from a place of truth because of that seriousness.

Movie Review The Day the Earth Stood Still

The Day the Earth Stood Still (2008) 

Directed by Scott Derrickson

Written by David Scarpa

Starring Keanu Reeves, Jennifer Connelly, Jaden Smith, Jon Hamm, Kathy Bates, Kyle Chandler

Release Date December 12th, 2008

Published December 12th, 2008

My fellow critics are being far too hard on the remake of The Day The Earth Stood Still starring Keanu Reeves and Jennifer Connelly. Maybe it's fond memories of the 1951 Robert Wise original or maybe they are just grumpy, but my fellow critics have come out hard against this movie and I think they are overreacting. I will stipulate that from the standards of a traditional good movie vs bad movie standard The Day The Earth Stood Still is a bad movie. On the other hand, I think all of us knew that going in.

Keanu Reeves stars in The Day The Earth Stood Still as Klaatu, an alien from some unnamed universe collective. He has come to rescue the earth. From whom you might wonder. Autobots and Decepticons? No. The Borg Collective? No. Gremlins? No. No Klaatu is here to save the earth from you. You and me and your brother, mother, sister and cousin. Yes, humanity is a threat to the planet and if you can't pull that metaphor out of thin air, you really need to pick up a freakin' newspaper.

For the supremely dull, The Day The Earth Stood Still is an environmentalist parable. Humans are poisoning the planet and Klaatu is here to rescue it and the non-human inhabitants that are the earth's real friends. Standing in Klaatu's way is scientist Helen Benson (Jennifer Connelly). Well she isn't physically standing in his way but she does appoint herself the savior by trying to reason with the killer alien.

Helen and her supremely irritating son Jacob (Jaden 'Big Willie's kid' Smith) team up to show Klaatu that humanity can change, learn lessons and maybe stop killing the planet. All we need is a wake up call. How about the destruction of most of the eastern seaboard?

Kathy Bates, Jon Hamm and Kyle Chandler round out the rest of the main cast in inconsequential roles. Then again, there is little of consequence in the whole of The Day The Earth Stood Still. Which brings me to my central thesis. Despite the environmental parable, at its heart The Day The Earth Stood Still is not a message movie. This is pure popcorn entertainment. Director Scott Derrickson gets it. He focuses great attention on the special effects which even the most ardent haters admit are pretty cool. The tiny metal bugs that begin eating humanity are badass effects and that truck eating scene. Very Cool.

So what if the metaphor is obvious and Keanu is a total cheeseball and that the film is more blatant about cross promotion than your average commercial TV broadcast, we knew walking into this movie that great art was not in our future. What The Day The Earth Stood Still was meant to deliver and what it does deliver are eye catching effects and some unintentional humor. We got those things in spades. I laughed throughout and left the theater with a big smile on my face. This goofball, popcorn blockbuster is fast paced, fun and the effects are dynamite. To expect this movie to treat serious topics with serious intent is a fool's errand.

You walk in knowing this is a big dumb movie and that is part of what you get. You also get a kick out of just how big and dumb the movie is. The filmmakers may not have meant to make me laugh and my smile at the end may have been somewhat ironic but so what. I truly enjoyed the experience of The Day The Earth Stood Still. How could I not recommend to you such a good time movie.

Movie Review Max Payne

Max Payne (2008)

Directed by John Moore

Written by Beau Thorne

Starring Mark Wahlberg, Olga Kurylenko, Mila Kunis

Release Date October 17th, 2008

Published October 17th, 2008

Is it cynical to assume that studios only make movies out of video games because of the built in audience? No, nothing is too cynical when it comes to movie studios. The real question is: How do the studios get filmmakers to go along with a movie that is little more than a marketing ploy? You could ask director John Moore. He is the man behind the latest video game adaptation to hit video store shelves. Moore and writer Beau Thorne have taken the characters of the popular first person shooter game Max Payne and used the character names and changed just about everything else that fans of the game knew.

Moore and Thorne have made a movie with characters named Max Payne and Mona Sax but if they resemble anything from the videogame it is merely a coincidence. Since that is the case, then why waste money on the rights to the game. Was that just for the name Max Payne?

Mark Wahlberg plays the titular Max, a cop tortured by the murders of his wife and daughter. They were alleged to have died in a robbery but Max comes to suspect a more sinister motive.  He's become so consumed by the conspiracy that his career has stalled. He now works in the Cold Case department, a bad assignment we assume because his office is located in the basement of the precinct.

The story kicks in when Max gets a tip from an informant about some dopeheads. He finds them and they lead him to a party and to a girl with a tattoo that is a big clue. The girl (Olga Kurylenko) is linked to a major drug dealer (Amaury Nolasco) who may be the man who really killed Max's wife. Before Max can get anything from the girl she is murdered. Since she happened to have stolen Max's wallet and was carrying it when she was killed, he is the top suspect.

More bodies pile up, each with a link to Max. As he avoids the cops he befriends the dead girl's sister, Mona (Mila Kunis), a killer for hire. Together they hunt down the drug dealer and his supplier. The plot involves a corporate conspiracy, drugs, super soldiers and other such things, many of them actually taken from the video game. However, fans of Max Payne looking for anything to be what they remember of the game will be sorely disappointed.

The 'adaptation' was merely a ploy by 20th Century Fox to find a property with built in salability. It never really mattered that the writer and director were in no way bound to actually adapt a story people were already quite familiar with. What mattered was the name Max Payne.

Now, as someone who never played the game, I could not really care less. The efficacy of video games to movies will affect fans of the game. For me, the issues are different. Max Payne, to me is a dreary action spectacle of dull anarchic plotting and lame attempts to marry classic detective movie tropes to modern special effects driven madness.

I like Mark Wahlberg but with The Happening and now Max Payne, Wahlberg is devolving from promising star to victim of bad management and bad advice. His Max Payne is a slow witted, lumbering piece of meat with a gun in his hands. On top of that, he's also a major bummer.

That last thing isn't his fault, I might not be alot of fun if my wife were murdered by drug dealing corporate conspirators but you wouldn't want to watch a movie about me either. The script of Max Payne piles on the depressive Max by killing his family and friends and then director John Moore piles on an oppressive atmosphere of unending cold darkness.

There are allusions to Norse mythology, lifted from the videogame but also altered from what gamers remember. The allusions are supposed to give the movie (game) depth but they really just show how shallow the whole enterprise is. The depth is feigned to the point of apathy and you almost feel sorry for whoever thought such a gambit would work.

Really, I almost feel sorry for everyone involved in Max Payne. I'm not sure what they set out to accomplish but still their failure is evident. Max Payne is a dreary, ugly, dumb movie that exists because of it's built in marketability and loyal following. Whether satisfying that built in following ever mattered is a question for director John Moore or 20th Century Fox.

My guess is, Nah.

Movie Review Shutter

Shutter (2008) 

Directed by Masyuki Ochiai 

Written by Luke Dawson 

Starring Joshua Jackson, Rachael Taylor 

Release Date March 21st, 2008 

Published March 22nd, 2008 

As I walked into the theater to see the latest American remix of a Japanese horror film, Shutter, I told one of the ushers exactly how I thought the film would play out. Based on my years of experience with this kind of movie and the film's ham-fisted ad campaign, I was able to devine the entire plot and plot twist of Shutter without having witnessed a frame. Watching the movie play out, exactly as I predicted, I was forced to stifle laughter, not wanting to spoil the experience for those of such hardy stock they have made themselves unaware of any previous Japanese horror film and of the film's ad campaign. Their ignorance being their only salvation.

Joshua Jackson stars in Shutter as Ben, a fashion photographer newly married to Jane (Rachel Taylor). The happy couple is forgoing their honeymoon in favor of a working vacation in Japan where Ben will work during the day and tour the country with his new bride at night. That was the plan anyway. Unfortunately, on the way to their temporary new home they are involved in an accident and a young girl is killed. Or so they thought. Jane is convinced that she ran over a woman but when the police arrive, no body is found.

Haunted by the accident, Jane tries to get on with life in Tokyo. Traipsing around the city snapping touristy photos, Jane makes a terrifying discovery, the ghost of the woman she thinks she killed is appearing in all of her photos. James Kyson Lee plays an expository character named Ritsuo who conveniently explains what he calls spirit photography, ghosts linked to people and only seen in photos. Another expository character fills in the blanks about why spirits attach themselves to the living and if you haven’t already figured out where this story is heading, you don’t watch many movies.

Directed by J-horror veteran Masayuki Ochiai, Shutter starts off as a rip off of The Ring and never deviates from the ripoff path. Where in The Ring it was a cursed videotape in Shutter it’s cursed photography. Where in The Ring it was a young dead girl stalking the living through media format in Shutter, oh what a shock, it’s young dead girl stalking people thru media format. Even the deaths in each film are similar. A guy falls from a balcony in Shutter just as Bill Pullman drops from a balcony in The Grudge. Life force sucked out in Shutter? How about the death of the young nurse in the opening The Grudge?

Director Ochiai and screenwriter Luke Dawson deliver not one original moment during the brutal 90 minutes of Shutter.

Movie Review Righteous Kill

Righteous Kill (2008) 

Directed by Jon Avnet

Written by Russell Gewirtz 

Starring Al Pacino, Robert De Niro, Curtis Jackson Carla Gugino

Release Date September 12th, 2008

Published September 11th, 2008

20 years ago people buzzed about the idea of Robert DeNiro and Al Pacino working together. 20 years ago, people would have lined up around the block and Oscar voters would salivate over the chance to vote for a Pacino-DeNiro teaming. 20 Years is a long time ago. DeNiro and Pacino did tease fans a little in their brief scenes together in Michael Mann's Heat but one could argue, with the length and breadth of that film. even with one scene together, they are barely in the same movie.

Thus Righteous Kill really is the first time Pacino and DeNiro, two of the finest actors of the last 50 years have teamed up. 20 since the teaming would have had relevance and buzz, Righteous Kill arrives after DeNiro has begun to lower his profile and work less and less and after Pacino has stumbled through a series of failures.

In Righteous Kill Robert DeNiro is Turk, a detective on the beat for years. Al Pacino is his partner Rooster and together they have done questionable things to get the bad guys. Lately, someone has been doing Turk and Rooster's job for them, hunting down and killing New York's worst of the worst. A series of murders where the killer leaves behind a poem referring to the crimes committed by the deceased.

Bodies pile up like cordwood and the evidence begins to point to a cop. In fact, the evidence seems to lead right to Turk. Rooster backs his partner, but even Turk's girlfriend (Carla Gugino) , a forensics expert, seems suspicious. John Leguizamo and Donnie Wahlberg play a pair of fellow cops who also caught one of the poetry murders and come to suspect Turk.

I would love to tell you that director Jon Avnett takes this premise and uses it to keep you on the edge of your seat. I would love to be able to tell you that the plot is tight and lean and to the point but I can't. The fact is Righteous Kill is one of the sloppiest thrillers of the last decade. Though slightly better than Avnet's last teaming with Pacino, the abysmal 88 Minutes, Righteous Kill is as incomprehensible and ludicrous as any movie of the last decade.

Scenes pile up and go nowhere. Scenes of suspense and misdirection turn confusing and messy. Even as we are baffled by scenes that don't seem to make any sense, we still somehow are not the least bit surprised when the end arrives and the killer is revealed. Such is the botched effort of Righteous Kill, it's not even confusing enough to engender suspense from its own muddled nature.

As bad as Righteous Kill is, I cannot deny being compelled, ever so briefly, by DeNiro and Pacino. These two veterans, even far from the tops of their game, are still so charismatic that their talent can shine through the morass of something as awful and convoluted as this. As the film devolves and the two begin stagey speeches that go nowhere, you can't help admire the skill and commitment of these two legends.

Righteous Kill is a sloppy, slipshod effort that tries and fails to capitalize on the presence of two exceptional actors. It goes to show that no matter how good the actor, no one can overcome bad direction, bad plotting and bad editing. Really, Righteous Kill is just bad everything. Even bad DeNiro and Pacino who need to be called out for indulging such an incomprehensible mess.

Movie Review Revolutionary Road

Revolutionary Road (2008) 

Directed by Sam Mendes 

Written by Justin Haythe 

Starring Leonardo DiCaprio, Kate Winslet, Kathy Bates, Michael Shannon

Release Date December 26th, 2008

Published December 25th, 2008 

I am beginning to wonder if director Sam Mendes is really just M. Night Shyamalan with neuroses. The career correlatives are compelling. They broke out together in 1999 with a pair of at least slightly overrated Oscar nominees, American Beauty and The Sixth Sense, and have ever since delivered diminishing returns.

Both directors are self consciously arty and humorless about their work. However, Mendes has yet to deliver something as career devastatingly bad as The Happening. Unlike Shyamalan's latest, Mendes' Revolutionary Road is merely bad, not a trainwreck.

Kate Winslet and Leonardo DiCaprio, our Titanic dream couple, are all growed up and sad as suburbanites Frank and April Wheeler. I call them suburbanites but Frank and April would chafe at such a label. No, despite the manicured lawn, lacquered grinning neighbors, and 2.0 kids, Frank and April are above the title suburbanite.

Or so they believe. One day, when April takes out the garbage and see's rows and rows of the exact same garbage cans on her street, she realizes that she is no different than the average, white wine in the afternoon suburban mommy. This desperate revelation inspires a wild idea for Frank's upcoming 30th birthday.

April wants to move to Paris. There, she will work and Frank can pursue himself, find whatever it is that he is. Too bad for April that Frank has given up their petty dreams and found himself a comfortable rut selling whatever a Knox 500 is. Though he initially goes along with April's wacky scheme, we know he is just playing the part of supportive husband.

We know from the beginning of Frank and April's blissful 'we're moving to Paris' phase that the rug will be pulled out from under them, the question becomes how. The answer is dramatic but also slightly inert. If you can't see where this is all heading, you're really not trying.

It's not that Revolutionary Road is devastatingly predictable. Rather, it is the way in which it is predictable. The choices that unfold and the way they unfold feel duly preconceived though we sense they are supposed to be tragic or moving. Each scene is pushily meant to symbolize Frank and April's alienation but each lingers on the point far past necessity.

Revolutionary Road is one of those films that feigns depth by dramatically being all things to all viewers. If you want to read anti-feminism or even misogyny into the work, you can. If you want to read the same suburban misanthropy of Mendes's American Beauty in Revolutionary Road, you can.

You can take individual scenes and characters and spin them off in wild, fictive fantasies of meaning and depth and the film can match whatever emotionally resonant thing you seek. For me, it all seemed an aimless mélange of sadness that relies heavily on stars Leonardo DiCaprio, Kate Winslet and Oscar nominee Michael Shannon to give it any meaning whatsoever.

That each of these talented actors come close to delivering through the murk of Revolutionary Road is quite a feat. Winslet especially is swimming upstream as this irrational flibbertigibbet who could set the women's movement back 20 or 30 years with the power of her suburban angst.

DiCaprio is the most comfortable in his role. With his baby fat pudge evading his man-boy status without him having to say a word, DiCaprio settles in to delve deeply into Frank's fears and desires and nearly makes it all work. If only what was surrounding him weren't so aimless.

Finally there is Michael Shannon who earns every inch of his Oscar nomination. You can debate the necessity of his character. You can fairly question his role as that of a creative device employed to craft tension but you cannot deny his intensity and resonant power. In just three scenes, Shannon devastates and exits in unforgettable fashion.

Give Sam Mendes this, like his counterpart Mr. Shyamalan, his failures are memorable. Revolutionary Road unquestionably fails but it does so in ways that you will remember and discuss long after the film is over.

Documentary Review Religulous

Religulous (2008) 

Directed by Larry Charles

Written by Documentary

Starring Bill Maher

Release Date October 1st, 2008 

Published October 1st, 2008

I struggled for a very long time with atheism. There was a sort of emptiness to not having faith in something bigger. Confronting the world knowing there was no plan, no creator who could set things right if things went horrible was a frightening concept. It was only in the wake of 9/11 that I realized the whole god thing didn't make sense for me.

Bill Maher's new documentary Religulous is the perfect movie for me because it affirmed everything I have ever believed about organized religion. Part polemic, part comedy, all passion, Religulous will anger many and convert more.

The premise is not Bill Maher trying to convince you to give up your faith. Rather, he is curious about certainty. How and why can anyone be so certain about something that cannot be proven. A number of random Americans, some at a truck stop church in a converted truck trailer, then across the US and to Israel and Palestine give Maher reasons why they believe. This however, only sets Maher off further.

The question turns on the person answering it however. How can it be faith if you feel the need to defend what you believe with proof. Maher saves his biggest satirical bombs for a trio of easy targets. Arkansas is the home of the Creation Museum, a place where people can see paintings and sculptures of people in Jesus's day and age riding dinosaurs, which proves not the coexistence of Jesus and dinosaurs, but rather, Hanna and Barbara.

Then there is the Gay No More organization where Maher encounters a very confused man who believes he is former gay thanks to Jesus. In a conversation that last maybe five minutes the man contradicts himself on the issue of being born gay. Then Maher travels to a Christian theme park where Maher is the one nearly knocked off his high horse. Ever so briefly Maher is confronted by someone, an actor playing Jesus, who has a good sound reasoning for his belief buried inside a complex metaphor.

While Religulous is a grenade throwing polemic against organized religion, and quite a powerful one when it wants to be, it's also very funny. Watching Maher with his mother confronting when they began to drift from the church is revealing and sweet. Then there is Maher's interactions in the Vatican where he encounters a pair of priests who defy conventions and work for the Vatican.

One of these wonderful old priests is the Vatican's own science expert who blows up the idea of a creation museum. Even the Vatican thinks that's crazy. The other knocks his own church for its excesses and simply urges people to believe regardless of where or why. This gregarious gentlemen is no doubt a favorite of Maher's, interviewed right outside the Vatican, he laughs off nearly all of the hardcore believers in his urging toward a faith that doesn't require proof.

The final thesis of Religulous turns on the dangers and excesses of organized religion. It's about the need to check the beliefs of our leaders before we elect them. How religious beliefs can be a danger to the world when the powerful mix with the faithful. President Bush is an evangelical christian who believes the world will end in his lifetime. How do you figure that belief plays into his views on the environment? Or our current economic crisis? If you don't believe there is a future beyond your lifetime, what do you care if the thieves are robbing the temple? 

When Congress opens a session with a prayer, how many of those Senators are praying to a god they believe will return in their lifetime?

Can you trust a politician who tells you they can leave their faith at the door? How can you tell you at every turn how much their faith shapes what they believe? The next time a politician tells you they believe in the state of Israel shouldn't you ask them if they believe it is because the Jewish people deserve a homeland or because they believe that Israel is where Jesus will return and the Jews need to be there to be converted or die when he comes back?

These issues of the faith of our political leaders are dangerous to us all and need to be checked. Somehow it has become taboo to question people about faith. Thus, who better than the former host of Politically Incorrect to force the question.

Will Religulous give some people the urge to abandon their faith? Maybe. But if you are truly a person of faith nothing should shake that. The real, relative importance of Religion is to ask you to be smarter about faith and the faithful. There are inherent dangers in being blindly certain of just about anything. Blind certainty, blind faith, these are as dangerous to all as they are comforting to some. Bill Maher shines a light on these dangers and hopes that satire is the best way to illuminate them.

For those who think Maher is simply being mocking and self-serving , the comedian states clearly that he is not certain there is no god. Rather, he states plainly, he just doesn't know. He has a lot of questions and the people who try to answer them often only make things worse.

Movie Review Redbelt

Redbelt (2008) 

Directed by David Mamet

Written by David Mamet

Starring Chiwetel Ejiofor, Alice Braga, Randy Couture, Joe Mantegna, Ricky Jay

Release Date May 9th, 2008 

Published June 14th, 2008

David Mamet is one of the best screenwriters in the business. His hard boiled dialogue and twist filled suspense stories are often so layered it takes multiple viewings to discern. It is Mamet's reputation for quality work that makes his latest writer/director effort Redbelt so puzzling.

The story of a martial arts instructor drawn into a con that leads him into competing in a Mixed Martial Arts tournament has the requisite Mamet dialogues and twists but lacks suspense. Redbelt lacks suspense not because of a lacking script but rather it's shoddy, off putting craftsmanship.

Redbelt looks and feels as if it were slapped together on a deadline and shoved into theaters well before it was ready. Takes drag on too long. Dialogue sounds as if different scenes were cut together at random. Strong actors like Chiwetel Ejiofor and Emily Mortimer seem at a loss to find motivation and guiding principles for their performances.

In Redbelt Chiwetel Ejiofor plays a struggling martial arts instructor whose unique style is co opted by an actor played by Tim Allen. The actor wants to learn from the instructor and use his style in a movie. What looks like a windfall however becomes a double cross when the actor's manager played by Joe Montegna steals the instructors teachings and sells them to a shady pay per view fight promoter (Ricky Jay).

To win back what he lost, the instructor must take part in a tournament and win it all.

As I said, Redbelt has the elements that Mamet does so well. The problem is in the slapdash production. The look of the film is amateurish at times with odd angles and fuzzy cinematography. The editing is downright confusing with actors often seeming as if their conversations were cobbled together from different scenes.

Stunningly poor production dooms what otherwise might have been classic Mamet in all his  manly, foul mouthed glory.

Movie Review The House Bunny

The House Bunny (2008)

Directed by Fred Wolf 

Written by Kristen Smith, Karen McCullah Lutz

Starring Anna Faris, Emma Stone, Kat Dennings, Colin Hanks 

Release Date August 22nd, 2008

Published August 21st, 2008 

Anna Faris is a terrifically funny actress. Her work in the first Scary Movie and a cameo in Lost In Translation each looked like star making performances but did not pan out. Faris did terrific work in the indie horror film May but was mostly relegated to small roles in other people's lame comedy efforts (Just Friends, My Super Ex-Girlfriend).

Now with the release of The House Bunny, Faris is getting her due as a leading lady. This vain attempt to recreate the pink hued magic of Legally Blonde is desperate and straining at times but in the end Faris rises above the lameness with a terrifically funny performance.

Shelly (Faris) has long dreamed of becoming a Playboy centerfold. After appearing in a few pictorials, including Girls of the GED, Shelly moved into the Playboy mansion and waited for Hef to make her a centerfold. On her 27th birthday, Shelly was given a huge, celeb filled party but the next morning she was out on her backside.

Kicked out of the mansion for being 27, that's like 50 something in bunny years, Shelly desperately needs a home. What luck then when she stumbles onto a college campus and discovers a misfit sorority house that desperately needs a house mother. The outcasts include Natalie (Emma Stone, Superbad), Mona (Kat Dennings, Charlie Bartlett) and Harmony (Catherine McPhee, American Idol).

The misfit girls and their shabby sorority house are about to be foreclosed on unless they can attract 30 new pledges in the next month. Shelly offers to help with makeovers for the girls and giant parties to attract attention. But, when Hef calls to give Shelly her dream centerfold, Miss November, will she leave her girls behind?

The House Bunny was directed by former SNL sketch writer Fred Wolf. In his directorial debut Wolf shows a near flawless command of the cliché. Wolf nails every well worn trope of the college outsider movie, tossing in a couple of rom-com clichés as well as Colin Hanks joins the cast as Shelly's mismatched love interest.

There is nothing new, original or slightly unfamiliar about The House Bunny. Thus, all of the film's appeal hinges on the star performance of Anna Faris. Lucky for those subjected to this tripe that Faris nearly makes the film watchable. With her stunning physicality, both comedic and otherwise, and her pitch perfect delivery of even the lamest blonde jokes, Faris manages the herculean feat of dragging laughs out from under the banalities.

The House Bunny is not insidiously bad, more innocuously bad. It's not good but not so bad that I can say I hate it. Anna Faris is such a winning presence, such a sunny personality that, for a time, I thought I could actually like the film. However, by the time we reached the obligatory speech to save the sorority house, I was off somewhere else in my mind.

Whether I was remembering an episode of The Office I had just watched or deciding whether to shop for groceries or go do laundry after the movie, I don't recall. Nor do I really recall much beyond the platitudes of The House Bunny.

Movie Review The Bank Job

The Bank Job (2008) 

Directed by Roger Donaldson

Written by Dick Clement, Ian La Frenais 

Starring Jason Statham, Saffron Burrows, Mick Jagger 

Release Date February 19th, 2008 

Published June 22nd, 2008 

The words 'based on a true story' are always a little sketchy in Hollywood. Take for instance the new to DVD movie "The Bank Job" starring Jason Statham. This London set crime thriller is based on a real 1970 bank heist where the culprits escaped without punishment and the crime remains unsolved. If you think I gave away too much there, trust me this Bank Job has more surprises than any spoiler I could give you.

London has been rife with conspiracy theories for years as to the how and the why of these criminals and their astonishing escape from justice. The most tantalizing theory goes all the way to Buckingham Palace and a safety deposit box with some very interesting royal blackmail material.

As for the movie itself.

Jason Statham, the intense, bullet-headed star of the Transporter movies, stars in The Bank Job as Terry Leathers. A former thief and thug, Terry has gone legit selling and repairing high end automobiles. Not making much money in his new profession he is quite receptive when an old flame approaches him with a money making opportunity. The old flame is Martine (Saffron Burrows) who, unknown to Terry, has just been busted by MI5 and needs Terry's help to get her out of trouble. He thinks she is offering the opportunity to rob a bank. In reality MI5 wants her to obtain the contents of a particular safe deposit box.

Who that box belongs to and what is inside it are just the kind of sexy details that make for one heck of a guilty pleasure movie. The Bank Job is exactly that. Clever, if not exactly brilliant, The Bank Job is what I like to call a mouse trap movie, quick, precise and deathly effective. Director Roger Donaldson directs The Bank Job with a swift, no frills style that focuses on the action and lets the plot do the talking. The seemingly extraneous are actually integral elements of the plot and no strand is left untied up until the very end.

Jason Statham is the perfect star for this kind of gritty, fast paced action. With his tough guy looks and badass accent, Statham is the kind of guy who looks like trouble follows him everywhere. The former supermodel Saffron Burrows matches Statham's grit with smoldering good looks and the combo is smokin 'hot.

The Bank Job is quick and to the point while telling a clever story with the kind of guilty pleasures and thriller elements that make for classic B-Movie excitement. That it's 'based on a true story' gives it another level of kinky thrill. Who cares how much is true and how much is Hollywood, it's all a whole lot of fun.

Movie Review: Vantage Point

Vantage Point (2008) 

Directed by Pete Travis 

Written by Barry L. Levy 

Starring Dennis Quaid, Sigourney Weaver, Forest Whitaker, Edgar Ramirez, William Hurt

Release Date February 22nd, 2008

Published February 21st, 2008 

Dennis Quaid is one of those fatherly actors who's craggy visage and heroes stare makes you root for him unconsciously. Like Harrison Ford, Quaid's often been called Ford light by this writer, Quaid looks old enough to be a more handsome version of your dad. In that 'my dad could beat up your dad' contest of childrens egos, Dennis Quaid is who you wish were on your side. Thus Quaid is perfect for the kind of earnest, trustworthy, tough guy, good guy roles that he played in The Day After Tomorrow and that he plays in the new actioner Vantage Point.

As secret service agent Thomas Barnes, Quaid embodies the flawed hero of the American character. Noble, loyal, self sacrificing but not above fear or failing. My rhetoric is lofty but I promise, justified. Even in a movie as terrifically bad as Vantage Point Quaid is worthy of such grandiose musings.

Directed by English television veteran Pete Travis, Vantage Point plays out the same terrorist attack on an American President (William Hurt) from 8 different perspectives. First it's the media where Sigourney Weaver, as a producer for the Global News Network, has several cameras and endless angles to cover all the while dealing with a diva reporter (Zoe Saldana) with an agenda beyond just covering a speech by the President on terrorism. The speech, taking place at an ancient villa square in Spain, is soon rocked by the shooting of the President and then several explosions, all caught on camera, all with different pieces of the puzzle.

Next we rewind to get the 'Vantage Point' of secret service agent Thomas Barnes. Returning to active duty, at the behest of his partner Kent Taylor (Matthew Fox), several months after getting shot protecting the President. Suffering from post traumatic stress, there are fair questions as to whether he can handle active duty again. Once the shooting begins and the plot unfolds it quickly falls to Barnes to put the pieces together and tie the whole of this goofball plot together in some kind of believable or modestly plausible fashion.

Next we see events from the miscast perspective of Forrest Whitaker as an American tourist lashed to a handheld videocamera that captures important evidence of the shooter and the subsequent bombing. Whitaker is a fine actor who gives his all but a younger actor, with less integrity and more grit would have fit the role better. We need to believe that this guy would not put down his camera for anything and while Whitaker plays the noble hero seeking justice, the truer perspective is the modern fame seeker who see's dollar signs with his video of the President being shot is more believable and holds more dramatic possibilities. Consider, the venal anti-hero becomes noble hero is far more dramatically satisfying than the heroic guy becomes more heroic. But there I go, reviewing the movie that Vantage Point is not.

We then get the perspectives of the president himself, a Spanish police officer (Edgar Ramirez) wrongly accused in the wake of the shooting and the terrorists themselves whose goofball plot has every Bond villain cliché one can imagine wrapped in one goofball twist after another. Of course, that isn't the biggest problem for Vantage Point. Rather, the films biggest struggle is with structure. The film rewinds over the same terrorist attack 8 times all the while trying to conceal and reveal little tidbits of plot that maybe they plan to reveal later in the film or maybe they don't. By the 4th or 5th rewind you are not likely to care. Worn out by the constant ripping back and forth in the space time continuum of this event a headache is a far more likely result than intrigue or interest.

And yet, even as you are rubbing your eyes and ruing the thought of another flashback, when Dennis Quaid returns to center stage late in the third act you are momentarily drawn back in. Dominating a pretty terrific car chase through the narrow, brick and mortar streets of old town Spain, Quaid ever so briefly distracts from the flashbacks and goofball twists to deliver a rousing action sequence that in any other film could have been a game changer, a scene so cool it makes the movie better. Nothing, unfortunately, not a car chase or even the resurrection of Steve McQueen driving Bullitt directly over one of the terrorists, could save the goofball mess that is Vantage Point.

Movie Review: Welcome Home Roscoe Jenkins

Welcome Home Roscoe Jenkins (2008) 

Directed by Malcolm D. Lee 

Written by Malcolm D. Lee 

Starring Martin Lawrence, Joy Bryant, Michael Clarke Duncan, Cedric the Entertainer, James Earl Jones

Release Date February 8th, 2008

Published February 9th, 2008

Martin Lawrence's dimming star power gets no boost from his latest strained effort, the alleged family comedy Welcome Home Roscoe Jenkins. In Welcome Home Martin Lawrence plays Dr. RJ Stevens, a Jerry Springer-esque character with a hint of Dr. Phil. His high profile talk show has made him a celebrity but it is his new alliance with fiancée, and Survivor TV show winner, Bianca (Joy Bryant) that has secured his status as a top Hollywood player. However, no matter how much success Dr. Stevens accumulates he remains Roscoe Jenkins when he returns home to his parents house in the deep south.

It is Papa and Mama Jenkins (James Earl Jones and Margeret Avery) 50th Anniversary and though Roscoe hasn't been home in nine years his fiancée see's an opportunity for great TV. They, along with his 9 year old son Jamaal (Damani Roberts) will return home and film the whole event for the Dr. Stevens' show. Returning home of course offers other challenges like the family's many athletic competitions where Roscoe was repeatedly victimized by his cousin Clyde (Cedric The Entertainer). One of the most successful used car salesmen in the south, Clyde relishes the opportunity to once again show up his cousin, even going as far as bringing along Roscoe's childhood crush Lucinda (Nicole Ari Parker) as his date. She maintains that they are just friends.

Then there are Roscoe's immediate family. His brother Otis (Michael Clarke Duncan) a former all American linebacker now a small town sheriff and his sister Betty (Monique) a prison 'counselor' whose personal life is spotted with a number of criminal dalliances. Then there is cousin Reggie (Mike Epps) whose ability to find money without ever having a job is legendary in the family. Reggie brings along his dog who tormented Roscoe throughout his childhood and now turns his eyes towards Bianca's toy pup in one of this films many objectionable subplots.

If from this description you can't figure out the exact trajectory of this plot then you really haven't seen many movies. As predictable as the sunrise, Roscoe rekindles his romance with Lucinda as Bianca becomes more and more a victim of Roscoe's family. The film's perspective is that being rich and successful is bad and being down home and 'real' is all there is to life. Not a bad perspective but a limiting one. Roscoe isn't such a bad guy or even an unreasonable guy. His perspective is shaped by years of what he feels were slights from his father who seemed to give favor to Clyde and Roscoe's older siblings, though he gave his name to Roscoe.

Naturally, earning daddy's love is a major theme that plays out for Roscoe on two fronts. There is his trying to impress Papa Jenkins and his dealing with his own son, at first advising him on the importance of winning at all cost and eventually trying to let him be a kid. This subplot is part of director Malcom Lee's attempt at depth an attempt he undercuts every other turn of the plot. How seriously can you take any movie that takes such delight in the sex lives of dogs. Indeed, Welcome Home Roscoe Jenkins has a number of jokes aimed at one giant dog attempting to mount a tiny toy pooch. Why is this funny?

Welcome Home Roscoe Jenkins has yet another plot piece that has become popular in comedies that aren't all that funny. Mike Epps joins the cast in what has come to be called the Wanda Sykes role. It is Epps' job to enter scenes that are flailing for a joke and make a humorous observation and then exit the scene. Unfortunately, where Sykes' non-sequiter observations Monster In Law and Evan Almighty could fool people into thinking the movie was funny, Epps' more heavy handed approach lacks the same zing and ability to pull the wool over our eyes.

Malcolm Lee is not an untalented director but certainly undisciplined. A better director drops the dog jokes better utilizes Mike Epps talent for the one liner and is bolder than falling back on non-sequiters. If the script isn't strong enough without Mike Epps' character having to try to rescue every scene with one liners then go back to the drawing board, flesh out your characters and find some truth to bring forth from these characters. Welcome Home Roscoe Jenkins is undercooked and underserves it's audience with warm over homilies about family life in the south and a struggling Martin Lawrence.

Movie Review: Fool's Gold

Fool's Gold (2008)

Directed by Andy Tennant

Written by Daniel Zelman 

Starring Matthew McConaughey, Kate Hudson, Donald Sutherland, Alexis Dziena

Release Date February 8th, 2008 

Published February 7th, 2008

Pirates, treasure, gangsters, guns. For the guys? Kate Hudson in a tiny bikini. For the ladies? Matthew McConaughey with no shirt on. The comedy Fool's Gold seems to have everything a movie needs to be a major success. So why does it suck out loud? It's probably because the movie doesn't add up to much more than that checklist of things that I, and I am sure some movie marketing department, just listed. 

Fool's Gold stars McConaughey as Finn, a professional treasure hunter. Living in the Bahamas Finn spends his days in the crystal blue waters seeking shipwrecks containing unimaginable wealth all the while dodging creditors, loan sharks and lawyers, all of whom he owes something to. The lawyers were at first just process servers but once he was served they became divorce attorneys. Finn's wife Tess (Kate Hudson) is finished with his dreams of treasure. She wants a normal life back in Chicago where she can attend school and get her degree in history.

Needless to say, being married to Finn has been a barrier to her goals. Now, as the divorce is being completed he still manages to be a barrier. Incurring  more debt and crossing some pretty severe gangsters, Finn costs Tess the chance to return to Chicago by accidentally blowing up the boat they own, the one she was selling for money to go back to school.

Left with no options she takes a gig working for a wealthy industrialist (Donald Sutherland) on his yacht. His name is Nigel Honeycutt and he is looking for adventure as a way of getting the attention of his daughter Gemma (Alexis Dziena). He finds just the thing when Finn arrives at the boat offering the opportunity to find some legendary Spanish gold.

No points for guessing Tess and Finn fight, make love, fight again and then walk off into the sunset happily ever after. That ending was coming the moment Hudson and McConaughey were cast in Fool's Gold. The only chance Fool's Gold has of being entertaining beyond the gorgeous Bahamian landscapes was to find interesting ways to tweak the form.

Director Andy Tennant is a master of formulaic junk, his last film was Hitch with Will Smith. It was Tennant who crystallized the absolute worst sins of the romantic comedy genre with his abysmal Sweet Home Alabama. Fool's Gold is right up his alley in terms of formula junk. Choosing to follow every expected scene, every predictable plot strand, every manufactured pre-packaged joke, Tennant crafts a movie so predictable you could set your watch by it. Interestingly, Tennant is a not a bad directorial craftsman. Say what you will about his inability to escape formula, he knows how to craft and cut a movie.

The landscapes, the scenery, the Bahamian settings of Fool's Gold are utterly gorgeous and were no doubt a welcome respite from the winter when this film was initially released. As it reaches DVD this summer Fool's Gold may actually inspire a few vacation choices. Unfortunately, movies can't skate on visuals alone. When looked at as a movie, Fool's Gold is far too predictable to be entertaining. Tennant and his cast do absolutely nothing to vary the format, to give the material enough of a twist to differentiate it from a dozen similar movies.

In that way, Fool's Gold floats by and disappears leaving no impression whatsoever. Harmless? Yes, but why would you want to pay for this experience on DVD or otherwise. You'd be better off watching Into The Blue on cable, Blue Crush, or Captain Ron. Each of these films while differing in plot and cast offer the same experience of white sand beaches, buff beach bodies and crystal blue waters. It really doesn't matter which one you watch, it's the same forgettable experience.

If you have the money, you might as well just go to Jamaica.

Movie Review Rambo

Rambo (2008) 

Directed by Sylvester Stallone

Written by Sylvester Stallone

Starring Sylvester Stallone, Julie Benz, Matthew Marsden

Release Date January 25th, 2008

Published January 28th, 2008

*sniff* *sniff* What is that smell? Desperation? Is it just me or does desperation smell like feet? It could just be the odor wafting off the new Rambo movie from writer, producer, director, star Sylvester Stallone. Desperate to rekindle past glory, or maybe just raise some quick cash to pay for his latest plastic surgery bill, Stallone has pulled Rambo out of moth balls and though he slips back into the role like a sweat stained t-shirt, the odor of desperation is too overwhelming not to turn the stomach of even the hardiest of fans.

Desperately clinging to the last of his star power, Sylvester Stallone returns to the role of John Rambo. Now living in the war zone of Burma, he raises snakes for a living, Rambo has found a comfortable place in the world. That comfort is upended by a group of missionaries who ask his help to go into the northern war zone.

They want to aid the people suffering under military dictatorship. Rambo thinks they have a death wish. After much pushing and prodding, Rambo finally takes them to the north. He is then not the least bit surprised when less than a month later he is approached by a man who says the missionaries were never heard from again.

Rambo is then recruited to join a group of mercenaries who will attempt a rescue. Leading a hot headed, arrogant group of for profit soldiers, Rambo quickly locates the missionaries held by a rogue military attachment, and the violence begins.

Sylvester Stallone wrote, directed, produced and starred in Rambo basically because his last three original features, outside the Rocky or Rambo characters, have gone directly to video stores and quickly to the dump bin. His star power has waned to an astonishing degree from when he was arguably the biggest star in the world.

Unlike Bruce Willis or Harrison Ford who have managed to age their ally, Stallone clings to his image as a buffed up action star. His Rambo is a Rambo who clearly spends a lot of time in the Burmese equivalent of Gold's Gym. And who knew Burma had such fabulous plastic surgeons.

What audience he can't impress by pretending to be 20 years younger he attempts to impress with non-stop ugly violence. The violence of Rambo is some of the ugliest ever brought to the screen. The creators of Saw and Hostel combined likely didn't spill this much fake blood.

Though the film is laughable for Stallone's sad desperate attempt to remain relevant, the violence isn't the least bit comical. Stallone strives for realism and crafts some of the most hard to watch violence ever brought to the screen. I urge the squeamish to stay far away from this one.

Then again, I urge everyone to stay away from Rambo. The stench of desperation and greed is pungent and the violence? Beyond merely off putting, it's disturbing.

Movie Review: Cloverfield

Cloverfield (2008) 

Directed by Matt Reeves

Written by Drew Goddard 

Starring T.J Miller, Mike Vogel, Jessica Lucas, Lizzy Caplan, Odette Yustman

Release Date January 18th, 2008

Published January 18th, 2008

The monster movie has grand history. Not just the great Godzilla but the subtext that accompanied the great lizard. Frankenstein's monster was both a force of horror and a force of subtext, addressing repression, discrimination and the dangers of mob mentality. The modern monster movie has had less and less on the subtextual front with movies like The Mist reveling in the technology necessary in creating giant monsters rather than crafting a message to work in behind the monster.

Now comes Cloverfield from producer J.J Abrams and director Matt Reeves. Much like The Mist, Cloverfield is mostly about technology and movie magic and not so much about stimulating the brain or making audiences think.

There is however, some visual allusion to deeper meaning. Because Cloverfield is about a monster destroying New York, crushing skyscrapers and such, the spector of 9/11 lingers in the margins. Director Matt Reeves makes a very conscious decision to use imagery of that day in his monster movie and these moments are highly discomfiting. For all the great subtextual moments in the history of the monster movie, some movies aren't worthy of such serious underpinnings or deeper meanings. Cloverfield with it's cardboard characters and giant monster motif simply is too superfluous to refer to our nations greatest tragedy without seeming to demean it.

Rob (Michael Stalh David) is leaving New York for Japan. His closest friends are throwing him a huge going away party. While Rob's brother Jason (Mike Vogel) runs around causing trouble for his long suffering girlfriend Lilly (Jessica Lucas), Rob's best friend Hud (T.J Miller) has been left with the task of filming the whole event for posterity. Meanwhile, unbeknownst to the guest of honor, his friends have invited his ex Beth (Odette Yustman) to the party. Actually, Rob and Beth are supposed to be just friends but we know that they have slept together and that Rob screwed things up really bad, so bad that Beth arrives at the party with a date.

All of this personal angst is rendered meaningless when an explosion rocks the apartment building and suddenly the head of the statue of liberty is flung down the street. Soon a mass evacuation is underway and our new friends are frantically running the streets with Hud filming the whole time as is typical of our youtube culture.

I must say that though I find Cloverfield to be shallow, it is quite thrilling at times. Crossing The Blair Witch Project's shaky cam with a big budget CGI monster, Cloverfield creates a viscderally exciting atmosphere where this giant moster attack feels real. Director Matt Reeves made some interesting choices in allowing actor T.J Miller who plays Hud, to actually shoot some of the film with his little handheld camera. Most of the action is captured with a steadicam and skilled operators but all of the action feels authentic in it's slightly goofy, monster movie way.

I'm still hung up on the shallow allusions to 9/11. While I appreciate the history of moster movies and great subtext and metaphor but something about Cloverfield feels unworthy of the tragedy it samples more than metaphorically reflects. Cloverfield plays like 9/11 movie mashed up with a monster movie and the two elements coalesce like Weird Al Yankovich mashed with Radiohead.

That said, I cannot deny that Cloverfield is exciting and compelling. I was caught up in the films run and hide and run some more plot and at a mere 80 minutes, Cloverfield does not overstaty it's welcome. Puddle deep with uncomfortable allusions, Cloverfield is little more than a modern monster movie with new age movie magic employed to good effect. I recommend it for anyone with a strong stomach, all that shaky cam can tend to make some a little queasy.

Movie Review: 27 Dresses

27 Dresses (2008) 

Directed by Anne Fletcher

Written by Aline Brosh McKenna 

Starring Katherine Heigl, James Marsden, Malin Akerman, Edward Burns, Judy Greer 

Release Date January 18th, 2008

Published January 17th, 2008

I'm not supposed to like 27 Dresses. It is what has come to be called a 'chick flick'. A derogatory term for a movie made for women only. This limiting mentality has at once a strong shorthand but also speaks to the emotional immaturity of men across this country. Anything a little too feminine and men get uncomfortable. Weddings, babies, women in general, make men uncomfortable and it isn't manly to be uncomfortable.

I have never really understood this mentality even as I am able to diagnose it. I've never had a problem being in touch with my emotions or expressing how I feel to others. Maybe that is why I can so easily enjoy movies like Legally Blonde, Just Like Heaven, My Best Friend's Wedding or Something New, some of my all time favorite movies written off by men as 'chick flicks'.

27 Dresses is indeed another movie written off as a chick flick. It's all, in touch with it's emotions, thoughtful, sweet, smart and sexy. All things that make most men uncomfortable, no babies though.

Jane (Katherine Heigl) has been nursing a mad crush on her boss George (Ed Burns) since she began working for his clothing company two years ago. Now, with a little liquid courageshe is ready to confess her feelings when her little sister Tess (Malin Akerman) walks right up to George and the two fall madly in love. Naturally, Kate is called upon to plan their eventual wedding. You see, Kate is something of an expert. She has presided as bridesmaid and unofficial wedding coordinator at 27 different weddings. In fact, as we meet her, she is attending two weddings in one night, an event witnessed by Kevin (James Marsden), the wedding reporter for the New York Journal.

Smelling a story in this unusual woman, Kevin pursues her and in the process falls for her. Kate is not so quick to even like Kevin let alone fall for him. Where she happens to love weddings, he is cynical and cites how often the ritual fails to translate to lifetime love. Of course, if you think the movie has anything other than true love on it's mind for Kate and Kevin, you clearly don't watch many movies.

To call 27 Dresses predictable is like saying the sun is predictable. This is a romantic comedy folks, not  Scenes From A Marriage. 27 Dresses is about oddball romantic roadblocks between two characters destined to live happily ever after. And, while I have in the past dinged other similar films for their overfamiliar clichés and simpleminded routines, I maintain that those films weren't as interesting in their predictability as 27 Dresses.

27 Dresses offer characters that are easy to accept and enjoy, Director Anne Fletcher may not be skilled at avoiding the typical, but she knows how to cast actresses and actors we want watch in a story that doesn't put one to sleep.

The main reason 27 Dresses is better than other similar films is star Katherine Heigl. This lovely talented young actress has had one exceptional year coming off of the success of Knocked Up last summer and her Emmy win for TV's Grey's Anatomy. She gets 2008 off to a good start with a performance of wondrous romantic angst and good hearted cheer. Her Jane is not some pathetic, pining woman-child but a serious minded woman with good reasons why she has fallen for who she's fallen for, even if she lacks the spine to declare her feelings

Jane is the rare selfless character in a sea of selfish, overbearing characters not just in 27 Dresses but in most modern movies. Just a quick blush of the movies I've seen this weekend from the bank robbers of Mad Money to the monster bait of Cloverfield, we are adrift in selfish, self involved characters whose only concern is for themselves and their well being.

Jane may be a little spineless but it comes from a place of honesty and caring. Though Marsden's Kevin thinks she gets walked on by her friends, the filmmakers portrayal makes it seem more likely that she just loves weddings and wants to give these women the dream that she holds for herself some day. That is nobility if you ask me and a rare characteristic of the modern movie character.

Late in the film, when Jane finally does something truly selfish it is not celebrated as her finally standing up for herself but rather as an out of character, meanspirited moment that she must and does make up for. Again, how rare, a character punished for being selfish. On this message alone I could celebrate 27 Dresses. That it is also charming, sweet and funny is icing on the giant three layer wedding cake.

Movie Review: First Sunday

First Sunday (2008) 

Directed by David E. Talbert 

Written by David E. Talbert

Starring Ice Cube, Katt Williams, Keith David, Regina Hall, Chi McBride

Release Date January 11th, 2008

Published January 11th, 2008

I guess it was bound to happen. Success always leads to lame copies of that success. Now that Tyler Perry is a huge moneymaker with his series of soft headed, soft hearted, well intentioned comedies, it had to happen that someone would rip him off. Enter the good folks behind the new Ice Cube-Tracey Morgan comedy First Sunday.

This lame comedy about bumbling thieves trying to rob a church but finding god instead has a premise that Perry likely would not have touched but a simpleminded message about community and family that he damn near has a patent on.

Durrell (Ice Cube) has been the victim of his pal LeeJohn's (Tracey Morgan) follies since they were kids. Thus, it isn't much of a surprise when LeeJohn gets them both fired from a good job, repairing televisions. Caught trying to steal a TV, the two are sent to court where a helpful judge and prosecutor give us the character snapshots we need, you know the kind a better movie need not deliver with such an obvious device. Apparently, Durrell was the smartest kid in his graduating class but has failed his potential. LeeJohn was a forster kid, repeatedly abused. Sympathetic, the judge forgoes jail in favor of 5000 hours of community service.

This makes getting a job a pretty tough proposition. Durrell needs money bad because his baby mama (the movies words, not mine, sigh) is leaving soon and taking their son to her family in Atlanta. She'll stay if he can pay the 17 grand in rent for her beauty shop. LeeJohn meanwhile crosses some Jamaican gang members and now needs money to keep himself from being killed. The solution? They decide to rob a church. Stumbling on a church meeting where the elders are deciding whether to move the church from this bad neighborhood, our erstwhile heroes now have a hostage situation on their hands while their well meaning captives bicker and pray.

First Sunday is a tuneless mess of a movie. One moment Durrell and LeeJohn are bumbling stooges and the next Ice Cube is wielding a weapon as if flashing back to his Boyz In the Hood days. The lapses of tone are one of many problems for this misguided comedy. There is also a whole lot of casual homophobia and a vapid subplot about a church deacon, Michael Beach, stealing the money from the church before Durrell and LeeJohn ever get the chance. Naturally, among the church hostages there is the proper mix of sassy attitude, beatific certitude and sage wisdom. Oh, and of course, a token love interest.

As I am trashing this movie I should mention one nice thing about it. Comedian Katt Williams, whose concert DVD American Hustle is insanely hot at the moment, takes on the Wanda Sykes role here and does her proud. For the uninitiated, directors often hire Ms. Sykes to offer humorous commentary in the form of sassy one liners that only she can hear.

Watch Evan Almighty or Monster In Law for perfect examples of the Wanda Sykes role. The movies aren't funny but her one liners often fool one into thinking they are. Williams nearly pulls the same neat trick with his perfectly timed jibes and fey cowardice. I must give him credit, he made me laugh repeatedly even as I was bored to death with the rest of the movie.

With it's faux good intentions and religious underpinnings, it's clear that First Sunday wants to ape the pious good intentions of Tyler Perry but lack the understanding and care that Perry brings to even his cheapest efforts. Perry's good intentions are why he makes movies, he truly wants to change the world and see's movies as his avenue to creating social change.

First Sunday simply wants to make money off those good intentions. It plays at being good for you, pretends at a do the right thing attitude but the greedy nature of it all is obvious from the lack of care taken in crafting the feel good messages.

Tyler Perry may not be a great filmmaker but atleast he is honest in his good intentions and with his last film, Why Did I Get Married, he even showed improvement in his artistic side. First Sunday is merely a cynical attempt to make money off the formula that Perry created. How sad.

Movie Review Love Lies Bleeding

Love Lies Bleeding (2008) 

Directed by Keith Samples

Written by Brian Strasmann

Starring Brian Geraghty, Christian Slater, Jenna Dewan, Tara Summers, Jacob Vargas 

Release Date January 15th, 2008

Published February 10th, 2008

From the director of Single White Female 2 and the writer of 2, yes 2 Walking Tall sequels starring Kevin Sorbo, comes the gritty indie flick Love Lies Bleeding. Greatly removed from the Elton John classic or the Michael Winterbottom fave, this Love Lies Bleeding is a pale imitation of gritty, mainstream action movies with the gloss of being low budget and 'independent'. It comes from Sony's direct to video line and to complete the ugly package, poor misguided Christian "What Happened To My Career" Slater doesn't star but instead plays an unfortunate bad guy.

No, even more unfortunately, the wan and forgettable Brian Geraghty stars in Love Lies Bleeding as Duke, an Iraq war veteran with trouble coping with his return to America. Engaged to be married to Amber (Step Up Jenna Dewan), Duke struggles to find work after he spent time in prison on an assault charge not long after his return. Our heroes are quite down on their luck when some gang bangers make things worse by robbing them. Angry, Duke trades his car for a gun and plans a confrontation. What he gets instead is a sack full of fat cash.

Turns out the bangers had run afoul of some crooked DEA agents lead by Agent Pollen (Slater). The Mexican standoff that ensued left all but Pollen dead when Duke arrived. Seeing the bag of money Duke doesn't hesitate. Unfortunately, Pollen isn't dead and is soon on the trail of Duke and Amber who think they have won the lottery. Now the crooked cops want their money back and Pollen wants revenge and to secure their silence.

The first act of Love Lies Bleeding is a torturous 40 minutes of bland dialogue and casual racism as our two Anglo heroes face off against ethnic gang members at every turn. The blandness of it all compounded by a repeated monologue about Lime-Aid and life lived in a hammock. Don't ask. The second act becomes surprisingly compelling as director Keith Samples works his way around the bland dialogue and his overmatched young actors to create a compelling chase scene set inside a casino. The compelling part ends when the chase does and we are thrust back into this couple's dull romance.

On the bright side, there is a more interesting movie trapped in the margins. About half way through Love Lies Bleeding we are introduced to our one good cop, detective Alice Sands played by Tara Summers. The Boston Legal regular brings a quirky energy to this underwritten role. With unexpected humor, Summers applies the kind of skills one could only learn while working with James Spader and William Shatner. Acting while acknowledging the ludicrousness of it all with the glint in her eyes, Summers steals the few scenes she gets and leaves us longing for more time with her and her bumbling partner played by Jacob Vargas.

It's a shame the movie couldn't have been about the two New Mexico cops stumbling on the clichéd lovers on the run story. They could have regarded the story from afar with a disbelieving air and played the whole thing for comedy. I imagine Alice as apoplectic at the thought of such a ludicrous plot as this while her partner fumbles his words and plays the fool. That is the movie I wish this were, but it's not. Love Lies Bleeding is yet another faux indie pretending to be gritty and poetic while its only achievement remains being written and filmed.

That said, I really love Tara Summers. I can't wait to see more of her.

Movie Review Rachel Getting Married

Rachel Getting Married (2008) 

Directed by Jonathan Demme

Written by Jenny Lumet 

Starring Anne Hathaway, Rosemarie Dewitt, Bill Irwin, Anna Deveare Smith, Tunde Adebimpe, Debra Winger

Release Date October 3rd, 2008 

October 15th, 2008 

I was not prepared for the emotional experience of Rachel Getting Married. After watching it for the first time in November of 2008 I was left raw and vulnerable and incapable of capturing the experience in words. The film worked me over and the experience is one of the most exhilarating and exciting moments I've ever had at the movies.

Directed by Jonathan Demme, Rachel Getting Married tells the story of a New England family in the midst of a storm of emotions. On the one hand, eldest daughter Rachel (Rosemarie Dewitt) is getting married in the family's long-time home and a guest list of family and friends is pouring out the windows.

On the other hand, youngest daughter Kym is leaving rehab after an extended stay, recovering from an addiction to pills and alcohol. Kym and Rachel have always had a complicated relationship, the kind that only sisters can have. They have competed, unwittingly, for their parents' attention their entire lives. Kym through drugs and antisocial behavior, Rachel by trying desperately to be the good daughter.

Mom and Dad are divorced. Mom, Abby (Debra Winger) has retreated from her daughters. Dad, Paul (Bill Irwin) has lived and died for every moment of his daughters lives to an uncomfortable degree. He's remarried to Carol (Anna Deavere Smith) who balances his doting with calm presence.

The action unfolds over three days and nothing you might expect to happen happens. Rachel Getting Married never takes the easy way out. It doesn't have major set piece moments that can tie up a good trailer or marketing campaign. What it has in abundance is truth. Truth in how families interact. Truth how small slights can escalate into lacerating arguments.

Truth in how tragedies never really leave us. This family in Rachel Getting Married has had a tragedy and when the film is over that tragedy lingers over each of them. That is not to say that the film is filled with doom and gloom. Far from it. In fact, for as much sadness and heartache as there is, there is also joy, much of it found in music.

In a wonderfully passive way we learn that much of both families blending in this marriage are musically inclined. There is someone playing an instrument somewhere in the background of most scenes and it's all rather incidental and not a greek chorus to underscore drama or meant to distract. It just sort of is there. Music is just part of the lives of these people.

Movies shot with a digital handheld camera can be distracting and disjointed for us in the audience. We were all raised on film and the mostly crisp clean images that film provides. DV can tend to be sloppy and in the wrong hands invite a queasy feeling in the audience as if the camera would stop moving around so much.

However, the DV really works here. It feels as if we are a member of this troubled but loving family. We are more than mere witnesses to their sadness and joy, we are made a part of it by this handheld style, as if we were running the camera.

It's a phenomenally underappreciated achievement, one that should have earned Jonathan Demme an Oscar nomination for Best Director. On the bright side, Jenny Lumet who wrote the absorbing, exhausting and cathartic screenplay was nominated and will likely win the award for Best Original Screenplay.

Lumet learned so much from her father, the legendary Sydney Lumet, that it really is no wonder she can write something as brilliant as this. She has an ear for dialogue, an ear for the way families speak to one another that few writers can match.

Listen to the way Rose Dewitt and Anne Hathaway talk to each other. The rhythm, the patter, the bracing insight and the quick painful insult. It's remarkable. Listen to the way Hathaway bites off her words, her inflections, the wounded animal way she has of speaking when offended or hurt. Much of it is Hathaway, some of it is Lumet, all of it is brilliant.

I could go on for days about why Rachel Getting Married is one of the best movies I have ever seen, but I think I need to stop gushing now. I will just say that no other movie in the past 12 months has impacted me more and stayed with me longer than Rachel Getting Married and I think if you give it a chance you will feel the same way.