Showing posts with label Cameron Diaz. Show all posts
Showing posts with label Cameron Diaz. Show all posts

Movie Review The Other Woman

The Other Woman (2014) 

Directed by Nick Cassavetes 

Written by Melissa Stack 

Starring Cameron Diaz, Kate Upton, Leslie Mann, Nikolaj Coster-Waldau 

Release Date April 25th, 2014 

Published January 2nd, 2024 

Cameron Diaz is back in theaters this weekend with "The Other Woman," a comedy that casts her as the the unknowing mistress of Nikolaj Coster Waldau who falls into an unlikely friendship with with his wife played by Leslie Mann and his other mistress played by supermodel Kate Upton. "The Other Woman" doesn't look like much from its trailer but the movie is quite good featuring a strong central performance from Diaz and a scene-stealing comic performance from Leslie Mann who's best known for her work in husband Judd Apatow's comedies. 

Leslie Mann, Cameron Diaz, and Kate Upton, have one thing in common, Game of Thrones star Nikolaj Coster Waldau, in the movie, The Other Woman. All three are the 'other woman' in their relationship with Waldau. Leslie Mann plays the wife, Cameron Diaz is mistress number one, and Kate Upton is the youngest and hottest of the the trio of woman whose lives revolve around this one narcissistic man fooling around on all of them. 

Once our trio of hero ladies come together, The Other Woman takes on a comic revenge plot as the trio takes revenge on Waldau's ladies man. It's a lot more fun than that description sounds. Leslie Mann, for one is having a ball as the wronged wife who meets and bonds with her husband's mistresses. In a rare leading role, outside of the work of her comic legend husband, Mann is a treat in The Other Woman, throwing herself headlong into physical comedy and into this comic revenge plot. 

Cameron Diaz is in the role of the straight man. Diaz reacts to Mann's craziness and Upton's hotness all while grounding the movie in a recognizable reality. It's certainly farfetched that any man could be with three woman as attractive as Mann, Diaz, and Upton in a single lifetime, but Diaz manages to make this unbelievable scenario work. She's such a pro and, when called upon, she can be just as funny as Mann and hotter than even Upton, once named the sexiest woman on the planet. 

The Other Woman is much sharper than the plot would indicate. This trio of female stars has such incredible chemistry that it doesn't matter how seemingly impossible it would be for one man to have bedded down with these three women in one lifetime. Nick Cassavetes' direction is breezy and the tone always remains fun and funny. The jokes are good and Leslie Mann earns some of the biggest laughs of her career in a career best performance. 




Movie Review: Fear and Loathing in Las Vegas

Fear and Loathing in Las Vegas (1998) 

Directed by Terry Gilliam

Written by Terry Gilliam, Tony Grisoni, Alex Cox, Todd Davies 

Starring Johnny Depp, Guillermo Del Toro, Tobey Maguire, Christina Ricci, Cameron Diaz

Release Date May 22nd, 1998 

Published June 27th, 2018

With Sicario Day of the Soldado opening this past weekend starring Benicio Del Toro, I was called to think of my favorite Benicio Del Toro performance. And while I enjoyed his work in Traffic, his Academy Award nominated performance, for me, his performance as Dr. Gonzo is an all time classic in Del Toro’s canon. Del Toro is the wild, raging, drug fueled id of Fear and Loathing in Las Vegas, a film itself that appears like a raging fire.

Fear and Loathing in Las Vegas stars Johnny Depp as Doctor of Journalism Raoul Duke, an alias of one Hunter S. Thompson. Thompson is famed for his gonzo journalism, a drug fueled style that earned him a loyal readership in Rolling Stone Magazine over three decades from the 60’s to the 80’s. Fear and Loathing in Las Vegas is taken from Thompson’s book of the same name about a drug fueled trip to Las Vegas that Thompson, as Duke, took to supposedly cover a motorcycle race for his magazine.

Of course, Duke has little interest in motorcycle racing. No, he’s in this for the road trip with his best friend and attorney, known here as Dr. Gonzo (Del Toro). Whether Dr. Gonzo was a real person or a Thompson creation cobbled together from several friends and fellow drug users is part of Thompson’s legend. The road trip debauchery is the focus of the movie and it starts right away with a red cadillac procured with Rolling Stone funds and a suitcase bursting with every kind of mind altering drug imaginable.

Eventually, Fear and Loathing in Las Vegas shifts gears from motorcycles to district attorneys as Gonzo has procured them a suite to attend the national district attorneys convention. Unfortunately, that is not all that Gonzo has procured as he is now in the company of a potentially underage girl, Lucy (Christina Ricci). Having just met, Gonzo has given the young girl her first taste of acid and the trip is going bad.

There isn’t much of a story in Fear and Loathing in Las Vegas, it’s a film of feel rather than substance. Director Terry Gilliam wants you to feel like your with Hunter S. Thompson on one of his famed drug trips and see the world through Duke’s eyes. This means fisheye lens and a queasy making visuals to illustrate the mind on various different types of hallucinogens from ether to acid to marijuana.

The film is remarkable at making you feel like you’re tripping right along with the characters, even if, like me, you’ve never used an illegal drug. I recall seeing Fear and Loathing in Las Vegas on the big screen and walking out into a world that didn’t look real after words. It took a little while before my eyes could adjust to the real world again and I recall liking the feeling. The film’s trippy visual is less effective on the small screen but no less artful.

Johnny Depp and Benicio Del Toro have a terrifically weird chemistry. I am not going to speculate as to the on-set drug use behind the scenes of Fear and Loathing in Las Vegas but it’s hard not to imagine that both actors don’t have some personal experiences driving their performances. Del Toro especially seems familiar with the wild emotions of mind-altering drugs with his wild eyes and bizarrely perfect sloppy speech pattern. It has the practiced, polished feel of someone trying not to let on that they are on drugs.

For his part, Depp radiates endless charisma. Even playing a bald man in bizarre 70’s costume, he still comes off as handsome and engaging. It’s a star performance and yet one pitched perfectly for this strange and unique role. Depp and Hunter S. Thompson became friends in real life during the making of the movie. So close were the two that after Thompson took his own life, Depp was part of a celebration that shot the author’s ashes out of a cannon.

Fear and Loathing in Las Vegas is a true cult classic. A strange, trippy, bizarre comic creation with wit and star power. Great performances combine with inventive visuals to create arguably THE best drug trip movie of all time. It’s a film that remains a go to for revival theaters across the country that roll the film out on a yearly basis, with the blessing and backing of its parent studio, Universal Pictures which has benefited greatly from the continuing popularity of the movie which barely eked out a profit on its theatrical release.

Movie Review Knight and Day

Knight and Day (2010) 

Directed by James Mangold

Written by Patrick O'Neill 

Starring Tom Cruise, Cameron Diaz, Peter Sarsgard, Viola Davis, Paul Dano 

Release Date June 23rd, 2010 

Published June 22nd, 2010

Despite repeated bashings in the media, Tom Cruise remains one of the biggest stars in the world. While his image took hits due to what some called bizarre behavior (couch jumping) his appeal to audiences hasn't seen much of an effect. It would be easy to point to his time as an United Artists movie executive and the modest flop Lions For Lambs as symbols of Cruise's slipping star power.

For that narrative to fit however you have to ignore his next film Valkyrie, a real dog of a movie that Cruised past 200 million dollars at the worldwide box office. The fact is, as much as so many in the media seem to want to write him off, Tom Cruise remains one of the last true movie stars and his new movie Knight and Day co-starring Cameron Diaz and directed by James Mangold is ready to prove it once again.

In Knight and Day Tom Cruise plays Ray Miller a super spy on the run with a much sought after item. What this item is doesn't really matter. What matters is that he has it and others want it. Ray needs to catch a flight for Boston and aware that he's being followed he takes advantage of a fellow Boston traveler, June Havens. Stashing this hidden item in her bags and then recollecting it after slipping through security, Ray had hoped he'd seen the last of this beautiful but innocent woman.

No such luck however. The bad guys assume she's with Roy and soon she too must go on the run with Ray and the McGuffin. For the uninitiated, the McGuffin is a Hitchcock creation; it's a plot device motivating characters from one scene to the next with their desire to capture the coveted McGuffin. In Knight and Day it's some all-powerful battery, in Casablanca it was letters of transit, in Pulp Fiction a suitcase filled with gold. You get the point the McGuffin doesn't really matter.

What does matter? Setting up two clever, charming, attractive characters and allowing them to be clever charming and attractive as stuff blows up real good all around them. Director James Mangold is well aware of the formula and sets about staging massive chase scenes and explosions while relying on Tom Cruise and Cameron Diaz to charm the audience into not caring about the obvious lack of originality and invention.

Knight and Day is nothing more than a very typical summer action movie but it gets past the been there, done that factor thanks to a pair of leads who know how to push an audiences buttons. Cruise is all smiles and splendid, comical calm amidst the chaos of Knight and Day while Cameron Diaz is gorgeously goofy delivering her magical combination beauty and gangly slapstick.

Both Cruise and Diaz are all charm and Knight and Day succeeds as both an action movie and a comedy because of the clever ways each star holds the screen by reminding us how much we've always liked them. Who cares about how much of Knight and Day is derivative of other action comedies; those movies didn't have Tom Cruise and Cameron Diaz. Haters be damned, Tom Cruise remains one of the biggest stars in the world and Knight and Day is only the latest example.

Movie Review The Box

The Box (2009)

Directed by Richard Kelly 

Written by Richard Kelly

Starring Cameron Diaz, James Marsden, Frank Langella, Gillian Jacobs

Release Date November 6th, 2009

Published November 6th, 2009

It has been years since Richard Kelly burst on the scene with his visionary indie flick Donnie Darko. With its twisting, turning, spiraling plot and psychotropic imagery, it's no surprise that Donnie Darko became a cult favorite. Since that unconventional masterpiece Richard Kelly has foundered. 

His follow up, the dystopian L.A sci fi flick Southland Tales was marked by delays and budget issues before finally arriving to collective ignorance. Now comes his first major league feature. The Box has the stylish inventiveness of Darko but with a more conventional plot.

Cameron Diaz and James Marsden star in The Box as Norma and Arthur Lewis, a struggling upper middle class couple living in the suburbs of Richmond Virginia with their young son Walter (Sam Oz Stone). Their lives are thrown for a loop when one day a package is left on their doorstep.

Inside the box is a wooden stand with a glass top and a tempting looking red button. The button is locked and a note inside the box informs that a man will arrive the following day with the key and an offer. The man is Arlington Steward (Frank Langella) and the offer is 1 million dollars if the Lewis's choose to push the button.

The catch, if they push the button someone, somewhere, a person they have never met, will die. With Arthur having been denied a promotion at NASA and Walter's tuition at private school going up unexpectedly, that million bucks would come in handy. Can they live with killing someone?

The moral complications of their choice are not so much the subject of The Box. The decision to press the button comes quickly with a minimum of weighty conversation. What Richard Kelly is more interested in is a complicated little mystery plot involving mind control and maybe even aliens.

The morality stuff is dealt with but the decision is all too simple. Once those in the audience decide for themselves what they would do the film becomes a waiting game as plot strands are plucked while others dangle unresolved. Once I made my decision I was left uninvolved by the rest of the film.

I know quite simply that I would never push the button. I could not live with taking someone's life, even a complete stranger. The debate, what there was of it, and the aftermath were meaningless to me. Once the characters make the decision to press or not to press the button there is nothing much left for the movie to do but dither about in the subpar mystery stuff.

The look of The Box is exceptional. The ways in which Kelly evokes the movies of the 1970's with his soft focus lens and spectacular attention to detail are engrossing. It's the same immersive quality that Kelly had in Donnie Darko and failed to bring to Southland Tales.

The Box is a terrific looking film that succumbs to the ease of convoluted mystery at the expense of an intriguing moral quandary. The paranormal stuff could be interesting but it feels false next to the ethical dilemma that should be central to The Box. As it is, it's an intriguing idea comes out flat and uninteresting.

Movie Review: What Happens in Vegas

What Happens in Vegas (2008)

Directed by Tom Vaughan

Written by Dana Fox 

Starring Ashton Kutcher, Cameron Diaz, Lake Bell, Rob Corddry

Release Date May 9th, 2008 

Published May 9th, 2008

Only in Vegas can two strangers from New York get drunk, married and rich in under 24 hours. Or so the Las Vegas Tourism board would have you believe. That is the beginning of the story in the new comedy What Happens In Vegas, a predictable new romantic comedy from stars Ashton Kutcher and Cameron Diaz. Kutcher is Jack and Diaz is Joy and they meet in Vegas after a hotel mix up.

They party together and end up married. The following day a nasty break up leads to Jack stealing a quarter from Joy and winning 3 million dollars. Because Joy claims that Jack stole her quarter she claims that have the winnings belong to her leading to a fight in court. Returning to New York the couple find themselves in the court of an eccentric judge (Dennis Miller) who sentences them to 6 months hard marriage. Should either decide to end the marriage before the 6 months is up, they are out their share of the 3 million. This sets up a War of the Roses scenario with each trying to get the other to give up.

What Happens In Vegas is not a terrible film. Rather, it is just a terribly predictable one. Ashton Kutcher and Cameron Diaz strike a pretty good romantic chemistry and have moments together that show the potential that is squandered in What Happens In Vegas. Throughout the movie there are good scenes that are undone by a strict adherence to the typical.

Like last weeks Made of Honor, What Happens In Vegas is locked into the very particular structure of the romantic comedy. That will include a false crisis and a false dawn, followed by a real crisis and a real dawn, as if the legendary screenwriting teacher Robert McKey had written the movie himself. The protagonists hate each other then love each other and then hate each other once more before things play out as you expect.

What stinks about What Happens In Vegas is the potential for something smarter and funnier that is hinted at throughout the movie but not explored. Scenes of strong emotion or any scenes that might deepen our connection to these characters are glossed over in order to get to some ugly slapstick and the clichés of a typical romantic comedy. It's obvious that Kutcher and Diaz could give us more but the filmmakers appear determined not to allow anything into the movie that hasn't been done in several dozen other, similar movies. 

What a shame. 

Movie Review The Green Hornet

The Green Hornet (2011) 

Directed by Michel Gondry

Written by Seth Rogen, Evan Goldberg

Starring Seth Rogen, Jay Chou, Cameron Diaz, Edward James Olmos, Christoph Waltz

Release Date January 14th, 2011

Published Janurary 13th, 2011

Seth Rogen does not exactly cut the figure of a superhero. Luckily, that is kind of the point of this reboot of the old school masked hero “The Green Hornet;” he's not the real hero. Though he wears a mask and rolls around Los Angeles in a seriously pimped out superhero car, “The Green Hornet'' is a make believe hero while his martial artist, super-mechanic pal Kato is the real hero; beating down bad guys with a superhuman fighting sense while the Hornet grabs the glory on the front page.

Faux heroism is played for terrific laughs in the at times uneven but overall entertaining “The Green Hornet 3D.”

Seth Rogen stars in “The Green Hornet” as Britt Reid, a 30 something child of privilege who uses his father's wealth as an excuse to remain a teenager for life. Then, suddenly his father (Tom Wilkinson) is dead and Britt has an empire to run. Dad was the founder and editor of the last family owned newspaper in Los Angeles, The Sentinel and though Britt has never even read a newspaper, it's now his to run.

Meanwhile, Britt meets the man who has made his coffee for the past decade. Kato (Jay Chou) was his father's mechanic and coffee hound, he invented a latte machine, and now he works for Britt. Together, Britt and Kato share a disdain for the late Mr. Reid and a bitch session turns into a night of vandalism and then accidental crime fighting. The night is a life changing moment for both Reid and Kato as after saving a couple from some gang members they get a taste for the rush of the hero biz.

The twist in this hero story however is that instead of being good guys, Britt and Kato will be good guys who pose as bad guys in order to get to the bad guys. Using the editorial power of The Sentinel, Britt creates the persona of “The Green Hornet '' as the ultimate big bad in Los Angeles. Naturally, the current big bad, Chudnofsky (Christoph Waltz), is none too happy with some nobody usurping his front page headlines. Chudnofsky has spent the past decade shedding blood and selling drugs to get where he is and he's not about to cede the bad guy spotlight.

That's the table setting of “The Green Hornet,” the meal as prepared by director Michel Gondry is a tweaking of the superhero formula that is both true to the classic adventure hero stories and a sly send up of the same in the casting of comic actor Rogan as the pseudo-hero. Rogen, with writing partner Evan Goldberg, wrote the screenplay for “The Green Hornet” and plays wickedly on his lack of hero traits. Some of the biggest laughs in The Green Hornet come cleverly at the star's expense

and as Rogan and Gondry cleverly twist the hero they give new life to the role of sidekick. Jay Chou's Kato is a rather ingenious invention as he bounces well off of Rogan while being a total badass fighter. Chou is a walking special effect and with Gondry’s artful eye for demonstrating his talent, Chou breaks the mold of not just the sidekick but of Asian American movie stars in Hollywood features. 

Badder than Jackie Chan and more fun than Jet Li, Chou may be a martial artist but he's not so serious about it that he can't bust out a chorus of Coolio's “Gangster's Paradise” prior to whipping out some nunchucks and breaking bad guys faces and limbs. Interesting to note, Chou is a pop star in Asia and has a killer closing rap over the credits. Trust me when I say the song is no mere novelty and even fans who don't speak the language will be hard pressed not to nod along to this groove. 

”The Green Hornet '' is not without issues. Christoph Waltz works hard not to be the same colorful villain he was in his Oscar winning role in “Inglorious Bastards and winds up coming off a little flat for the effort. The final action scene set inside the walls of the newspaper as the bad guys chase the good guys, car and all, through the cubicle lined floors of the newspaper goes on a little too long and doesn't pay off strongly enough. 

That said the good more than outweighs the bad in “The Green Hornet.” Seth Rogen's sense of humor is smartly played against a familiar superhero story turned ever so slightly on its ear. Audiences will have to really like Rogan for much of the movie to work but fans of the “Knocked Up” star will be rewarded with a unique evolution of Rogan's clumsy, good hearted galoot character.

Movie Review Shrek the 3rd

Shrek the 3rd (2007) 

Directed by Chris Miller

Written by Jeffrey Price, Peter S. Seaman, Aron Warner

Starring Mike Myers, Eddie Murphy, Cameron Diaz, Antonio Banderas, Justin Timberlake, Eric Idle

Release Date May 18th, 2007

Published May 17th, 2007 

Shrek may have began its film life as a veiled slap at Disney’s fairy tale past, courtesy of Dreamworks honcho Jeffrey Katzenberg, but the film's success and the subsequent success of its sequel have shown that the big green ogre has a life and identity of its own. Sure, the shots at Disney\ 's classic fairy tales remain as Shrek offers its third installment, but the success of Shrek the 3rd comes entirely from these wonderfully familiar and lovable characters.

Shrek the 3rd finds our heroic green friend in line for the throne of Far Far Away. The king (John Cleese), turned into a frog in Shrek 2, is near death and proclaims Shrek as the next king. That is, unless Shrek can find another more worthy heir. The only thing Shrek fears more than becoming king is becoming a father. Unfortunately, he has no control over that one, Fiona (Cameron Diaz) is pregnant.

Facing fatherhood and royalty, Shrek takes up the task of locating the next in line for the throne, if he is going to be a dad, at least he can do it from his slime covered hovel in the swamp. For that to happen he has to find Fiona\'s cousin Arthur (Justin Timberlake), Artie to the kids who pick on him. Artie is the resident punching bag at his private school when Shrek shows up to tell him he could be king.

Meanwhile, with Shrek away from the kingdom, the evil Prince Charming (Rupert Everett) has raised an army of fairy tale villains to assault the kingdom and proclaim him the new king and set a trap for Shrek, Donkey (Eddie Murphy) and Puss in Boots (Antonio Banderas).

The first Shrek without the guiding hand of writer-director Andrew Adamson, moved on to the Chronicles of Narnia series, Shrek the 3rd suffers from typical sequel atrophy. This is not necessarily the fault of new directors Chris Miller and Raman Hui, rather it\'s more likely the problem of some 7 different writers who took a swipe at this screenplay.

The problems with Shrek The 3rd aren\'t deathly. The first 20 minutes or so are an awkward hodgepodge of humor that is a little adult for child audiences. It\'s not so inappropriate that parents should be wary, but it could lead to some awkward questions. After that however, the film settles in and allows these familiar characters and what we love about them to lead the way and deliver the laughs.

Credit Directors Miller and Hui and their platoon of writers for dialing back on the product placement jokes that made Shrek 2 look like a non-stop billboard. Shrek the 3rd dispenses with the product placement jokes, with storefronts like \"Versarchery\", in the first few minutes. Shrek the 3rd is still heavy on pop culture but is far less precious about it than Shrek 2.

Shrek The 3rd also has a better brain than Shrek 2. The relationship between Shrek and Artie has more depth than you expect and the characters are allowed to explore their issues in ways that deepen the characters and their bond without bogging down the plot. The pace clips along quick enough to put audiences back on the streets in under 90 minutes.

Shrek 2 delivered louder and more consistent laughs than Shrek the 3rd.  The second sequel could use an infusion of bigger laughs and more laughs that rise from the plot as opposed to the stand up comedy one liners that provide many of the giggles in Shrek the 3rd.

Neither Shrek sequel has risen to the magical level of the first film which remains fresh and funny in a brilliantly subversive fashion. Each of the sequels has been a step down in quality, a function of simple sequel fatigue. Thankfully, the first film set such a high standard that a step down in quality here and there still places the Shrek sequels above most other animated films.

Shrek the 3rd is not as great as the original or as funny as the second film but your kids will still love it and you definitely will not be bored by Shrek the 3rd.

Movie Review My Sister's Keeper

My Sister's Keeper (2009) 

Directed by Nick Cassavetes 

Written by Jeremy Leven, Nick Cassavetes 

Starring Cameron Diaz, Abigail Breslin, Jason Patric, Alec Baldwin, Joan Cusack

Release Date June 26th, 2009

Published June 25th, 2009 

There is a serviceable Lifetime Movie somewhere in the dark morass of My Sister's Keeper. This weepie about a teen with terminal cancer and the familial strife surrounding that diagnosis is quite the tear puller. At times I actually felt as if the movie was attempting to extract the fluids from eyes by any means necessary but the tears never came.

Instead, there is a feeling of vast indifference tinged with the irritation at the varying attempts at manipulation. All movies are manipulative. The better movies hide their manipulations behind great drama, comedy, tragedy and various other implements of storytelling manipulation. My Sister's Keeper is much more naked in its pushy nature and that makes it off-putting.

Abigail Breslin, best known as the wonderful little pageant contestant from Little Miss Sunshine, stars in My Sister's Keeper as 11 year old Anna. Where most kids were the result of an accident or surprise, Anna was planned. Her parents, Sara (Cameron Diaz) and Brian (Jason Patric) had Anna as a way of saving the life of their cancer stricken daughter Kate (Sofia Vassilieva).

If you're overly movie literate you might start thinking about This Island Earth or The Island, sci-fi movies about people born in labs to be used as spare parts for rich counterparts. This is not science fiction. My Sister's Keeper is based in some real science. Through gene manipulation Anna was designed specifically with elements that could be helpful to Kate.

Now, with Kate nearing the end and needing a kidney transplant to buy a few more months, Anna says no. She hires an attorney she saw on TV, Campbell Alexander (Alec Baldwin) and sues for medical emancipation. Though she says it is her decision it's clear to us there is more to it. It's also clear that mom and dad are clueless as a function of the plot.

The pushy melodramatics of My Sister's Keeper serve to, at the very least, keep the melancholy at a distance. Take away all of the forced drama and what you are left with is a movie of a teenager dying of cancer. Not an unworthy story but not something that fits into the neat Hollywood box of melodramatic story manipulation.

Cancer seems too serious and too real for something as facile and tedious as the melodrama of My Sister's Keeper. Sofia Vassilieva does a tremendous job of making us feel for Kate but she is betrayed by a story and style that renders her a plot point in her own story.

Director Nick Cassavetes knows a little something about manipulative melodrama, he directed The Notebook. That film however hid the strings it pulled to get you to feel what it wanted you to feel. Was it pushy? Yes, but the sights and the romance hid that to a point and made tolerable the obvious contrivance of the story.

No such hiding in My Sister's Keeper. The movie exploits the teen with cancer conceit to score easy sympathy points as it pushes the audience from one emotional response to the next. That the film avoids becoming smarmy in its exploitation is a tribute to a talented if undermined cast.

My Sister's Keeper is an obvious, naked attempt at audience manipulation. Weak melodrama hidden behind the veil of disease of the week cynicism. It would be shameful if this talented cast weren't capable of making some of the material rise above the exploitation. In the end, My Sister's Keeper is merely a bad movie, just short of despicable.

Movie Review Shrek 2

Shrek 2 (2004) 

Directed by Andrew Adamson, Kelly Asbury, Conrad Vernon

Written by Andrew Adamson, Joe Stillman, David N. Weiss

Starring Mike Myers, Cameron Diaz, Eddie Murphy, Julie Andrews, Antonio Banderas, Rupert Everett

Release Date May 19th, 2004 

Published May 18th, 2004 

In 2000, Shrek came out of nowhere and became a box office phenomena. While only spending one weekend at the top of the box office, the film’s buzz sustained it at the box office to the tune of $267 million domestically.

More important than the film’s box office was its quality. One of the rare and wonderful examples of what is possible when animation technology meets talented voice actors, producers and writers. An animated film with as much appeal to adults as to children. The sequel cannot be asked to meet that same lofty standard. That it doesn't spoil our memory of the first film is good enough.

As we rejoin our friends shortly after their wedding, Shrek (Mike Myers) and Fiona (Cameron Diaz) are on their honeymoon. The opening of the film is a terrific sendup of those romantic comedy montages set to some silly pop song with Shrek and Fiona cavorting in a meadow, running toward each other both being chased by pitch fork toting mobs.

Once back in the swamp, they are reunited with Donkey (Eddie Murphy). They are informed that they have been invited to the kingdom of Far Far Away where Fiona's parents King Harold (John Cleese) and Queen Lillian (Julie Andrews) wish to throw them a royal ball to celebrate their marriage. Shrek is convinced it's a bad idea but Fiona insists they go, even allowing Donkey to join them for the long journey that is best described "Are we there yet?”

No surprise to Shrek, when they arrive and are not greeted with open arms by the King and Queen. There is more to this story than the King's objecting to his daughter marrying an Ogre. It seems the King had cut a deal with the Fairy Godmother (Jennifer Saunders) that promised Prince Charming (Rupert Everett) would save Fiona from her castle and marry her, thus becoming heir to the throne. The King owes Fairy Godmother for some yet to be revealed reason and so he must get rid of Shrek and allow Charming to take his place.

For this, the King buys the services of a legendary Ogre killer named Puss in Boots (Antonio Banderas) whose efforts are less than successful. From there, Shrek and Fiona are separated and various miscommunications and mistaken identities serve to keep them apart. Shrek, Donkey and their new friend Puss in Boots must find a way to get Fiona back.

It's not a complicated story, it's a simple setup for the scatological humor that drips from every scene. Each computer-generated frame of Shrek 2 has some kind of satirical jab, even more than the original film. It almost reeks of desperation as if the producers and writers of Shrek 2 felt something was missing from the first film and were going to cover it up with excess jokes.

There is something missing from the sequel though I can't quite explain what it is. Part of the problem is that Shrek's look and animation isn't as special as it was back in 2000. Since then we have seen Monsters Inc., Finding Nemo and Ice Age and even live action films like Van Helsing and Spider-man that have made us comfortable with computer animation. It's not that special anymore, it's still impressive but not as mind blowing as the original.

Shrek 2 is not as funny as the first film but it is still funnier than most. Credit the terrific voice cast who project every line of dialogue all the way to the back wall of the theater. Especially good is Antonio Banderas who really tears into the role of Puss In Boots with tremendous comic fervor. Banderas sends up his Mask Of Zorro titular role and the script hints at something that other Zorro movies have used as subtext, something that the kids in the audience won't get but parents will likely pick up.

The other new voices are also well cast. John Cleese picks up the pompous, overblown King role where his good friend John Lithgow left it in the original. Jennifer Saunders makes a terrific villain and even knocks out a rousing showstopper tune near the end. Sadly, Julie Andrews is underused with little to do in the underwritten role of the Queen.


The film’s best assets are still Mike Myers, Cameron Diaz and Eddie Murphy. These terrific comics know how to deliver a punchline and the way the animators incorporate the actors' physical traits into the animated characters adds to the feeling that they are really inhabiting these characters. Listen closely however and you might hear Myers dropping out of his Scottish accent, but that is a minor quibble.

To ask Shrek 2 to recreate the magic of the first film is asking way too much. The best it could do was not taint our memory and that it does it justice with funny references to everything from Spider-man to The Wizard Of Oz to Raiders of The Lost Ark. That it does not fall to sequels and exist merely to capitalize off the original’s success is a testament to the creative team behind it. They put forth an effort to tell a story rather than slapping together a money machine meant to print money off our fondness for the first film.

Movie Review Charlie's Angels Full Throttle

Charlie's Angels Full Throttle (2003) 

Directed by McG 

Written by John August 

Starring Lucy Liu, Cameron Diaz, Drew Barrymore, Demi Moore, Bill Murray 

Release Date June 27th, 2003 

Published June 26th, 2003 

The first Charlie’s Angels film delighted in the kind of mindless, plotless humor that made the Austin Powers movies so much fun. Or at least the first Austin Powers movie. As the sequels in that series show, it's difficult to maintain that atmosphere. The humor relies so much on the outlandishness of the setup that you’re forced to top yourself from one gag to the next. For the Charlie’s Angels crew, that means skimpier outfits and racier humor that pushes the boundaries of it's mandated PG-13 rating. Thanks to a cast that has earned a great deal of audience goodwill, they manage to succeed this time, but one more will be really pushing it.

We all remember the flashy sex kittens from the original, Alex (Lucy Liu), Natalie (Cameron Diaz) and Dylan (Drew Barrymore). No need for reintroduction, the film jumps right into the action as the girls save a federal marshal from a group of Mongolian terrorists, with the cunning use of special effects and Cameron Diaz's ebullient sexuality.

From there it's back to the states where Charlie (the disembodied voice of John Forsythe) explains what we need to know in order to give the film’s gags a minimal amount of context. Some mess about the federal witness protection program and the list of people in protection. A bad guy has the list and is trying to sell it and it's up the Angels to stop them and retrieve the list.

During the investigation it's revealed that Dylan is on the list for having testified against an Irish mobster named Seamus O'Grady (Justin Theroux), who conveniently enough has just been released from prison. Oh but he's not the big bad guy. As the girls quickly figure out the real bad guy is a former Angel named Madison Lee (Demi Moore). Why she stole the list and blah blah blah is not necessary. How hot she looks in a bikini, now that is what this movie is really about.

Moore's role is actually rather limited in screentime, not much more than a cameo save for the big fight scene at the end. There are numerous cameos throughout the film that at times it's like an episode of the Love Boat. Matt LeBlanc reprises his cameo from the first film, as does Luke Wilson. John Cleese drops in as does Robert Patrick and even Demi's ex husband Bruce Willis. There is also a small role Shia Leboef from Holes, pop singer Pink and even the Olson Twins. Sadly, the film failed to get the cameo that really would have set tongues a wagging, Demi's current boy toy Ashton Kutcher.

Bernie Mac has a slightly bigger than a cameo role as the new Bosley, taking over for Bill Murray. Who cares how or why he has the role, Mac is welcome presence because he's just damn funny in every scene he's in.

Reigning over all this is Director McG, whose skills as a music video director were very much on display in the first film and they are far more pronounced in this sequel. McG is maturing quickly from video director to pop artist. His visuals are pure eye candy and his actors merely props to decorate his painting. McG skillfully maneuvers his actors through a series of eyepopping scenes, both titillating and action packed.

McG is to be commended for his amazing ability to skirt the censors who somehow were convinced to give this film a PG-13 rating. McG walks the line between obvious Russ Meyer style exploitation and acceptable humorous double entendre, like a skilled tightrope walker. The stars of the film and their director seem to say it's okay to exploit their sexuality, such as a scene where the Angels go undercover in a strip club, as long as the girls are in on the joke. What woman could resist having their butt worshipped the way McG seems to worship the butt's of his leads? All shot as lovingly as one might film the Mona Lisa.

Getting away with this type of envelope pushing for another sequel is highly unlikely. Unless the ratings board says PG-13 means the girls can strip naked and kill bad guys at the same time, the filmmakers will have a hard time finding anything more safely titillating than what they concocted in Full Throttle.

Movie Review: The Sweetest Thing

The Sweetest Thing (2002) 

Directed by Roger Kumble 

Written by Nancy Pimental 

Starring Cameron Diaz, Thomas Jane, Selma Blair, Christina Applegate

Release Date April 12th, 2002

The battle for the title of Worst Film of 2002 is a three-film race so far. There is John Mctiernan's expression of audience hatred, Rollerball, Dominique Swain's spiraling career suicide in Tart, and now Cameron Diaz's inexplicable The Sweetest Thing. This bizarre, gross, deeply failing comedy somehow manages to make the terrific Cameron Diaz look like a terrible person. That should tell you all you need to know about The Sweetest Thing. 

The Sweetest Thing begins in documentary style with guys talking straight to the camera about a girl named Christina who broke their hearts. This pre-credit sequence seems tacked on as if the director realized that the script didn't bother to introduce the character Cameron Diaz is playing so he had to do something desperate to get some exposition into the movie to provide comic credentials for Diaz's character. 

Once we are into the actual film we meet Christina (Cameron Diaz), your typical flighty movie chick dancing in the streets of San Francisco. Where are these pixie-ish girls who dance in the streets with no regard for the world around them? Oh right, mental hospitals.  Christina and her friend Courtney (Christina Applegate) meet up at Christina's apartment where their friend Jane (Selma Blair) is crying over a lost boyfriend. Christina and Courtney give her the typical advice, forget about Mr. Right and go get Mr. Right Now. How clever! 

The three friends go to a club where Christina meets Peter Donahue (Thomas Jane). Initially, Christina and Peter are adversarial but then they keep meeting and grow to like each other. Peter eventually invites Christina to a party but she decides not to go. Why? Well, if she goes, we wouldn't have this idiot plot where Christina has to try and find this great guy she met a this party. Oh, and she didn't get his phone number either for the same reason. 

One of my movie pet peeves is when an entire film hinges on a situation easily resolved by a brief conversation but left unresolved in service of the plot. In The Sweetest Thing all they had to do is what anyone in that situation would have done, either go to the party or exchange phone numbers. If they did that though we wouldn't have the lame road sequence where the girls have wacky things happen, like Christina's discovery of what a glory hole is. Oh so clever.

I doubt the glory hole has ever been used for a good laugh in a film, there is probably a reason for that, but The Sweetest Thing doesn't stop there. The film includes a sequence where the girls start a restaurant singalong about penis size, and poor abused Selma Blair has a scene where let's just say something gets stuck somewhere.

Writer Nancy Pimental and Director Roger Kumble want to roll around in the same mud as There's Something About Mary and the American Pie movies, but they forget what it was that made those movies funny. There's Something About Mary and American Pie 1 & 2 were funny because the disgusting jokes were in context and framed against characters who earned our sympathy. The Sweetest Thing never bothers to introduce the characters, they expect that we will like them because we like the stars. That was not enough for me.

The Sweetest Thing is legitimately hard to watch. Rather than relating to the characters I was embarrassed for the stars trapped in the film’s humiliating and stupid situations. The Sweetest Thing is a complete embarrassment. 

Movie Review The Holiday

The Holiday (2006) 

Directed by Nancy Meyers 

Written by Nancy Meyers 

Starring Jack Black, Cameron Diaz, Jude Law, Kate Winslet

Release Date December 8th, 2006 

Published December 7th, 2006 

Director Nancy Meyers is the master of fluffy, Hollywood love stories. Her Something's Gotta Give and What Women Want are big star vehicles that indulge heavily in Hollywood glamor and fantasy romance. Her latest film, The Holiday, is her best effort yet at bringing romantic fantasy to the screen. Teaming Cameron Diaz and Jude Law, Meyers crafts a couple more photogenic than an entire J.C Penney catalog and a dream romance that audiences cannot help but eat up like movie popcorn.

Warm, buttery and oh so simple, The Holiday is the kind of light hearted and light headed fluff that is the perfect holiday escape.

In a small town just outside of London, Iris (Kate Winslet) is working through her company Christmas party when her boss makes a big announcement. The man that Iris has been seeing for nearly three years is getting engaged, but not to her. Devastated, Iris needs to get out of town before she does something awful.

Meanwhile, in Los Angeles, Amanda (Diaz) is at the end of her relationship with Ethan (Ed Burns). In the most clichéd fashion, Ethan has been sleeping with his much younger secretary. After throwing him out, and leveling him with an impressive right cross, Amanda wants out of L.A for the holidays. Luck and chance leads Amanda to a website advertising home exchange. This is where Amanda meets Iris and the two offer each other the chance to escape their sad states by switching homes.

In London, Amanda moves into Iris's cozy rural cabin and finds herself visited in the middle of the night by Graham (Jude Law), Iris' brother. Slightly drunk, Graham charms his way right into Amanda's bed as she takes a chance on some guilt free vacation sex with a good looking guy she is unlikely to ever see again. Of course, we already know that nothing could be that simple and the two are soon romancing.

Back in L.A Iris makes a match of her own but not the one you might expect. Iris's new neighbor is Arthur (Eli Wallach) an old Hollywood screenwriter who Iris befriends when he gets lost trying to find his house. Iris helps him home and is invited for dinner and an education in film classics. Jack Black does eventually show up as Miles; a more age-appropriate love interest for Iris but it is Wallach's Arthur who steals the show.

The fun of The Holiday is watching great looking actors indulge lives of frivolous excess for our amusement. Escaping into their perfect pretty lives is a fun little distraction like a cookie or a chocolate bar. Too many film critics get uptight about movies like The Holiday, or really anything directed by Nancy Meyers. For my money, movies like The Holiday are just a treat. Beautiful to look at, easy to forget and fun to catch in late night reruns when nothing else is on.

Movies don't always have to reflect reality or present some grand metaphor. Sometimes movies just have to entertain and that is what The Holiday is all about. Pure entertainment.

Glamor is an oddity in this day and age. There is an overabundance of glamor off the screen. Flashbulbs pop at movie premieres, outside nightclubs and even grocery stores in Hollywood. On the other hand, glamor on the screen is not merely absent, it's often frowned upon, especially by 'serious artists'. That is why, for my money, a movie like The Holiday is such a welcome sight. The Holiday transports audiences back to a time when glamorous stars were allowed to be glamorous stars.

Is it frivolous? Absolutely. That's part of the fun. The Holiday is a candy coated, glamor production in which the people are all unbelievably good looking, locations are lifted from picture postcards, and situations are resolved in 90 minutes with laughing, dancing and hugs. Some people find their escapist fun in hobbits or the force, others in watching Jude Law romance Cameron Diaz. Why is one more worthy than the other?

There are many movies like The Holiday and I have been quite hard on many of them. What separates The Holiday is the combination of chemistry and familiarity that Nancy Meyers specializes in. Assembling an all star cast of Hollywood luminaries, Meyers indulges in romantic fantasies that, while they aren't original by any stretch, are more appealing and better looking than most similar fantasies.

Nancy Meyers skill is in, essentially, re-gifting romantic clichés. Meyers wraps a beautiful new bow on familiar romantic stories. The key is that she does it better than other directors and with better actors. This was a skill that was highly valued back in the movie factory days of the studio system and is now frowned upon in the post-auteur era.

There is nothing remotely important about The Holiday and that is part of its charm. This is pure glamorous escapism that basks in the glow of star power and fantasy romance. I don't want every movie to be as unimportant as The Holiday. However, from time to time the kind of movie that Nancy Meyers makes is a welcome respite from gritty action, bloody horror, and even from the importance of a great drama.

Movie Review: Vanilla Sky

Vanilla Sky (2001) 

Directed by Cameron Crowe 

Written by Cameron Crowe 

Starring Tom Cruise, Penelope Cruz, Cameron Diaz, Jason Lee 

Release Date December 14th, 2001 

Published December 15th, 2001 

The combination of Tom Cruise and Cameron Crowe is a meaningful one for me. This duo of director and star created my favorite movie of all time, Jerry Maguire. To be honest though my hopes were not high for their newest collaboration Vanilla Sky. My concerns were warranted with Crowe venturing out of his normal romantic dramedy safezone and Cruise hiding his leading man looks under piles of mangled makeup, Vanilla Sky was a huge gamble, one that I'm happy to report pays off bigtime.

Sky casts Cruise as David Aames, a jet-setting magazine impresario, emotionally stunted but staked by a father's fame and fortune. David has no meaningful relationships merely friendships of convenience with a woman named Julie, played by Cameron Diaz, who David sleeps with but still only considers a friend. David's best friend is a writer played by Jason Lee, but he too is merely convenient. David is bankrolling his buddy's book deal and though he calls him his best friend his tone doesn't convey that he means it. 

David Aames' life is changed forever when he meets Sophia, played by Penelope Cruz. David is immediately drawn to her and after spending one night with her without sleeping with her he vows to change his life work harder and take himself and those around him more seriously. Then tragedy strikes and this is where the film gets really interesting veering off in different directions, Thriller, Romance and even social commentary all of which is deftly handled by Crowe with his direction and razor sharp scripting. 

Early in the film I found it difficult to buy Cruise as a snowboarding, slacker, trust fund baby. But as the film goes on the character grows up quickly and becomes more Cruise-like; cocky, self assured but always shading the breakdown that is just under the surface. No one plays emotional devastation like Cruise, who is able to communicate agonizing emotional pain with his facial expressions better than any actor I've ever seen. 

The films supporting performances are just as good with Jason Lee as the standout. Yes it is hard to believe that Lee and Cruise as best buds but the film uses that lack of chemistry to add a deeper level to their relationship, one that plays into the unusual mystery unfolding throughout Vanilla Sky. Penelope Cruz is surprisingly good; I've never liked Penelope Cruz before but in Vanilla Sky I saw something I hadn't seen from her before, a pulse. 

The real star of Vanilla Sky though is cinematographer John Toll who should be nominated for his 4th Oscar for his beautiful work. Toll and director Cameron Crowe don't just make Vanilla Sky look good, they make it look too good in a way that plays into the central mystery of the movie. It's very subtle but those paying attention will be floored by the time the ending has arrived and how the bright visuals and color palette of Vanilla Sky was helping to tell the story. 

Vanilla Sky has the feel of a Kubrick film filtered through Cameron Crowe's pop sensibility, and that for me is an unbeatable combination.

Movie Review Gangs of New York

Gangs of New York (2002) 

Directed by Martin Scorsese 

Written by Jay Cocks, Steven Zaillian, Kenneth Lonergan 

Starring Leonardo DiCaprio, Daniel Day Lewis, Cameron Diaz, John C Reilly, Jim Broadbent 

Release Date December 20th, 2002 

Published December 18th, 2002 

The argument rages on as to who our greatest living director is. Certainly an argument can be made that there is no more popular and well known filmmaker than Steven Spielberg. The quality of Spielberg's work is impeccable. But when you talk about artistry in filmmaking and storytelling there is none more talented than Martin Scorsese. Though some may argue his work is too “East Coast,” that it lacks mainstream appeal and thus is not popular, the man' artistry is too great to deny. Scorsese's latest work, though again very “East Coast,” is nonetheless another work of stunning artistry.

Gangs Of New York is not just the story of its lead characters, Bill "The Butcher" Cutter (Daniel Day Lewis) and Amsterdam Vallon (Leonardo DiCaprio). It's also the story of our country and how it was forged in the blood and sweat of immigrants. It's a history that many don't like to reflect on. A history of incivility and murder, of prejudice and inhumanity. This is no wondrous tale of how Lincoln led the charge to freedom, it's far too honest to make a hero of anyone ,even a sacred cow like President Lincoln.

Gangs Of New York takes place on the fringe of the Civil War, in the ghetto known as Five Points where the Irish immigrants fleeing famine in their home country have established a foothold. Opposing Irish immigration is a group calling themselves The Natives led by Bill the Butcher. A vicious crime lord, The Butcher's hatred of the immigrants leads to a showdown in 1846 that would decide control of Five Points. Leading the immigrants is a man known as Priest Vallon (Liam Neeson). Though not a real Priest, he wears a collar and carries a staff with a cross on it which he uses as a weapon.

In this opening showdown Priest is killed by The Butcher, who claims control of Five Points. Witnessing the bloody carnage from the sidelines, young Amsterdam Vallon witnesses his father’s murder and vows revenge on The Butcher. Amsterdam is taken away from Five Points and sent to a prison school called Hell's Gate until he is of age. Years later Amsterdam returns to Five Points to claim his revenge.

Amsterdam is quick to find that the neighborhood has changed a lot and The Butcher is still in control. In fact he is now now more than just a vicious thug, The Butcher has made inroads in politics, buying the freedom of his syndicate through his relationship with New York's political leader Boss Tweed (Jim Broadbent). Killing The Butcher will not be easy, so Amsterdam schemes his way into The Butcher's inner circle with the help of a friend named Johnny (Henry Thomas). Once in close contact with the butcher however Amsterdam is nearly seduced by his charm and honor. 

There is no doubt that The Butcher is a cold blooded killer but he is also an honorable fighter who has, ever since the great gang battle of 1846, honored the memory of Amsterdam's father with a massive celebration. The butcher is unaware of Amsterdam's identity until Johnny, jealous of Amsterdam's relationship with a lovely pick pocket, Jenny Everdeane (Cameron Diaz), tells Bill the truth and nearly gets Amsterdam killed.

In a scene of incredible staging, Amsterdam makes an attempt on The Butcher's life during the celebration of his father’s death. He fails, but The Butcher, now aware of Amsterdam's true identity, shows mercy on Amsterdam and allows him to walk out, but not before scarring his face with a hot blade. This leads to the film’s climactic street fight between the immigrants and the natives. A combination of civility and brutality, which begins with a meeting between the gangs to decide on rules, weapons and a date and time for the fight.

How historically accurate is Gangs Of New York? Well like any Hollywood film, there will always be artistic license whether you like it or not. Scorsese has repeatedly stated his meaningful attempts at accuracy, which many see as the reason the film’s budget ballooned past the 100 million-dollar mark. Indeed the costumes and cobbled streets seem to fit what is known of the era. Not many history books outside the state of New York tell the story of the 1860's such as the draft riots which lead to bloody battles in the streets between New Yorkers and union soldiers. Indeed that actually happened whether we want to remember it or not. Similarly, people would like to forget the corruption and violence of 5 Points and the Gangs of New York. 

History lesson or not, Gangs Of New York is an enthralling tale told by a master storyteller. Scorsese is in complete control and the passion he clearly has for this material, which he has wanted to film for 20 plus years, is expressed remarkably on the screen. The Oscar buzz surrounding the performance of Daniel Day Lewis is more than justified. Lewis' Butcher is a seductive villain, charming and cunning. Even Amsterdam, who has for years thought only of killing him, is briefly seduced by him because despite his evil, he has honor and lives by a code of the streets that is long gone.

But while everyone praises Daniel Day Lewis these days, I would like to call attention to DiCaprio who makes a real statement in this film. DiCaprio has grown up and though he still carries many teenybopper fans who swoon at his every word, we critics can no longer write him off as a guy who trades on his good looks. In Gangs Of New York, DiCaprio steps up to the big time and now must be taken seriously as an actor of depth.

Gangs Of New York is epic filmmaking in every way possible. It has scope and scale but not at the expense of character development and scripting. The production value and performances and script all come together under the craftsmanly eye of Scorsese who makes yet another masterpiece. If Scorsese doesn't win best director this time around there is something very wrong with the world. Gangs Of New York is one of the best films of the year.


Documentary Review Fallen

Fallen (2017)  Directed by Thomas Marchese  Written by Documentary  Starring Michael Chiklis  Release Date September 1st, 2017 Published Aug...