Movie Review Marmaduke

Marmaduke (2010) 

Directed by Tim Dey

Written by Tim Rasmussen, Vince Di Meglio 

Starring Owen Wilson, Lee Pace, Judy Greer, William H. Macy, Steve Coogan, Fergie, Emma Stone, Marlon Wayans 

Release Date June 4th, 2010 

I have a distinct memory of enjoying Marmaduke as a little kid. Not the newspaper comic, for me, he was a side character amid the Heathcliff Saturday morning cartoon. Marmaduke was a large dog who always found trouble based on the fact that he was so large. Adapting Marmaduke for the big screen was... a choice. It is a well-known character with a minor fanbase, though most have grown out of Marmaduke or barely remember the comic. The film adaptation has to reinvent Marmaduke and wow, more.... choices. 

Owen Wilson stars as the voice of Marmaduke who finds himself moving in with the family of a marketing executive named Phil Winslow (Lee Pace) and his wife Debbie (Judy Greer). Phil needs Marmaduke to be his spokes-dog for a dog food brand but Marmaduke is too ill-behaved. He just wants to run around and find trouble with his new friend Carlos (George Lopez), and his kind of love interest, Mazie. But, when things really get out of hand, Phil sends Marmaduke to a dog trainer. There, he falls in with a popular crowd that threatens his new friends in the neighborhood. 

Despite his new friends, Marmaduke cannot resist wanting to be part of the popular pedigree crowd where the gorgeous Jezebel (Stacy 'Fergie' Ferguson) runs with the dog park's resident bad boy Bosco (Kiefer Sutherland). Naturally conflict ensues between Marmaduke and Bosco and the bonds of friendship, especially with Maizie, will be tested. Meanwhile Phil is ignoring his family, spending all his time working with his oddball new boss (William H. Macy, slumming for a paycheck) and only Marmaduke realizes how bad things are getting. 

These two stories coalesce boringly into one story by the end and don't be shocked when things end exactly as you predict. Marmaduke, directed by Tom Dey (Failure to Launch), was never meant to change the way we see kids movies. It was not meant to break boundaries or change the way kids see their world, it's a mindless bit of escapism with simpleminded morality at its center. The catchphrase for the film may as well be 'can't we all just get along,' it's literally that simple.

There is nothing wrong with that but the best kid’s films, the Pixar films, have the ability to deliver the same message without being treacle and simpleminded in the ways Marmaduke is. Director Dey and screenwriters Vince De Meglio and Tim Rasmussen cut paste their plot from other, similar films like Garfield or the Chipmunks, add special effects and voila. The special effects used to animate the giant mutt are strong enough that you don't take to much notice of them. The hallmark of success when you don't have the budget or the skill to dazzle ala James Cameron is to make sure the effects aren't noticeable; Marmaduke easily achieves this modest task.

I watched Marmaduke with a class of 2nd graders on a field trip. They laughed at the fart jokes and when Phil fell out of the bed and they squealed at the closing doggie dance sequence but for the most part they were silent and respectful. Some twitched in their seats a little but for the most part they were quiet, attentive and a little bored. Afterward, the kids talked about how much they loved dogs but by the time they were back on the bus the movie and its dull messages were long forgotten replaced by the want for ice cream and plans for the rest of the day, and a little bit of dozing here and there.

Maybe this benign effect is all that can be expected of a movie like Marmaduke. For me, I wish more children's films had the ambition to engage the minds of children, to challenge them to find central ideas and morals and explore them with their imagination. The creators of Marmaduke have neither the ambition nor, seemingly, the talent to attempt such a thing. On that count, Marmaduke is a waste of screen time. Parents, take heart Toy Story 3 arrives soon.

Movie Review Father Figures

Father Figures (2017) 

Directed by Lawrence Sher

Written by Justin Malen 

Starring Owen Wilson, Ed Helms, J.K Simmons, Katt Williams, Terry Bradshaw, Ving Rhames, Glenn Close, Christopher Walken

Release Date December 22nd, 2017

Was there a gun to someone’s head forcing them to make the movie Father Figures? I am struggling to understand how this movie exists. Father Figures stars Ed Helms and Owen Wilson as twins, we’ll get to that, who go on a road trip to visit men who may or may not be their biological father. The film seems to have been slapped together without much thought or care or with any semblance of humor.

Father Figures stars Owen Wilson as Kyle and Ed Helms as Peter. Kyle is a surfer bum who did some modeling as a younger man and lucked into a long-term gig as a beer spokesman. Life has always come quite easily to Kyle but not so much to his brother, Peter. Though he was always a good student, he was also geeky and shy and instead of pursuing the life he wanted he settled for becoming a proctologist. To give you an idea of the humor of Father Figures, apparently just saying the word proctologist counts as a joke.

So, Peter is jealous of Kyle, Kyle’s life isn’t the paradise he makes it out to be, lather, rinse, repeat. You’ve seen these characters in a dozen other similar comedies. The brothers don’t get along so their mother, Helen (Glen Close), concocts a scheme to bring them closer together. On the day she is getting married she tells her sons that she doesn’t know who their biological father is.

This angers both men causing them to rent a car and investigate mom’s sexual history to figure out who their biological father might be. Naturally, this is a very sensitive subject that can be very emotional and lead to many questions about personal identity and the makers of Father Figures just want to use it is as a poor excuse for a raunchy road comedy.

Find my full length review in the Geeks Community on Vocal. 

Movie Review Wonder

Wonder (2017) 

Directed by Stephen Chbosky 

Written by Stephen Chbosky, Steven Conrad, Jack Thome 

Starring Julia Roberts, Owen Wilson, Jacob Tremblay, Mandy Patinkin, Daveed Diggs 

Release Date November 17th, 2017 

Wonder is a real, well, wonder. Rarely do tear-jerkers work as well as what director Stephen Chbosky assembles here. Everything in Wonder seems set to be a clichéd way of sucking out tears. A child with a facial deformity, a pair of goodhearted parents, a sick dog, these are all elements that under the guidance of a lesser director, would be used to physically assault audiences in the search for tears. Stephen Chbosky is, quite thankfully, a terrific director and he employs these elements in the way a good director does.

Wonder stars the exceptional young Jacob Tremblay as Augie Pullman, a boy born with a facial deformity that caused him to go through several life-altering surgeries. Auggie is about to go to public school for the very first time on the insistence of his mother, Isabel (Julia Roberts). Isabel has home-schooled Auggie for the first years of his school life but at nearly 10 years old, she feels it’s time for him to be around other kids, to begin trying to find normalcy.

Auggie is enrolled in a private school run by Dr. Tushman (Mandy Patinkin) who has instructed several students to welcome Auggie and be his friend. Auggie is initially troubled but eventually earns a genuine friend in Jack (Noah Jupe), though not without the pitfalls of youthful struggle. The journey of Auggie toward a normal life at school would appear to be the focus of Wonder but director Stephen Chbosky, who shares screenplay credit with Jack Thorne and Stephen Conrad, smartly breaks up Auggie’s story with those of Auggie’s sister, Via (Izabel Vidovic), Via’s friend Miranda (Danielle Rose Russell), and Jack, each of whom is given the chance to give layers of much needed and welcome life and story to their characters.

The screenplay for Wonder is quite smart about not pushing Auggie’s story so much that it becomes cloying or pushy, and Tremblay does a wonderful job of giving Auggie a life we genuinely care about versus just relying on the facial deformity and a simpleminded face off with a villainous bully. Tremblay is a character beyond the face and the film is smart to let Tremblay explore the space of Auggie. Chbosky gives everyone in the cast weight and care, and the way their struggles underline Auggie’s struggling is exceptionally well-done by all involved.

Find my full length review in the Geeks Community on Vocal. 

Movie Review Haunted Mansion

Haunted Mansion (2023) 

Directed by Justin Simien 

Written by Katie Dippold 

Starring LaKeith Stanfield, Rosario Dawson, Tiffany Haddish, Owen Wilson, Danny Devito, Chase W. Dillon, Jared Leto, Jamie Lee Curtis 

Release Date July 28th, 2023 

Published July 31st, 2023 

There is a lovely idea at the heart of Haunted Mansion that gets lost among the muck of trying to make a wide appeal blockbuster family movie. At the core of Haunted Mansion, director Justin Simien, creator of the ingenious, Dear White People, appears fascinated by the concept of grief and the ways it manifests in negative ways for many people. Losing someone you love is a life altering event, it can lead to any number of negative manifestations if it is not dealt with and processed in a healthy fashion. It manifests in Haunted Mansion via LaLeith Stanfield's Ben, an astrophysicist who gave up everything after his young wife died. 

Stanfield is unquestionably an actor who can handle this kind of heavy material but the heavy nature of Haunted Mansion unfortunately drags on what is otherwise intended to be a summer blockbuster version of a Disney theme park ride. While Simien is working in the emotional space of Stanfield's grieving widower, the rest of the movie appears to be going for something broad, campy, scary and yet family friendly and the tonal dissonance is a big part of the overall failure of Haunted Mansion. By attempting to serve a number of ideas, the film ends up serving none of those ideas particularly well. 

Ben (Stanfield) was once a very successful and happy Astrophysicist shyly using his unique profession to hit on women. One of those women is Alyssa (Charity Jordan), a tour guide who leads haunted tours through New Orleans. Ben, being a man of science, doesn't believe in ghosts but he still falls hard for Alyssa and the two end up getting married at some point, we don't see that part. What we do see is that Alyssa is no longer with us, a mystery that will be unsatisfyingly resolved later in the film, and Ben is floundering. Having given up all aspects of his previous life, Ben now leads Alyssa's tours while drunk and being entirely uninterested in indulging and any notions of ghosts being real. 

Ben's trajectory is altered forever by the arrival of Father Kent (Owen Wilson). Kent knows Ben by reputation. He knows that Ben had, years earlier, invented a camera that could theoretically, take pictures of the dead. He has a job for Ben. A single mother, Gabbie (Rosario Dawson), has moved into a decrepit mansion on the outskirts of New Orleans. Gabbie, and her son, Travis (Chase W. Dillon), are also dealing with the fairly recent loss of Travis' father, a loss that neither mother or son has fully processed. The parallel of both Ben and Gabbie having lost someone is used as something of a shorthand to bring them together as love interests but the love story feels rushed and forced. 

That's the thing about Haunted Mansion, I am this far into this review and I haven't mentioned any ghosts. That's because none of the ghosts or scares in Haunted Mansion are very memorable. Jamie Lee Curtis is perhaps the most interesting of the spooks. She plays a dead psychic who was killed and her spirit was trapped inside of a crystal ball. The visual of Curtis's head in the crystal ball isn't bad but its not very elaborate. It's fine, like far too much of Haunted Mansion is fine, it's there, it exists, but it doesn't have much of anything interesting about it. 

The big bad of Haunted Mansion is the Hat Box ghost, played by Jared Leto. The Hat Box Ghost is a remarkably weak villain. The ghost's real name is Crump and the lame comparisons between Crump and Donald Trump are not stated out loud but are very clear. It's a lame non-joke, clearly intended but not well executed at all. It stands out as a bad idea because Leto's performance as Hatbox Ghost is half-hearted at best. The same can be said of the weak CGI look of the character which is scarier in a single drawing by a sketch artist in the movie than it ever is alive and moving around in Haunted Mansion. 

Incidentally, the Police sketch artist in Haunted Mansion is played by Hasan Minaj, a very funny man who is wasted in a nothing performance. Minaj is there to skeptically poke fun at Stanfield and Devito's claims about a ghost and he's offscreen in less than 3 minutes. And, Minaj isn't the biggest waste of talent in Haunted Mansion. Dan Levy and Winona Ryder both make appearances in Haunted Mansion and you are left to wonder if they owed someone a favor and that favor was being in this movie. Levy, one of the most dynamic comic personalities working today gets less than 2 minutes of screentime and his outfit is funnier than anything his character does. 

Find my full length review at Geeks.Media

Movie Review Paint

Paint (2023) 

Directed by Brit McAdams 

Written by Brit McAdams 

Starring Owen Wilson, Michaela Watkins 

Release Date April 7th, 2023 

Publish April 11th, 2023 

Paint is weird. While everyone is caught up in Owen Wilson's Bob Ross impression, what's lost is a timeless story of a fragile male ego, an unrequited love story, and a story that seems to play out in a timeless void somewhere between the 1970s and the 1990s. If Wes Anderson were to direct a late night Adult Swim program, it play a little like Paint. The tone is tricky and odd but I kept finding myself charmed by it. I laughed plenty during Paint and that goes a long way to helping me forgive the messier elements of the story. 

Paint stars Owen Wilson as Carl Nargle, a big fish in the small pond of the Vermont art world. Carl's show, Paint, on Vermont's biggest PBS station, is the most watched show in the state. People's lives come to a stop to watch Carl's latest variation on a nature scene revolving around Vermont's highest peak, Mount Mansfield. Carl's a star on screen and off where he has a devoted staff of women dedicated to his needs. Wendy McClendon Covey, Lusia Strus, and Lucy Freyer, play generations of women who may or may not have been Carl's lover at some point. 

Find my full length review at Geeks.Media

Movie Review The Big Year

The Big Year (2011)

Directed by David Frankel 

Written by Howard Franklin 

Starring Jack Black, Owen Wilson, Steve Martin, Rosamund Pike 

Release Date October 14th, 2011

Published October 17th, 2011

I've always longed to be part of a community. I love the idea of a group of likeminded people who share a joyous passion for something. Sure, I have the community of fellow Chicago Cubs fans but we're such an edgy, angst-ridden bunch; it's hard to have a sense of community among people constantly waiting for something bad to happen.

I should consider birding. The wonderful new comedy The Big Year starring Jack Black, Steve Martin and Owen Wilson offers a wonderful, angst-free group of people whose passion is so purely beautiful that you can't help but admire and envy it, even if you don't quite understand it.

Birding and Birder Not Bird-watching or Bird-watcher

Brad Harris (Jack Black) has a crappy job and little money but he does have his birds. Brad is a passionate birder and this year he is going to chase his dream, a Big Year. A Big Year is when a birder, bird watcher to us non-birding enthusiasts, spends one year crossing North America trying to see as many bird species as possible.

Kenny Bostick (Owen Wilson) is the greatest birder in the world. Kenny set the world record with his big year not long ago. Now, with an El Nino weather pattern on the horizon, Kenny knows someone will try to break his record and he's intent on keeping his legacy, even if it strains his marriage to Jessica (Rosamund Pike).

Third Retirement is the Charm

Joining Brad and Kenny on a quest for a Big Year is Stu Preissler (Steve Martin). Stu has just retired for the third time and his Big Year is his best chance to finally make his retirement permanent.

On the surface, The Big Year sounds like a ludicrous idea for a movie; a movie about bird-watching? A movie about bird-watching starring Jack Black? What's that old phrase about judging a book?

Never Judge a Book...

Get past the cover of The Big Year however, and you find a brilliant, sensitive, smart comedy about seeking adventure and chasing a dream that only makes sense to you. There is a pioneer spirit to these crazed men chasing their bird obsession and as directed by David Frankel that spirit is infectious and entertaining.

Jack Black is the heart of The Big Year as Brad. Black provides the voiceover for the film and his sensitivity, humor and passion are as surprising as they are terrifically low-key; it's Jack Black dialed down to a regular human speed and it works.

The Surprising Chemistry of Jack Black and Steve Martin

Jack Black and Steve Martin have surprisingly great chemistry as these two very different men who have only one thing in common, but one really great thing. Martin also sparks wonderfully with his onscreen wife JoBeth Williams, adding another terrifically human level to this well-grounded comedy.

Owen Wilson has the most complex role in The Big Year. Kenny Bostick's passion is less justifiable and closer to madness than is anyone else's. Kenny, we are told, already cost himself one marriage in his pursuit of a Big Year and looks to be on the verge of losing a second.

Owen Wilson The Greatest Birder in the World

Yet, even as his marriage to a woman he clearly cares about, Kenny cannot let go of what he believes will be his legacy. Rosamund Pike is excellent as Kenny's wife, a reasonable and sensitive woman who is a great deal more patient than any one should have to be until she can be patient no longer.

David Frankel is an exceptional mainstream auteur. Frankel tells very mainstream, easily accessible stories that could, in the hands of lesser directors, become wacky and over the top. Under his guidance however, stories like Marley & Me and The Big Year, become sensitive, smart human stories that mine humor from universality and truth.

A Shortcut Here and There

Of course, The Big Year has to take a few shortcuts to get where it's going. A few scenes have an air of convenience to them but that's only because the scenes were required to keep The Big Year from being three to four hours in length.

At the very least, Frankel's shorthand dialogue is neither insulting nor simpleminded. Rather, it's purposeful, well directed and exists only long enough to serve its purpose. A good example is a scene between Owen Wilson and Steve Martin.

The Honor System

There are rumors among the birding community that Kenny Bostick may have cheated to get to his Big Year, abusing the honor system on which the whole of the Big Year concept is based. Thankfully, Stu witnesses Bostick in a moment when Bostick doesn't know he is there earnestly seeking to see a particular bird that he has heard and could technically claim as he has recognized its call.

The moment is convenient for Stu's presence to witness it but the scene is necessary as it establishes Kenny Bostick as an honest man who takes his birding seriously; a point that only makes his home life compromises more poignant and sad.

An Unexpected and Welcome Surprise

The Big Year made me smile repeatedly all the way to the end and sent me home with a giant grin as well. This is a wonderful little human comedy populated by wonderful characters whose crazy adventure is inspiring, invigorating and at times both moving and funny.

The Big Year is the most unexpected and welcome surprise of 2011.

Movie Review: Cars 2

Cars 2 (2011) 

Directed by John Lasseter 

Written by Ben Queen

Starring Larry the Cable Guy, Owen Wilson, Michael Caine, Emily Mortimer

Release Date June 24th, 2011 

Published June 24th, 2011 

Tow Mater (Larry the Cable Guy) cannot wait for his pal Lightning McQueen (Owen Wilson) to return to their hometown, Radiator Springs. Mater has a whole summer of fun activities for the best friends to play with. However, when Lightning gets talked into entering a special series of global races their plans will be put on hold while they make new plans to travel the globe.

Leaving Radiator Springs for the first time leaves Mater in awe while his typical antics; those that might be charming back home, cause embarrassment for Lightning in front of his fellow race cars. Eventually, however the fish out of water plot is jettisoned for the real plot, a spy story ala Hitchcock, in which the innocent Mater is mistaken for an American super-spy by a pair of British spies, Finn MacMissile (Michael Caine) and Holly Shiftwell (Emily Mortimer).

Mater, Tow Mater

According to the Brits some super-villain is trying to destroy the market for a new kind of alternative fuel that's being used in Lightning's race and to do so the bad guys are targeting the race cars. It will be up to Mater and the Brit spy cars to stop them.

Under normal circumstances, outside of the world of "Cars," I am no fan of Larry the Cable Guy; I find his redneck shtick grating. However, in the role of Mater, Larry is truly amazing. Larry finds a note in Mater's voice that is pitched perfect. Earnest and honest, hopeful and well meaning and when he's injured, Mater's voice takes on a childlike innocence that is honestly poignant.

That's Funny Right There

Oh, and Mater's pretty funny too. A scene in the men's room of the Tokyo race course that could have been a disastrous bit of bathroom humor becomes honestly, outrageously funny for the clever responses of Larry/Mater to the odd, shall we say, 'customs' of this particularly foreign bathroom.

Is "Cars 2" as good as the original "Cars?" No, the sequel lacks the grace notes of the original, mostly due to the lack of Paul Newman's authoritative voice as Doc Hudson. That said, "Cars 2" has its charms thanks to Mater and a really fun spy homage that runs the gamut from Austin Powers to Hitchcock (mistaken identity, a Hitch staple) to, of course, James Bond.

Too Many 'Car' Chases?

The plot lacks depth but it makes up for it by being exciting, if a tad repetitive. It sounds ridiculous to say that "Cars 2" has a few to many car chases but it actually does overdo it a bit on the number of times cars chase after each other through the foreign streets of Tokyo, Rome and London.

"Cars 2" may not rank among Pixar's finest, and it surely doesn't have the polish of the original, but it finds enough fun and adventure for me to recommend it for all audiences. Kids will love it and mom and dad won't be bored. By the way, be sure to show up on time at the theater; "Cars 2" is preceded by a "Toy Story" short film called "Hawaiian Vacation" that is rolling in the aisles funny. The "Toy Story" gang alone would be worth the price of a ticket to see "Cars 2," even at the 3D prices.

Movie Review How Do You Know?

How Do You Know? (2010) 

Directed by James L. Brooks

Written by James L. Brooks 

Starring Paul Rudd, Reese Witherspoon, Owen Wilson, JackNicholson

Release Date December 17th, 2010 

Published December 17th, 2010

George (Paul Rudd) is an honest guy, he prides himself on that; too bad for George that his father Charles (Jack Nicholson) is not an honest guy. Worse yet for George, his dad is also his boss and his dishonesty now has George facing the prospect of a healthy prison stay. The how and the why are not well spelled out but we do know George is very likely to be indicted soon.

Lisa (Reese Witherspoon has just gotten some bad news of her own. She's just been cut from the US Women's Softball team and now must enter the real world of jobs and other such things. Cushioning the blow is a frivolous relationship with Matty (Owen Wilson) a multi-millionaire major league ballplayer with monogamy issues. Sure, Matty is no good cheat but he is sweet and surprisingly honest about his proclivities.

These two downtrodden people, George and Lisa stumble over one another amidst the chaos of their lives and after an awful sort of date, she's seeing Matty still, they seem to part ways for good. Ah but this being a romantic comedy we know a chance encounter will reunite them and when that chance comes indeed the romance begins.

Where is all of this going you might wonder, I know I did. Well, keep wondering; veteran writer-director James L. Brooks has a lot of ideas going into the romantic comedy “How Do You Know” but not much of an idea where any of it should go. We know he likes these characters and he and this terrific cast are good at getting us to like these characters but there really isn’t much beyond that likeability.

The trouble comes with Nicholson and Wilson's supporting characters. Both are more colorful and humorous than the two leads. They are the one's driving the story for the two leads who seem only to react to what they do instead of reacting to each other. It's not that Rudd and Witherspoon lack chemistry, they are cute together, rather it's that they aren't as interesting as Nicholson and Wilson who have more to play with in the colorful 'bad guy' roles.

Bad guys are a stretch, they are merely less restrained by the morality of right and wrong. They are roguish and their willingness to ignore the rules is more interesting than Rudd's scrupulous good guy and Witherspoon's needy mess. Unfortunately, even as they are more interesting they also lack emotional heft because their bad deeds are portrayed as charming and carry no real stakes.

”How Do You Know” could use some stakes. There seems to be nothing really on the line for these characters. Sure, George could be going to jail but it never really seems likely that will happen. The payoff of George’s possible indictment is handled in a most unbelievable fashion but it does lead to one of Jack Nicholson’s biggest laughs ever, one he earns with just a flicker of his face.

It’s not that “How Do You Know” is a bad movie, the actor’s involved are far too enjoyable for this to be a bad movie. It’s just that it’s not a very good movie. The story carries no stakes and the narrative is flabby, carrying a lot of unnecessary supporting players who, though almost as charming as the leads, add little to the story. Katherine Hahn is wonderful as Rudd’s assistant/best friend and Mark Linn Baker is funny in an odd way as one of Nicholson’s cronies but the film pauses to give both time that could have been better spent tightening up the main story.

My guess is James L. Brooks fell in love with a lot of the superfluous laughs these characters earn in “How Do You Know” and lost track of the fact that the overall story was weak. Sure, he finds the laughs, he finds the heartfelt moments but they are all just pieces that fail to create a complete puzzle.

I can recommend “How Do You Know” for the less discerning fans of romantic comedies and of these charming actors but you have to keep the expectations low. “How Do You Know” is not as sharp as James L. Brooks’ “Broadcast News” or as endearing as “As Good As It Gets” but it has a number of strong moments, a few big laughs and a cast filled with charmers.

I wanted more from “How Do You Know,” a more satisfying emotional payoff would have been nice, but on deftness alone it gets by for a partial recommendation.

Movie Review: Drillbit Taylor

Drillbit Taylor (2008) 

Directed by Steven Brill

Written by Seth Rogen

Starring Owen Wilson, Leslie Mann, Danny McBride 

Release Date March 21st, 2008

Published March 21st, 2008

There are three different movies going amidst the chaos of the new comedy Drillbit Taylor. One is a retreaming of producer Judd Apatow and his writer pal Seth Rogan and their style of raunchy, genital based humor. Another is an Owen Wilson movie starring Wilson in his usual charming rogue comic persona. The last is the most distasterous, an Adam Sandler movie. Stephen Brill, Adam Sandler’s pal and director of Little Nicky and Mr. Deeds, attempts to force the disparate work of Apatow/Rogan, Owen Wilson and Brill’s brand of the Sandler schtick, sans Sandler, into Drillbit Taylor and the result is utterly brutal.

Owen Wilson stars as the title character in Drillbit Taylor, a homeless criminal who accepts a position as a bodyguard for three nerdy High School freshman being bullied by a nasty senior. Nate Hartley, Troy Gentile and David Dorfman play the desperate nerds Wade, Ryan and Emmit who need protection from Filkins (Alex Frost) who has decided to make their lives hell. Offering their whole allowances week after week in exchange protection, the best bodyguard they could afford is Drillbit who claims to be an ex-military ranger and hides his homelessness.

Initially, Drillbit just wants to rob the boys and sets about stealing their stuff under the guise of helping them. Eventually however, after seeing the boys get brutalized, he decides to train them to take care of themselves. His methods are a joke but damned if they don’t give the boys the confidence to stand up to Frost leading to an inevitable final confrontation.

As often is the case my description brings order to a plot where little order exists. Drillbit Taylor stops and starts and sputters through nearly two hours of unfunny violence and cruelty. The script by Seth Rogan and Kristofer Brown plays as if half finished, filled as it is with cliches like the clueless parents and uncaring teachers, just the kinds of characters Rogan and his co-writer pal Evan Goldberg avoided like the plague in his brilliant script for Superbad. Writing with another Apatow protege Kristofer Brown, with an alleged touch up by the legendary John Hughes, the script for Drillbit Taylor features strongly sympathetic kid characters who unfortunately are transported to the Adam Sandler movie world and are repeatedly abused until we just can’t watch, let alone laugh.

Stephen Brill’s direction has the subtlety and grace of an elephant on a frozen lake bed. Scenes slam into and bang off one another in a nearly random order early on as our heroes are kept from meeting Drillbit till the beginning of the films second act. More diversions keep Drillbit out of the school, where Wilson’s charming con man thrives ever so briefly as he romances Leslie Mann’s clueless teacher, until the third act. The third act which then takes forever to play out to a stunningly violent tet still predictable conclusion. .

What director Brill thinks is funny about the abuse he puts these poor kids through is an absolute puzzle. The film lingers on scenes of violence so ugly and scarring that that the movie loses touch with any sort of reality. Drillbit Taylor becomes merely a blunt instrument attempting to bludgeon audiences into submission. Meanwhile, as Steve Brill tries to bend Rogan and Brown’s characters and Wilson’s act to fit his Sandler movie mold it is as if Brill were bullying them into his movie.

Oddly enough dear reader, if Drillbit Taylor had starred Adam Sandler and not Owen Wilson, it might actually have come out better. Wilson simply isn’t cut out to play Drillbit who is called on to be a rude, uncaring, brute who learns to care. Wilson is better suited to playing con men with a heart of gold who can only be redeemed by a good woman as he was in Wedding Crashers or The Big Bounce (not a great movie, but not bad either). No, Drillbit is perfectly suited to Sandler’s manchild, raging id persona who can be believable as an uncaring jerk, as a brutish enforcer and as the teddy bear who learned a valuable lesson.

That is likely due to the direction of Brill who has only really known how to direct Sandler. He was at a loss trying to find a Sandler-esque character in the dismal 2005 comedy Without A Paddle and he is further at a loss in trying to turn Drillbit Taylor into a Sandler movie without Sandler. What you get when he attempts to bend Rogan, Apatow and Wilson to his will is a trainwreck of slapstick violence, low key deadpan and genital based character humor. Oh what an ugly wreck it is.

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 Little Fockers

Little Fockers (2010) 

Directed by Paul Weitz

Written by John Hamburg, Larry Stuckey

Starring Ben Stiller, Robert De Niro, Blythe Danner, Dustin Hoffman, Barbra Streisand, Owen Wilson, Teri Polo

Release Date December 22nd, 2010 

Published December 23rd, 2010 

What a difference a good director makes. Director Jay Roach took the thin concept of a man meeting his girlfriend's parents for the first time and mined it for bigger laughs than were likely in the script. Stretching that thin concept for a sequel about meeting the boyfriend's parents, Roach again found laughs that other directors might not have found.

Unfortunately, for fans of “Meet the Parents” and “Meet the Fockers,” Jay Roach could see that the premise was played out and while producers pushed for “Little Fockers,” aka ‘Meet the Kids,’ the one director who might have been able to find the funny in this idea dropped out. Picking up the scraps is director Paul Weitz (American Pie) who, though not untalented, fails in every way to find something funny in vomit, booger and erectile dysfunction jokes.

When last we left the Byrnes Family Circle of Trust Gaylord 'Greg' Focker (Ben Stiller) had married Pam Byrnes and the two were expecting a child. Well, it turns out they were expecting twins and five years later, Grandpa Jack (Robert De Niro), Grandma Dina (Blythe Danner) and Focker grandparents Bernie (Dustin Hoffman) and Roz (Barbra Streisand) are coming to Chicago for a birthday party.

Meanwhile, at work Greg has been promoted to head of nursing, a gig that comes with the added bonus of a sexy drug rep named Andi (Jessica Alba) who wants to pay Greg big bucks to be a paid medical spokesman for a new erectile dysfunction drug. Andi, last name Garcia, yes that joke gets old real fast, also has a huge crush on Greg that plays out with humiliating complications and misunderstandings.

Also back for this third outing is Kevin (Owen Wilson), Pam's ex who still carries a torch for her as evidenced by a tattoo on his lower back that is one of the few gags that actually plays to big laughs in “Little Fockers.” And speaking of Little Fockers, this movie is supposed to be about the newest additions to the Focker clan. Sadly, the twins played by Daisy Tahan and Colin Baiocchi are poorly used characters who don't really become part of the action.

The Little Fockers are merely set pieces in Paul Weitz's poorly conceived plot which is  just a series of tasteless jokes and dopey misunderstandings that sometimes payoff and sometimes don't. Take Alba's drug rep for instance. One minute she is seducing Greg, in arguably the saddest moment of Jessica Alba's career, yes likely even worse than “Good Luck Chuck,” the next minute she is out of the movie with little explanation or payoff.

Two other well known actors are also marched out on screen for a moment and can consider themselves lucky to have narrowly escaped the humiliation heaped upon Ms. Alba. Harvey Keitel plays the desperately underwritten role of Greg's crooked home contractor and he plays the role solely so he and Mr. De Niro, his longtime friend and “Mean Streets” co-star can have one meaningless stare down.

Poor Laura Dern is dropped into an even less interesting and poorly fleshed out role as the head of an exclusive private school. The school is called the Little Human Academy and apparently director Paul Weitz thought that the phrase ‘Little Humans’ was funny enough that he didn't bother to include any other notable jokes for Dern, Stiller or De Niro to play in the school scenes.

Dustin Hoffman meanwhile, did not want to return for “Little Fockers.” In fact, according to sources, shooting on “Little Fockers” was five days from complete when a deal was struck for the Oscar winner to reprise his role as Bernie Focker with re-shoots needed to shoehorn Bernie into the story with embarrassing results for the poor editing team tasked with forcing Hoffman into the movie.

Embarrassing is the operative word for all of “Little Fockers” even stars Ben Stiller and Robert De Niro. Though they remain a terrific comic team with a strong instinct for each other's brand of comedy, Stiller and De Niro aren't given much good to play and thus fall back, often as possible, on the things they've done before in a fit of desperate recycling.

The few new gags the duo is given are just unfortunate, especially the erectile dysfunction bit that producers thought was hilarious enough to include in ads for the film and thus destroyed as a gag in the film. 

Little Fockers is a disaster and should have been aborted the moment Jay Roach turned down the chance to direct. Stiller and De Niro are the faces of this franchise but the talent was clearly Mr. Roach without whom everything falls to pieces. Without Roach's guiding hand “Little Fockers” plays as a series of lowbrow gags instead of being what the first two movies were, family stories that happened to include a number of lowbrow gags.

Movie Review Inherent Vice

Inherent Vice (2014) 

Directed by Paul Thomas Anderson

Written by Paul Thomas Anderson

Starring Joaquin Phoenix, Josh Brolin, Katherine Waterston, Owen Wilson, Reese Witherspoon, Benicio Del Toro, Martin Short, Jena Malone

Release Date December 12th, 2014

Published December 10th, 2014 

Professor Matthew Strecher defines magic realism as "what happens when a highly detailed, realistic setting is invaded by something too strange to believe." In the case of the movie "Inherent Vice '' Doc Sportello (Joaquin Phoenix) is that thing that is too strange to believe. Doc is a doped up Los Angeles Private Detective who stumbles on a massive government conspiracy involving drugs, the feds, the Justice Department, the mob, black power and white supremacists and all of it tied to his ex-ol lady Shasta Fay (Katherine Waterston). 

Putting together the pieces at the center of the conspiracy in "Inherent Vice" is like listening to a stoner tell you his theory about the Kennedy Assassination, it sounds completely plausible but the story teller is a tad unreliable. The conspiracy in "Inherent Vice" breaks down like this: the government works with drug dealers who introduce dope into the hippie communities of Los Angeles, get them hooked and then use government subsidies to build facilities to help clean up dopers who want to get clean, all the while brainwashing the soon to be former hippies to send them back to society as upstanding citizens. 

The term vertical integration gets dropped more than once in "Inherent Vice" and it refers to a rather devilishly ingenious bit of business. Think of a sugar company that also sells toothpaste, or what if the tobacco companies began opening cancer treatment centers. Here, drug dealers run rehab clinics that are a government front for converting hippies from drug addicts back to upstanding citizens. It sounds rather outlandish but as posited by director Paul Thomas Anderson, based on the novel by Thomas Pynchon, it plays out in a way that's quite believable as something that may have in fact taken place in 1970. 

The last person anyone would believe could uncover such a massive conspiracy is Doc Sportello. He is the perfect catalyst for this story because he simply doesn't seem like he could function on a daily basis, as high as he is, and yet he's quite competent and even insightful in uncovering what he seems to uncover. And yet he's not the most reliable witness as he literally has a magical voice in his head, Sortilege (Joanna Newsom)-her name is literally Latin for 'Magic'- who acts as our narrator and the curator of Doc's memories which slowly, hazily begin to form this conspiracy into a believable, even logical form. 

If you met Doc and he attempted to tell you this story about the government, drug dealers, the mob. white supremacists and black power, you would never for a moment believe him and that's kind of the point. The plot, the conspiracy, it's all very believable but Doc isn't. Doc invades this conspiracy, invents it before our eyes simply by witnessing it and yet we can't really believe much of any of it because Doc is the one telling the story. That's a remarkably devilish narrative trick and one Paul Thomas Anderson pulls off with great style and panache. 

The setting for the conspiracy is very real but that Doc Sportello, of all people, would be the one to uncover it is simply too impossible to believe. No matter how many times Doc turns out to be right about something we're still talking about a guy who's been stoned for years and has a magic voice in his head. How wonderful it is for this conspiracy to pulse with such life and then have a character like Doc, our hero, be the one who compromises its very truthfulness. In another movie this would be played as tragedy as an innocent character becomes disillusioned by events out of his control. 

Doc is far too gone to be disillusioned, the moment he finds a piece of the conspiracy that he can chalk up as a win and walk away, he takes it. That minor victory comes in the form of Coy Harlingen (Owen Wilson), a former doper who was being used by the government to turn up hippies to be reformed in dope clinics run by drug dealers. Rescuing Coy is the one thing Doc manages to accomplish in the film and for him that will be enough of a happy ending. Doc, you see, is as aware as everyone else that he's neither reliable nor believable enough to tell this story and have anyone believe it. 

Did you know that 'Inherent Vice' is an insurance industry term that refers to a hidden defect in a physical object that causes it to deteriorate because of the fundamental instability of its components? That's a pretty great description of who Doc is to us, the audience for his story. Doc, because of his years of drug use, is fundamentally an unstable and thus unreliable narrator of events. Sure, the story is sound, even logical, but because it's Doc telling the story we can't help but be skeptical. 

That's part of the genius of the movie, we love Doc and we're wildly entertained by his journey but we don't take any of it very seriously because it's Doc. Paul Thomas Anderson thus gets to lampoon early 70's corruption without the hassle of an actual target for rage or disillusionment. We get all of the fun of being a cynic while also being stoned out of our heads enough not to get down about it. 

Movie Review: You Me and Dupree

You Me and Dupree (2006) 

Directed by Joe and Anthony Russo

Written by Michael Lesieur

Starring Owen Wilson, Matt Dillon Kate Hudson, Michael Douglas, Seth Rogen, Bill Hader

Release Date July 14th, 2006 

Published July 16th, 2006 

Owen Wilson's career is coming to a serious crossroads. The star of Wedding Crashers and charter member of Hollywood's so called frat pack, with his pals Ben Stiller, Vince Vaughn and Will Ferrell; is reaching a tipping point with his good natured slacker persona. How much longer can Wilson continue to play the same relaxed slacker charmer and remain in the good graces of audiences? 

How much longer can Wilson play a variation on the laid back musing hippy that has made him a star. His latest effort, You, Me and Dupree co-starring Matt Dillon and Kate Hudson, gives us a glimpse of Wilson's coming crossroads crisis. Exhibiting the very limits of his appeal, Dupree is typical of the dazed and confused good natured stoner that Wilson has made his bread and butter, he is also however an example of how that laid back stoner can be as irksome as he is charming.

As we join the story of You, Me and Dupree, Carl (Matt Dillon) is in Hawaii preparing to marry his fiancee Molly when his best friend and best man Dupree turns up on the wrong island and needs to be flown in. Dupree has always been a drifting, lazy, slacker but his friends, Carl and Neil (Seth Rogan) have always loved him.

Now that Carl is getting married the whole dynamic of their friendship is changing. Faced with having to watch his friend really grow up, at 36 years old, Dupree finds himself once again in arrested development. Having been fired from his job for attending Carl's wedding without bothering to get time off from work, Dupree is homeless and sleeping on a cot in a bar.

Seeing Dupree's dire straits Carl, fresh from his honeymoon, invites Dupree to sleep on his couch for a few days much to the chagrin of Molly. Naturally, hi-junks ensue as Dupree makes his mark on his new territory. He floods the downstairs bathroom, eats all of the food and eventually nearly burns the house down while sharing intimate relations with a friend of Molly's.

All of Dupree's actions and his completely oblivious attitude make for one truly irritating character. And then the film takes a giant mid-point turn that those of you who are really sensitive to spoilers might want to skip until you have seen the film........

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After all of the horrible things that Dupree does the filmmakers Anthony and Joe Russo decide to try and turn Dupree into the good guy of the movie. It's really rather astonishing. To the half way point you are with Kate Hudson' Molly in wanting to strangle Dupree but then the movie tries to turn him into this slacker with a heart of gold with a philosophy that heals all and suddenly even Molly is on his side while Matt Dillon's Carl turns into the worst variation of a Ben Stiller Jovian afflicted fool. This may work for those in the audience willing to love Owen Wilson no matter what but if you aren't buying Wilson's usual charm as I wasn't the mid-point twist is nearly as irritating as Dupree himself.

The film is pretty well downhill from this point. Michael Douglas joins the fray as Molly's doting dad who happens to hate Carl. This plot line leads into one of my biggest movie pet peeves. The troubles of Carl could be solved completely with one open honest conversation but if he were to do the logical thing and have this conversation there would be no movie. Thus the plot requires Carl to be a fool. This further undermines Dillon who was already stuck with a role it is clear Ben Stiller turned down.

I cannot say that You, Me And Dupree is completely devoid of laughs. With a cast this talented and lovable laughs are going to come no matter how poor the plot or direction. Owen Wilson occasionally emerges from the Dupree character with this wonderful hangdog expression reminiscent of a loving puppy that messed on the floor but doesn't truly realize he's done anything wrong. It's undeniably charming and at times funny.

Kate Hudson is really spot on throughout. Had not the script and direction let her down at every turn her winning smile and ability to adapt to any comic situation could have turned the whole film around. Its unfortunate that she accepted a role in which her character subservient to the whims of her male counterparts. Though she is clearly the equal of her co-stars in terms of star power, the plot relegates her to a dull supporting role that she seems far to big for.

Matt Dillon never should have accepted this role. I'm sure the idea, which came from two of the minds behind TV's brilliant Arrested Development, seemed like a potentially fun idea but he had to have seen the writing on the wall that this was a role meant for the slow boil, comedy of humiliation that is the specialty of Ben Stiller. Dillon is never comfortable in this role which is neither deep enough for his terrific instinctual acting or loose enough for the kind of wild streak that he showed in There's Something About Mary.

In the end You, Me and Dupree turns on the likability and adaptability of Owen Wilson. Sadly he is not up to the task. Dupree exposes the limitations of Wilson as an actor and a persona. Dupree evokes the idea of a stand up comedy routine rather than a fully fleshed out film character. The Owen Wilson persona established in Wedding Crashers, Starsky and Hutch and Zoolander, keeps peeking out from behind the character to wink at the audience and undermine Dupree as a character. You are essentially watching Owen Wilson try out the material of a Dupree character rather than watching a real character develop.

The one word that kept popping into my head throughout You, Me and Dupree was irritating. Dupree as a character and as played by Owen Wilson is irritating. Kate Hudson forced to dial down her star wattage is irritating. Matt Dillon shoehorned into a Ben Stiller character is irritating. The toneless, rhythmless direction of Anthony and Joe Russo is irritating. And at 2 hours in length Me, You And Dupree like it's central houseguest from hell overstays it's welcome and that is truly irritating.

Movie Review: Cars

Cars (2006) 

Directed by John Lasseter

Written Dan Fogelman, Joe Ranft, Jorgen Klubien

Starring Owen Wilson, Larry the Cable Guy, Michael Keaton, John Ratzenberger, Paul Newman, Bonnie Hunt, George Carlin

Release Date June 9th, 2006 

Published June 8th, 2006 

The vanguard of computer animation is Pixar. No company, not Dreamworks (Shrek, Madagascar), not Universal (Ice Age 1 & 2), not even corporate partner Disney can compete with the level of artistry and commerce that comes out of Steve Jobs extraordinary company. The list of Pixar triumphs reads like the hall of fame of the genre from the Toy Story films to Monsters Inc. to Finding Nemo to The Incredibles.

The latest effort from Pixar, the animated automobile adventure Cars, may not be the triumph that past Pixar films are but by the standards of the genre it far outpaces anything any other company has released.

Cars stars the voice of Owen Wilson as Lightning McQueen a rookie on the Piston Cup racing tour. Lightning is poised to become the first rookie racer ever to win the Piston Cup championship. Unfortunately, his arrogance selfishness has driven away his closest friends and teammates and nearly cost him the biggest race of his career.

Now forced into a single race challenge against the legendary 'King of racing, voiced by real life legend Richard Petty, and the nasty Chick Hicks (Michael Keaton) -the only racer more arrogant than lightning himself- Lightning must find his way to California and fend for himself in the race of his life.

Getting to the California speedway however turns out to be Lightning's biggest problem. When his 18 wheeler pal Mack (John Ratzenberger) falls asleep on the road, he accidentally lets Lightning fall out of the back of the truck and leaves him along a lonely stretch of road called Route 66. Lost in the middle of the night with no headlights, just stickers, Lightning winds up in the small town of Radiator Springs and in even deeper trouble.

Radiator Springs used to be a big deal back in the sixties, before the highway cut it out of the main artery of America. Now the lonely stretch of route 66 sits in decay awaiting the day when a tourist will remember it's there. Among the small town denizens waiting for customers for their road side attractions are Mater the tow truck (Larry The Cable Guy), Sarge (Michael Dooley) a military vehicle, Luigi (Tony Shalhoub) owner of the tire store and  Filmore (George Carlin) a hippy bus selling organic fuel.

When Lightning accidentally tears up mainstreet on his way to California the small town judge, Doc Hudson (Paul Newman), at the behest of the town's only lawyer, Sally (Bonnie Hunt), forces Lightning to repave main street before he can leave for his race.

If you think that the small towners will teach Lightning valuable lessons about humility, friendship, family and teamwork.. well.. your not wrong. Yes, the story is relatively predictable and old fashioned in the vein of very typical kids movie conventions and formulas. However, it is important to note that formulas are not inherently evil. It is how a typical plot formula is employed that makes or breaks a formula film.

Cars works because directors Joe Lasseter and Joe Ranft take this formula concept and improve upon it by delivering great characters and funny dialogue. The humor is warm and a little more gentle than the usual Pixar fare. It lacks that sly, intellectual edge of most Pixar films but it is not dull. Don't be mistaken, Pixar's usual pop culture riffs and self referential humor is in good supply it's just somehow a little quieter here than in the past.

What has not changed is the quality of Pixar's extraordinary animation. The pioneers in this field, Pixar continues breaking down the barriers of what can be done with computer animation. The films opening scene is a mindblowing series of race scenes that look beyond real until you get closeup and see the anthropomorphized race cars with soft human features, bumpers for mouths, eyes in the windshield et al.

The Cars of the title are so well animated that they take on truly human personas. You obviously never forget they are automobiles but at a certain point you stop pondering the mechanics of humanistic vehicles and just laugh along with the compelling characters.

Look at the details of the Hudson Hornet voiced by Paul Newman. Watch closely for the ways this stately vehicle evokes the real life Paul Newman in the animated eyes and lips. What an awesome piece of work this is.

It pains me to admit this but it's the truth..... Larry The Cable steals nearly the whole picture. The terribly unfunny redneck comic who has already delivered arguably the years worst film, Larry The Cable Guy Health Inspector, somehow morphs into a lovable, cuddly, teddy bear of a character in Cars. His voice slightly elevated and the rough edges of his persona worn down to a fine rust colored sheen, Larry The Cable Guy delivers the films most entertaining performance.

All of the voice actors are strong but it is Larry as the rust bucket tow truck Mater -get it tow-mater- who truly steals the film. Mater's sweet clueless demeanor and undying optimism are so winning that you nearly forget Larry's vile real life persona. Credit writer-director John Lasseter who knew just how to draw the right performance out of the non-actor while letting him be just enough of himself to be comfortable. You didn't think they would let the movie end without Larry's catchphrases did you.

Be sure to stick around during the credits for what may be Pixar's finest self referential moment. John Ratzneberger, the only actor to play a role in every Pixar feature, as Mack Truck visits the radiator springs drive in for a take on how Pixar would exist in the Cars universe. Very funny stuff.

Cars is not the creative home run that Finding Nemo and The Incredibles were but it is certainly lives up to the standards of the Pixar brand. And, of course, when compared to genre competitors it's absolutely no contest, Cars leaves'em in the dust.

Movie Review: The Royal Tenenbaums

Rushmore (2001) 

Directed by Wes Anderson

Written by Wes Anderson

Starring Gene Hackman, Ben Stiller, Luke Wilson, Gwyneth Paltrow, Anjelica Huston, Bill Murray, Danny Glover, Owen Wilson

Release Date December 14th, 2001 

Published December 24th, 2001 

In Rushmore, Wes Anderson took two very unique characters and used them to establish an unusual comic tone of irony and pathos that, for all it's quirks, seemed grounded in a weird sort of realty. In The Royal Tenenbaums, he applies that same unusual tone to an awesome ensemble cast to an even greater effect.

The Royal Tenenbaums is the story of a family of geniuses and the father who was the catalyst for their self destruction. Gene Hackman plays the father, the aptly named Royal Tenenbaum, a disgraced and disbarred lawyer whose luck and money have run out, and who now seeks to reconcile with the family he destroyed years earlier; not out of any emotional need for forgiveness, but rather because he just needs a place to crash.

Angelica Huston is Royal's soon-to-be-ex-wife, Etheline, a genius in her own right who is about to marry a man named Henry, played by Danny Glover. Luke Wilson is Richie Tenenbaum, a tennis prodigy washed up after a breakdown in the middle of a major match. Gwyneth Paltrow is Margot Tenenbaum (whom Royal makes a point of noting is adopted,) a genius playwright who wrote her first play at age 11 and has written nothing since. Ben Stiller is Chas, a widower who was a financial whiz at age 9, whose resentment of Royal is just one of the family's many dysfunctional aspects.

Bill Murray and Owen Wilson round out the cast in truly funny supporting roles. The whole cast is sensational, and though Stiller seems a little off key at times, everyone maintains this wondrous magical tone that makes the movie hum; never too loud, never too soft. Combine that brilliant tone with Mark Mothersbaugh's inspired score and the soundtrack of 60's tunes like the Beatles' "Hey Jude," and you have what amounts to a comedic symphony. The New York setting is as strange and wonderful as the rest of the film and when combined with the soundtrack give the film a feeling of timelessness. 

I don't know if there is a director I have higher hopes for than I do for Wes Anderson. I cannot wait to see what he does next. 

Movie Review: The Big Bounce

The Big Bounce (2004) 

Directed by George Armitage 

Written by Sebastian Guttierez 

Starring Owen Wilson, Sara Foster, Charlie Sheen, Gary Sinise, Vinnie Jones, Morgan Freeman 

Release Date January 30th, 2004

Published February 3rd, 2004 

The books of Elmore Leonard have been adapted for the screen more than John Grisham’s have and almost as often as Stephen King’s have. And like Grisham and King’s adaptations, they are extremely hit and miss. When they're good, like Out Of Sight, Jackie Brown, or Get Shorty, they are very good. When they are bad they are very bad like 1997's Touch starring Skeet Ulrich. Or bad like the first time Leonard's novel The Big Bounce was brought to the screen in 1969--a humorless, dull caper flick with Ryan O'Neal and Leigh Taylor Young. The latest adaptation of The Big Bounce at least brings a little light humor to its throwaway caper plot, but it is just as inconsequential as the original and yet another letdown of it's source material.

The Big Bounce stars Owen Wilson as small time criminal Jack Ryan, a con man looking to lay low on the big island of Hawaii. Unfortunately, Jack is the type who can't avoid trouble and while working a construction gig, he can't help but draw the ire of his bosses, evil land developers played by Gary Sinise, Charlie Sheen and Vinnie Jones. Jack's one friend, Frank (Gregory Sporleder), isn't much help either, encouraging Jack to get back into the breaking and entering racket to help Frank pay off his numerous debts.

Then Jack meets real trouble in the form of his former boss's mistress Nancy (Sara Foster), a sun-baked surf goddess with a penchant for those unfortunate criminal types like Jack. Nancy is working an angle to steal money from Sinise's evil land developer and enlists Jack to help her pull it off. This begins a fun little romance plot with the very sexy Foster getting Wilson's surfer dude con-man into all sorts of trouble. All of which leads to a major twist involving a local judge played by Morgan Freeman and Sinise's drunkard wife played by Bebe Neuwirth.

In the Elmore Leonard universe of hip lingo and languid humor, The Big Bounce is a fun, if forgettable little story, sexy and surprising and always cool. In the film however every bit of humor is strained for and the coolness that Leonard has always injected through dialogue and setting is replaced by Wilson's charming surfer attitude. Wilson is charming and funny but out of place. His character is so laid back and care free that there never seems to be anything at stake.

For his part Sinise would seem to be pivotal in the plot but he is merely a cameo in the film. Instead, the bad guy slack is picked up by Sheen in a role that is badly miscalculated and mind blowingly out of place. Sheen's dunderheaded character is never a threat to anyone and thus has no weight in scenes where he is seemingly the heavy. His character's relationship with Wilson's character is confusing; are they friends? He did bail jack out of jail. They fight, but why they are fighting and why does nothing of consequence happen after the fight? It all just adds to the confounding dynamic between Wilson and Sheen.

For his part, Owen Wilson is the film’s best asset. His laid back charm is fun and enjoyable but it has little context. The romance with Foster is fun and sexy, Foster is unbelievably gorgeous, but the plot is Byzantine in explaining whether they have feelings for one another or not and is noncommittal about those feelings all the way to the films unsatisfying conclusion.

On the bright side, when it's freezing cold and there is a foot of snow on the ground it is nice to escape for ninety or so minutes of fun in the sun on the beaches of Hawaii. But that is not nearly enough for me to recommend The Big Bounce. 

Movie Review Shanghai Knights

Shanghai Knights (2003) 

Directed by David Dobkin 

Written by Alfred Gough, Miles Milar 

Starring Jackie Chan, Owen Wilson, Fann Wong, Donnie Yen, Aidan Gillen 

Release Date February 7th, 2003 

Published February 7th, 2003 

I was not a fan of Shanghai Noon, the first teaming of Jackie Chan and Owen Wilson. That film was a dull amalgam of Western cliches and Chan's usual kung-fu histrionics leavened slightly by Wilson's surfer dude charm. So I must admit I wasn't looking forward to the sequel, Shanghai Knights, which transplants the Western duo from Nevada to Britain.

It's 1887 and Britain and China are attempting to avoid a war. The peace process is not helped however by the theft of China's Great Seal, which is the symbol of power in China. The man charged with the protection of the seal is killed and he happens to be the father of Chon Wang (Chan). The seal was stolen by a British aristocrat who was supposed to be heading the peace process. The bad guy is tracked to Britain by Lin Wang, Chon's sister (smokin hot Fan Wong).

After receiving word from his sister, Chon leaves his post as a Nevada Sheriff for New York City so that he can hook up with his old friend Roy O'Bannon (Wilson) to retrieve his portion of the treasure they collected in the first film. Not surprisingly, Roy has blown through the entire treasure printing a book about their first adventure that paints himself as the hero. With debtors and cops chasing him, Roy joins Chon on his trip to Britain.

Once in Britain our heroes join up with a Scotland Yard detective, whose full name is one of the film's many strained-in jokes, to find Chon's sister and track the man who stole the Great Seal. Standing in their way is not only the British villain Rathbone, but a Chinese villain Wu Yip, played by Donnie Yen. Another complication is Roy's attraction to Chon's sister, which Chon attempts to discourage but will no doubt be forced to accept.

The film of course features Chan's typical kung-fu stuff, but it seems fresher than usual here with a slightly more rehearsed feel that makes it more fluid and witty. There is a terrific sequence that takes place with Chan and some police officers in a revolving door that combines Keystone cops, Charlie Chaplin and Bruce Lee. Another sensational sequence honors silent screen superstar Harold Lloyd as Chan and Wilson hang precariously from a clock face.

Why does Shanghai Knights succeed where the first film failed? I'd say the change in location helped but also the chemistry between Wilson and Chan is the biggest improvement. In their first teaming, the two never seemed to be on the same page, with Wilson's laid back charm exposing Chan's weakness with the language. The stunts in Shanghai Knights seem fresher and better choreographed than most of Chan's recent work, especially in the dreadful Tuxedo.

Director David Dobkin infuses the film with a stronger wit and more consistent pace than the first film's helmer, who too often relied on Chan's fighting skills and forgot to make the film funny. Shanghai Knights has those typical buddy movie moments and can't help getting caught up in genre cliche but its wit and energy carries it over the rough spot and makes for an entertaining little fluff piece. A great popcorn film.

Movie Review The Darjeeling Limited

The Darjeeling Limited (2007) 

Directed by Wes Anderson 

Written by Wes Anderson 

Starring Owen Wilson, Jason Schwartzman, Adrien Brody, Angelica Huston, Natalie Portman 

Release Date October 26th, 2007 

Published October 25th, 2007 

Director Wes Anderson is spinning his wheels. Seemingly unable to make a movie with a point after the funny, insightful Rushmore and the quirky Royal Tenenbaums, Anderson's The Life Aquatic With Steve Zissou and now The Darjeeling Limited are masturbatory exercises in style and precociousness. Their saving grace is good natured humor but that doesn't make them any less shallow.

Admit it Wes fans; we were expecting something more here.

The Darjeeling Limited is the name of a fictional train route through a few small villages in India. On this train three American brothers, Francis (Owen Wilson), Peter (Adrian Brody) and Jack (Jason Schwartzman), have gathered for a spiritual journey. Peter and Jack are under the impression that Francis, the oldest of the three, has brought them together to reconnect as brothers. In reality, Francis is leading them to a remote convent where their mother (Angelica Huston) has taken up residence.

The trip to see mom is the framing device for a series of revelatory moments for each of the brothers who slowly reveal their secrets to each other and come to terms with why they haven't spent much time together since their fathers death and an incident on the day of his funeral that sent them in different directions.

Director Wes Anderson seems to be stuck in a rut. After Rushmore and The Royal Tenenbaums he seemed destined for great things. In two consecutive features since; Anderson is caught up being overly precious and even cute in the way he toys with dialogue and with visuals. Some could fairly describe him as dicking around hoping to stumble on something insightful. He rarely finds anything in The Darjeeling Limited.

Arguably the most notable aspect of The Darjeeling Limited are the disturbing real life imitates art scenes with Owen Wilson. Just before Darjeeling was leaving the station, Wilson attempted to take his own life. The same thing happens to his character in the film who survived his own attempt at suicide. It's not Wes Anderson or the film's fault that such a coincidence happened but it does cast a pall over the otherwise good natured proceedings.

The true subject of The Darjeeling Limited may be a distinct sense of ennui. These characters are bored and so is Wes Anderson. In fact, so are we in the audience. Jason Schwartzman's Jack is plagued with ennui as evidenced in the short feature, Hotel Chevalier, that precedes The Darjeeling Limited. In this brief backstory we see Jack with, presumably, his girlfriend played by Natalie Portman. The two go through the motions of familiar interaction but the sense that they bother each other in order to stave off boredom is quite clear.

Adrien Brody's Peter deals with ennui by stealing or 'borrowing' his brother's and late father's things. His boredom isn't as plagung as Jack's and is also far less interesting. On the bright side, oldest brother Francis may have dealt with his ennui by attempting suicide, so the stealing is at least somewhat healthy by comparison. It's all very European and arty to make movies about characters who are disaffected, bored and longing but often in Europe those feelings are the run up to some kind of breakthrough or revelation.

In The Darjeeling Limited we get a cheap homage to revelation. The ending features the kind of ironic distance that was very much in style in the late nineties when hipsters had an allergic reaction to anything remotely earnest. This is not to say that The Darjeeling Limited isn't well crafted and oddly fascinating. It's just, for me personally, watching an artist drown in his own self satisfying disaffection is kind of boring.

Movie Review Night at the Museum

Night at the Museum (2006) 

Directed by Shawn Levy

Written by Thomas Lennon, Robert Ben Garant 

Starring Ben Stiller, Owen Wilson, Dick Van Dyke, Steve Coogan, Carla Gugino, Robin Williams 

Release Date December 22nd, 2006 

Published December 21st, 2006 

As movie pedigrees go, Night at the Museum could not have an uglier ancestry. Directed by Shawn Levy, the man behind both The Pink Panther and Cheaper By the Dozen, and written by Thomas Lennon and Ben Garant, who despite being brilliant on TV's Reno 911 have written scripts for cinematic flotsam like Taxi, Let's Go To Prison and The Pacifier. Ugh!

It is a wonder then how they managed to net, for their latest movie Night At the Museum, some all star comedians for an all star cast. Led by Ben Stiller, the cast also includes Owen Wilson, Steve Coogan, Ricky Gervais and Robin Williams. However, even a cast as brilliant as this cannot overcome the work of the behind the scenes 'talent' at work on Night at the Museum, an aggressively aggravating work of computer generated ridiculousness and family movie clichés.

I must admit, the idea behind Night at the Museum is very clever. At night at the natural history museum in New York the exhibits come to life and wreak havoc thanks to a mummy's curse. It's up to the new night security guard Larry (Ben Stiller) to keep the chaos from spilling out into the streets of New York and keep the exhibits from perishing in the light of day.

Larry is left this task after three longtime night guards, played by legends Dick Van Dyke, Mickey Rooney and Bill Cobbs, are let go. Let's just say they are a little bitter about being let go. They are kind enough to leave Larry an instruction manual but when Larry gets cocky, thinking he knows how to handle this situation, things go from weird to worse.

Larry would not have taken this job but his ex-wife Erica (Kim Raver) threatened to take away his son Nick (Jake Cherry) if he didn't find a steady job and place to live. No points for guessing that Nick will get in on the museum madness. You also get no points for guessing that the pretty museum tour guide, played by Spy Kids star Carla Gugino, will become Larry's love interest.

The best part of Night at the Museum is Robin Williams as President Teddy Roosevelt. Coming to life nightly to ride his horse throughout the museum, Williams' Mr. President is the most helpful of the museum exhibits and of course when it comes to delivering the moral of the story who better than a former President. Of course, Williams can't help but ham it up a little, but you expect that from Robin Williams.

Ben Stiller seems at a loss to keep up with the goofy CGI madness of Night at the Museum. Rushed through the exposition, his character is essentially a deadbeat who nearly loses his kid because he's so lazy. Not exactly a winning character. Once inside the museum, Stiller's Larry vacillates from coward to cocky but mostly just runs around confused and angry.

Director Shawn Levy and writers Garant and Lennon hit all of the typical family movie beats, a lesson learned, bathroom humor and a monkey. They also toss in a couple action movie clichés for good measure including a chase scene involving an ancient stagecoach and a miniature SUV. Trust me, my description reads far more interesting than the actual scene.

With comic talent like Stiller, Williams, Wilson et al, it would seem impossible for the film to completely fail and I guess it doesn't fail completely. Stiller can't help but wring a few laughs out of a character who's only characteristic is frustration. Frustration is Stiller's milieu. Owen Wilson and Steve Coogan have a good banter but their parts are tiny, literally and figuratively.

Ricky Gervais really gets short shrift. Why hire one of England's premiere comic talents for a role that doesn't give him any room to breathe. As the crusty museum curator, Gervais has no jokes in the movie, he is simply in place to punish Stiller's Larry and then disappear. It's as if he was hired just to make the film more profitable in England where having his name on the poster might sell a few tickets.

I honestly wonder if comedians like Ben Stiller and Robin Williams accept parts in movies like Night at the Museum in some kind of Hollywood style community service program. Studio heads put it out there that if stars will work on family movie garbage like Night at the Museum then they will get the chance to work on projects the stars really want to make. Can there be any other explanation as to why talented people make such terrible films, often in this basest of genres?

I cannot deny that at the screening I attended the target audience for Night at the Museum laughed loudly and often. Little children will, sadly, find a lot they enjoy about Night at the Museum which manages to find a number of lowest common denominator moments just for the kids. For my money however, I can't imagine why, with a satisfying, smart and genuinely touching family film in theaters like Charlotte's Web, why anyone would waste money on Night at the Museum.

Is it just that Night at the Museum is louder than Charlotte's Web? I'm just trying to understand.

Movie Review Hall Pass

Hall Pass (2011) 

Directed by Peter and Bobby Farrelly 

Written by Peter and Bobby Farrelly, Pete Jones, Kevn Barnett 

Starring Owen Wilson, Jason Sudeikis, Jenna Fischer, Christina Applegate, Richard Jenkins

Release Date February 25th, 2011 

Published February 24th, 2011

Peter and Bobby Farelly haven't been relevant since they rode the public's brief fascination with Jack Black in the early 2000's to a hit with “Shallow Hal.” Since then the brothers have floundered half focused on new material and half obsessed with making a movie about the Three Stooges. The Stooges movie has been gestating since the late 90's with a variety of acting combinations dropping in and out with nothing to show for it.

Finally, the guys who started the man-child comedy revolution with movies like “There's Something About Mary” are back at full strength and making the kind of movie that was their forte. “Hall Pass” is a small miracle of outrageously raunchy humor with a good heart that made ``Mary,’ “Kingpin” and “Shallow Hal” hits.

Owen Wilson stars in “Hall Pass” as Rick, an early 40's father of three happily married for more than 15 years to Maggie (Jenna Fischer). Three kids have taken the spark out of the marriage lately and more and more Maggie is catching Rick lusting after other women like a horny old teenager.

More troubled are Rick and Maggie's best friends Fred (Jason Sudeikis) and Grace (Christina Applegate). They have no kids and no spark; leaving Fred to masturbate in the front seat of their minivan lest she catch him. (If you're wondering how that bit of information pays off, see the movie.) Rick and Fred commiserate over their troubled love lives at a local coffee shop while lusting after an Aussie barista named Leigh (Nicky Whelan) whose nubile-ness represents everything they fantasize about.

After speaking to a mutual friend “The View's Joy Behar in an unshowy cameo) Maggie and Grace come up with the idea of a Hall Pass. The concept is simple, one week off from marriage to do whatever the guys want, guilt free. Either they will spend the week striking out or they will get whatever cheating they were going to do anyway out of their systems.

This is the kind of simple, straight forward set up that Ron Howard and Vince Vaughn botched in “The Dilemma.” The Farrelly Brothers demonstrate that it takes more than just the idea to make the movie; you need characters and big gags that pay off to really make it work.

Owen Wilson shows a heretofore untapped talent for playing a middle aged dork. Usually cast as the life of the party guy, Wilson slips effortlessly into the role of Rick like one in the long line of 80's rock 'n roll t-shirts Rick thinks is cool. What Rick and Fred think is cool goes a long way for laughs in “Hall Pass.”

Jason Sudeikis is a real scene stealer in “Hall Pass;” offering the same kind of randy, goofy, raunch-ridden asides that he brought to his equally funny supporting role in last year's “Going the Distance” with Drew Barrymore and Justin Long. Sudeikis plays a great douchebag but when the role calls for him to morph into a good guy you believe it fully.

The gags in “Hall Pass” range from the classically Farrelly bathroom jokes, including some truly explosive diarrhea, to more self aware stuff reflecting the ways in which guys really talk. A scene taking place in the home of a mutual friend that neither Rick or Fred really like demonstrates that guys can be as catty as women are about the people they envy, they just have a more blunt and colorful way of being catty.

”Hall Pass” is uproariously funny with big gags mixing with strong characters and in the end a believable amount of heart minus the treacle that most other, similar films pack on when they don't have the goods to really earn audience sympathies. The Farrelly Brothers haven't been this funny in over a decade. See “Hall Pass” and rejoice and who knows, maybe that Stooges movie will actually come out someday.