Movie Review Garfield

Garfield (2004) 

Directed by Peter Hewitt 

Written by Joel Cohen, Alec Sokolow

Starring Breckin Meyer, Jennifer Love Hewitt, Bill Murray, Stephen Tobolowsky 

Release Date June 11th, 2004

Published June 10th, 2004 

As a kid, I was a huge fan of Garfield the comic strip. I had all the books, made up of all of the Newspaper strips, I had the Garfield videos that aired on each holiday and I was a regular Saturday morning viewer of Garfield and Friends. However, when I heard that Garfield was coming to the big screen I was not excited. Especially since the film would not be animated but live action with Garfield rendered in CGI. Throw in Breckin Meyer, Jennifer Love Hewitt and director Peter Hewitt and I was even less excited.

Then they cast Bill Murray as the voice of Garfield and somehow this mess of an idea became mildly tolerable as a concept. 

For those of you unfamiliar with the comic strip, Garfield is a fat, lazy, lasagna loving, orange cat. He loves to eat, sleep and watch TV and occasionally revel in the constant humiliation of his owner John, played here by Breckin Meyer. The plot of the film has Garfield's comfy life turned upside down by the arrival of Odie, a lost puppy that was a gift from Garfield's attractive veterinarian, Liz (Jennifer Love Hewitt).

With Odie getting all of John's attention, Garfield hatches a plan to get rid of him. His plan works but when Garfield sees how sad John is at losing Odie, he decides to get Odie back. That's not as easy as it sounds because Odie has been picked up by a conniving kid’s show host named Happy Chapman (Stephen Tobolowsky) who wants to make Odie part of his act and take the act to New York. It's up to Garfield to stop him before Odie is taken away forever.

The plot of Garfield the movie is dull, as are the human characters. What's not dull is Bill Murray whose constant riffing and laconic delivery are what I've always imagined Garfield would sound like. Garfield's lines in this script are as tepid as anything the human characters have to deliver but when Murray seems to go off the script the movie gets pretty funny. Maybe I'm biased by how much I like the character and how much I like Bill Murray, but I found myself willing to tolerate most of the banal plot of Garfield because I liked Bill Murray's performance as Garfield.

The CGI Garfield is not the best special effect. He does not seamlessly integrate into the background and his unreality is exacerbated by not having human characters interesting enough to distract from the effects. Nothing against Breckin Meyer or Jennifer Love Hewitt, who are both likable actors in the right roles. However, when the material is bad they can do little to improve it, unlike more experienced and talented actors like Murray who can make bad material better than it should be.

See Garfield only if you are a huge fan of Bill Murray and his unique brand of personality and humor. 

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.


Movie Review Gamer

Gamer (2009) 

Directed by Neveldine and Taylor 

Written by Neveldine and Taylor 

Starring Gerald Butler, Michael C Hall, Amber Valletta, Logan Lerman, Terry Crews 

Release Date September 4th, 2009 

Published by September 3rd, 2009 

I was under the impression that actor Gerard Butler's career was going really well. That clearly is not the case after watching his new movie Gamer. If Mr. Butler has to pick up a role that Jason Statham obviously passed on, things aren't going that well. Ok, admittedly, I cannot prove that Mr. Statham passed on Gamer. However, the movie comes from the Crank team of directors, Mark Neveldine and Bryan Taylor.

Not to mention the fact that the role is pitched to Statham's vibe of brain free, bloody grit. Gerard Butler picks up the role and one cannot escape the idea of a not so bad actor picking up another actor's scraps. What a shame. Gamer is a dopey sci-fi action movie that thrusts its audience into the midst of a story in progress. In some not so distant future interactive gaming has evolved to an inhumane level. Real men and women are being incorporated into the gaming world through technology created by Ken Castle (Michael C. Hall). Castle is a malevolent version of Bill Gates.

Castle's brain controlling technology allows gamers to control real people. His first breakthrough game, Society, allowed the gamer to live out debauched fantasies, through real people. Castle's major breakthrough however is called Slayers, a game where death row inmates run about shooting at other death row inmates. If one inmate survives 30 battles he or she can be set free.

The star of Slayers is Kable (Butler). He had survived 27 battles when we meet him. Kable's real name is Tillman and he is surviving so that he can be reunited with his wife and daughter. Kable is controlled by a teenager named Simon (Logan Lerman) and when Simon is approached by a group opposed to Castle, Kable may find his way to escape.

I have brought some order to this story through my description of the plot but trust me when I tell you that the movie itself is much more of a mess than I let on. As with their two Crank movies, directors Neveldine and Taylor have little care for telling a story. The interests of these two low watt auteurs is playing with violent toys and reveling in human destruction.

Neveldine and Taylor have a low opinion of humanity and through their movies they choose to appeal only to the base impulses. This cynical approach is expressed through misogynist imagery and hardcore violence. Women are treated as victims and sex objects and violence is exploited and glorified in a fashion that makes you worry for the director's private lives.

Movies like Gamer and both of the Crank films are like a psychological profile of the people who created them. What they show are a pair of adults who act out like teenagers. The unrestrained id. The out of control ego. And finally, the plain and simple immaturity of these films makes you wonder if regular therapy sessions would be a better use of time than filmmaking for Neveldine and Taylor.

Not only is Gamer ugly, immature and cynical, it's also derivative. Take a dash of Running Man, cross it with Death Race and you get the bare bones of Gamer. Place big dumb action star in an inescapably violent future state. Place big dumb action star in a violent game where bloodthirsty audiences ooh and ahh. Finally, have big dumb action guy bring down the bad guy.

Whether Butler's Kable is successful in stopping the evil Bill Gates guy, I will leave you to discover should you choose to endure Gamer. It doesn't really matter whether he succeeds or not. It doesn't improve the awful, ugly mess that is Gamer. Really, nothing could.


Movie Review G-Force

G-Force (2009) 

Directed by Hoyt H Yeatman Jr. 

Written by Cormac Wibberly, Marianne Wibberly 

Starring Zach Galifianakis, Nicolas Cage, Penelope Cruz, Tracy Morgan, Will Arnett, Steve Buscemi 

Release Date July 24th, 2009 

Published July 23rd, 2009 

The star of The Hangover, the foul mouthed lowbrow road comedy sensation of summer 2009, Zach Galifianakis, changes gears completely in the family adventure comedy, G-Force. Going from debauchery in Vegas to daring do alongside computer generated guinea pigs, Galifianakis may have one of the most successful and schizophrenic summer movie seasons of any actor ever.

In G-Force Zach Galifianakis plays Ben, the head scientist in a secret government lab that trains animals as spies. Ben started by training cockroaches to carry bugging devices (HA!). His greatest breakthrough however is inventing a way for guinea pigs to speak and then perform tasks. Sending them into the field for the first time, Ben has G-Force, as they come to be called, infiltrate the home of a wealthy industrialist (Bill Nighy) with alleged ambitions for taking over the world. G-Force is made up of Darwin (Sam Rockwell), Blaster (Tracy Morgan), Juarez (Penelope Cruz) and Speckles (Nicolas Cage). Speckles is a mole and a computer expert.

G-Force unfortunately fails their first mission. The evidence they thought they found was corrupted. This leads to the team being taken away from Ben and the whole operation getting shutdown by Agent Killian (Will Arnett). G-Force ends up in a pet shop but eventually their training kicks in and they are soon back on the case, even as their own government chases them down. Will they stop the tycoon from taking over the world? Do you care?

OK. You likely don't care and neither, really, will the target audience of children. What matters in G-Force are the little pleasures like a touch of the lowbrow humor, a waste of time car chase involving giant SUVs and tiny plastic hamster balls, and the sight of star Zach Galifianakis so convincingly interacting with CGI rodents.

G-Force, as most kids movies these days, is in 3D and while it adds very little to the proceedings, G-Force at least can slightly justify the use with some big time, flying at the screen action set pieces. The 3D isn't as forced as a lot of the modern 3D films and because G-Force is not a colorful or visually dynamic movie the 3D doesn't harm the experience like it did with animated films like Coraline and Up.

Is G-Force a good movie? Eh, not really. But, by the lowered standards of the kiddie flick it's not bad. Zach Galifianakis makes the most of his limited screen time and he's become a very welcome presence in movies. Bottom line is, as 3D kiddie fare goes, I can recommend G-Force even if I have already begun to forget it.


Movie Review Furry Vengeance

Furry Vengeance (2010) 

Directed by Roger Kumble 

Written by Michael Karnes, Josh Gilbert

Starring Brendan Fraser, Brooke Shields, Ken Jeong 

Release Date April 30th, 2010

Published April 29th, 2010

Brenden Fraser is a terrific goofball. He's been one of Hollywood's best golf balls since his breakthrough role as the caveman teenager in "Encino Man." Guileless, earnest and most of all highly committed to whatever the role calls for, that's been the hallmark of Brendan Fraser's career. Whether he is tumbling down hills, getting punched in the face, or chased by Mummies, Scorpions or Dinosaurs, Fraser's winning goofball-ness never seems to fail.


Until now that is. On the surface, "Furry Vengeance," with its anthropomorphized animals and heavy reliance on slapstick, would seem right up Fraser's alley. Surfaces can be quite deceiving. Even with Fraser giving his sincere best, "Furry Vengeance" is a bitterly ugly family comedy dedicated to bizarre innuendo and below the belt humor that even Mr. Fraser can't save with that goofy mug of his.


In "Furry Vengeance" Brenden Fraser is Dan Sanders, a family man from Chicago who has uprooted his family, wife Tammy (Brook Shields) and son Tyler (Matt Prokop), to a forest area where he is to oversee the development of new suburban homes. Unfortunately for Dan, there are already residents in this neighborhood and they don't take kindly to strangers. These residents are a scrappy group of rodents and other woodland creature friends who are sentient enough to know when they are being threatened and savvy enough to fight back.


Soon, poor Dan is being kept up at night by birds and attacked during the day by skunks, all under the leadership of a crafty raccoon. In what is likely a nod to classic Looney Tunes shorts of the 50's, only Dan knows the animals are out to get him while everyone else, including his wife and son, just think he's going crazy.


The allusion to Looney Tunes is the only humor to be wrung from “Furry Vengeance.” I managed to kill several minutes of this belligerent farce by going back in my mind to the classic cartoon frog who sang opera but only to one poor schmoe and never in front of a crowd. The poor guy would repeatedly hear the frog perform beautiful arias and then attempt to show others only to have the frog act like a typical frog. That anecdote has only a passing connection to "Furry Vengeance." Apparently just writing about this movie inspires me to seek distraction.


Among the main oddities of "Furry Vengeance" is a propensity toward gags in the script that kids won't get or, depending on their age, should not get. The screenplay has an odd tendency toward sexual innuendo outside of a sexual situation. The credit sequence is easily the most jarring of the inappropriate humor in "Furry Vengeance" as the cast, kids included, sings along to a Kidz Bop-esque remix of Cypress Hill "Insane in the Membrane." This is wrong on so many levels that I cannot begin to number them in this space.



That said, allow me to address those who are already typing their complaint; I know this is a kids movie and not meant for someone like me. I don't have kids. That said, I feel that if I had children, no matter how much they whine, I would not bring them to see "Furry Vengeance."


Regardless of whether the film is pitched to the juvenile sense of humor, I demand something more mentally nutritious for my fictional child. "Furry Vengeance" arrives at a time when the brilliant "How to Train Your Dragon" is still in theaters. Anyone who chooses "Furry Vengeance" over the thrills, chuckles and honest to goodness, wisdom of "How to Train Your Dragon" needs their head examined.

Movie Review The Last Song

The Last Song (2010) 

Directed by Julie Ann Robinson 

Written by Nicholas Sparks 

Starring Miley Cyrus, Liam Hemsworth, Kelly Preston, Greg Kinnear 

Release Date March 31st, 2010 

Published March 30th, 2010 

Miley 'Hannah Montana' Cyrus, Nicholas 'schmaltz-merchant' sparks and the family friendly folks at Disney are a combination that invites snark, that malicious form of discontent expressed in sometimes angry, often biting sarcasm. Each of these three properties has earned their fair share of derision with weak in the knees pandering to the most simplistic of audience expectations.

That said, I will attempt to fight back the snarky beast waiting to strike the new Miley, Sparks, Disney movie The Last Song which, under the direction of newcomer Julie Ann Robinson, is not really deserving of the cannon fodder snark aimed in its direction. Ronnie Miller (Miley) is a recent High School grad forced to leave New York behind for her Dad Steve's (Greg Kinnear) beach house in Georgia for the summer before she goes off to, well, at the moment, nowhere.

Though Ronnie has been accepted to Julliard she has no plans of going, she gave up music several years ago when her parents split. Ronnie's main goal will be to do her time at dads and get back to her friends and her mild rebellion in New York. Along for the ride is Ronnie's little brother Jonah (Bobby Coleman) who, lucky for dad, is much more enthusiastic about the summer sojourn.

While avoiding her dad Ronnie encounters Will (Liam Hemsworth) and after some required tension the two begin a romance that begins to lead everyone to a better place. That is of course until the typical elements of a Nicholas Sparks melodrama emerge to submerge the story in hokum, predictability and a tragic passing. It wouldn't be Nicholas Sparks film if none of the principles weren't on the verge of croaksville. (Damn you snarkmonster!)

Sparks's script, commissioned by Disney specifically as a vehicle for Ms. Cyrus, is the weakest element of what is otherwise a rather charming little melodrama. Sparks cannot resist applying his trite formula of teen angst, overblown dramatics and cancer to the story and that leaves director Julie Ann Robinson room only to navigate around the many potholes created by Sparks and co-screenwriter Jeff Van Wie. In a rather remarkable turn of events, for the first 2 acts of The Last Song Ms. Robinson actually pulls it off.

The Last Song begins with a little mystery involving Dad's background, moves stiffly but effectively to Ronnie's unhappiness with the situation to her opening up to the surroundings, in the form of saving sea turtle eggs on the beach from predators and into her charming and effective romance with the too handsome Will. Through it all Ms. Cyrus pitches her performance at just the right level of teenage rebellion and little girl petulance.

The final act sadly coheres to the typicality’s of the Nicholas Sparks brand of forced drama and earns the first of more than a few groans. I should point out that on my patented Nicholas Sparks groan-meter The Last Song was a mere 6 groaner where his last effort, Dear John, was somewhere in the 30 to 35 range. So, that's quite an improvement really. (Snark!)

Even with the dithering final act, The Last Song remains a charming little teenage romance that demonstrates that when under the guiding hand of a director who cares Miley Cyrus has the talent to deliver something more than her pop star persona. The performance here is genuine and enjoyable and where I was once skeptical and dubious of Miley's acting aspirations I now must admit she may just have a future in film yet.

Movie Review The Last Samurai

The Last Samurai (2003) 

Directed by Ed Zwick 

Written by John Logan, Ed Zwick, Marshall Herskowitz 

Starring Tom Cruise, Timothy Spall, Ken Watanabe, Billy Connelly, Tony Goldwyn 

Release Date December 5th, 2003 

Published December 4th, 2003 

In his nearly 20-year career as a director, Ed Zwick has yet to show the auteur's spark that separates great directors from good directors. Like a modern Michael Curtiz, Zwick shows flairs of brilliance here and there and, like Curtiz, he makes wonderful, studio-driven pictures, but has yet to find a style of his own. Curtiz made one masterpiece: Casablanca. Zwick has yet to make his masterpiece though, his latest picture, The Last Samurai, approaches greatness, it's conventional, unmemorable style keeps it from being called a masterpiece.

The Last Samurai stars Tom Cruise as a former civil war hero named Nathan Ahlgren who has spent his time since the end of the war inside a whiskey bottle. Working for a company demonstrating firearms for pennies, Ahlgen is trying to forget the horrors of the war by drinking himself to death. Things change when his former army friend Zeb Gant (Billy Connolly) offers him an opportunity to make a lot of money doing what he does best: making war.

The job is to go to Japan and help train the Japanese army in modern warfare. The Japanese are only beginning to use guns and artillery in battle and the emperor of Japan has ordered his closest advisor, Mr. Omura (Japanese director Masato Harada), to bring in the Americans to train the peasant army. The emperor’s advisor is in a precarious situation and must ready the army for war against a rising tide of Samurai warriors who oppose the rapid modernization of their homeland.

The samurai are being displaced as the protectors of Japan by the modern army but, more importantly, their code of conduct--the Bushido--is being pushed aside by the rapid modernization that has brought an influx of foreigners to Japan looking to take advantage of a new market. The samurai don't wish to stand in the way of progress but merely to slow it to a point where history will not be forgotten or, rather, completely erased by so-called progress.

The samurai are lead by the charismatic Katsumoto (Ken Watanabe), the last living head of a samurai clan. Once an advisor to the empower, he was cast aside for opposing the encroachment of foreigners. On the battlefield, his prowess as a tactician and warrior has helped his samurai army overcome an army with swords defeating guns.

When Ahlgren, under the command of his former Civil war Colonel Bagley (Tony Goldwyn), is forced to lead an unprepared Japanese army against Katsumoto's samurai, Ahlgren is nearly killed as his platoon of soldiers are slaughtered by the samurai. Katsumoto spares Ahlgren's life after watching him hold off several samurai with merely a broken flagpole. Ahlgren is taken as a prisoner back to the samurais’ mountain enclave. There, his wounds are tended by Katsumoto's sister, Taka (Koyuki). There is a great deal of tension in their relationship for reasons that are best left unsaid.

Ahlgren is held captive throughout the winter and he and Katsumoto develop an uneasy friendship through their quiet conversations about war. Katsumoto reads Ahlgren's journals detailing the Civil War as well as the American army's eradication of the American Indian, something Ahlgren feels gravely guilty about. Gradually, Ahlgren assimilates into the samurai culture and soon he will be forced to choose sides in an inevitable war between the past and the future of Japan.

For Cruise, The Last Samurai marks yet another stellar performance that will likely be overshadowed by his stature as a sex symbol. It doesn't seem to matter how well Cruise performs in any film, his looks and image always get the attention. It's a terrible shame because Cruise is, in my opinion, turning out some of the finest work of any actor working today. His role in The Last Samurai is deserving of a Best Actor nomination and, in a weak field, he is likely to get it. He deserves to win but he deserved to win a couple of times and did not, so I won't get my hopes up.

Watanabe may actually outshine Cruise on Oscar night. His portrayal of Katsumoto is a complicated and brilliant performance that captures the essence of what Zwick wants us to understand of the samurai. Watanabe personifies the samurai warrior code, and communicates its importance to the audience with his subtle intelligence and spirit. If he doesn't win Best Supporting Actor, I will be very disappointed.

For Zwick, The Last Samurai is another signpost on the way to a potential masterpiece. It's an epic work of directorial craftsmanship. What Zwick lacks is a signature style that tells you this is an Ed Zwick film. The Last Samurai is a slave to conventional three-act filmmaking and conventional shooting styles. It is, without a doubt, a terrific work, but it comes up short of being a masterpiece because it's too slick and stylish. The film is too easily fit into a Hollywood marketing campaign to be a significant work of art.

The Last Samurai must settle for being a terrific work of pop entertainment, a conventional Hollywood work of crafty brilliance that showcases a star at the height of his abilities and a director with the potential for greatness.

Movie Review The Last Movie Star

The Last Move Star (2018) 

Directed by Adam Rifkin

Written by Adam Rifkin 

Starring Burt Reynolds, Ariel Winter, Clark Duke, Ellar Coltrane, Chevy Chase 

Release Date March 30th, 2018 

Published March 29th, 2018 

The Last Movie Star turns a bold and daring eye on an aging Burt Reynolds and never looks away. Writer-Director Adam Rifkin has crafted a tribute to the movie star Burt Reynolds and a deconstruction of the actor and person Burt Reynolds. It’s a strange and fascinating piece that is equal parts funny, emotional and sit-comic. Reynolds is rather incredible throughout even as the direction lets him down here and there.

Vic Edwards (Reynolds) was once the biggest movie star in the world. That was a long time ago. Today, Vic is a lonely has-been in a large house whose dog just died. No, lie the opening scenes of the movie with Vic having to put his elderly pooch down at a vet’s office legit broke my heart as a dog lover, not to mention just feeling sorry for this old man we’re just meeting and will come to know.

Vic gets invited to a film festival in Nashville, Tennessee where he will be honored with a lifetime achievement award. His buddy, played by Chevy Chase, seemingly playing his creepy self, encourages him to accept the invitation, he’s heard that Eastwood, Pacino and DeNiro have all been honored at this festival in the past. The promise of an all-expense paid trip and the fact that Vic is originally from Tennessee convince him to accept.

Upon arrival however, Vic finds the festival may not be as prestigious as promised. After a painful coach plane ride, Vic is met at the airport by Lil (Modern Family star Ariel Winter), who is loudly arguing with her terrible boyfriend and driving what can kindly be considered a car, Vic was expecting a limousine. Finally, Vic arrives at the festival, hosted by Lil’s brother Doug (Clark Duke) in the back of a bar.

Desperately unhappy, Vic proceeds to get drunk and the next day forces Lil to take him back to his hometown in Knoxville rather than return to the festival. From there, Vic will reminisce and regret, ruminate and accept where his life is now. It’s quite a journey filled with some surprisingly big laughs from both Reynolds and Winter. But. The Last Movie Star has something more than just some TV sitcom ready punchlines in store 

It is perhaps more than a little manipulative to have the aged Burt Reynolds acting out portions of his own life story through the character of Vic but damned if I wasn’t moved by it. Portions of the film are even told using Reynolds’ real life movies as those of his characters. A pair of dreams find the Reynolds of today chatting with Bandit Burt and Deliverance Burt. These scenes are admittedly maudlin but Reynolds gives them real weight.

Later dramatic scenes in which Vic is reflecting on his childhood, his marriages and his career are equally moving and while the direction isn’t spectacular and the set ups are obvious and forced, Reynolds is so good that I could not help but get sucked in. The final moment of the film is by far Reynolds crowning jewel as an actor and as Burt Reynolds the movie star. Watch his eyes, watch that smile; it’s really something to see.

I have mixed feelings about The Last Movie Star but not about Reynolds. Despite the pushy, borderline amateurish direction, he is magnetic and deeply sympathetic. That’s not something I have ever thought of Burt Reynolds, sympathetic. He’s always been that Bugs Bunny like character to me, the quick-witted charmer with that killer smile, and always one step ahead of the man.

Later in his life he was a sad shell of a movie star, slumming it on TV, glaring from tabloid magazine covers and only occasionally, as in Boogie Nights, flashing the chops that he’d so often hidden behind that façade of a movie star charm. He was perhaps a pathetic figure from that tabloid perspective, the focus on his legendary hairpiece, which gets no call outs here, but never someone I was called to feel sorry for.

Here however, in The Last Movie Star, Burt Reynolds is deeply sympathetic. Downright moving in how sympathetic he is. Genuine vulnerability has come with his aging and withered his charm along with his handsome features but the actor remains. Sure, the movie cheats by using Reynolds’ real life as shorthand but man does Burt lean into that and make it something more than just an ego trip down memory lane.

Movie Review The Last Mimzy

The Last Mimzy (2007) 

Directed by Robert Shaye 

Written by Bruce Joel Rubin, Toby Emmerich, James V Hart 

Starring Joely Richardson, Timothy Hutton, Michael Clarke Duncan, Rainn Wilson 

Release Date March 23rd, 2007 

Published March 22nd, 2007 

Robert Shaye is a behind the scenes legend in Hollywood. As President of New Line Cinema Shaye turned the boutique label into a major Hollywood player. Shaye shepherded such projects as Nightmare on Elm Street, the live action Teenage Mutant Ninja Turtles, and The Lord of the Rings trilogy. With so much success it would be very easy for Shaye to rest and count his cash.

Resting may be on the agenda some time in the future for Robert Shaye; but for now he is ready for a new challenge. After years as the money man, Shaye went and got his hands dirty on the set of his very own movie. Shaye is behind the camera, for the second time in his long Hollywood career, on the kiddie sci fi flick The Last Mimzy.

In The Last Mimzy a brother and sister, 10 year old Noah (Chris O'Neil) and 5 year old Emma (Rhiannon Leigh Wryn), vacationing at their beach house on the Washington state coast, uncover a unique box. Inside is a magical stuffed animal named Mimzy who Emma adopts as her favorite new toy. Also inside are some strange looking rocks that seem to have some kind of mystical power but only in Noah's hands.

Soon the rocks and the toy bunny begin to help the kids make some unique discoveries. Both kids have amazing brain power and together with their new toys they may be able to create a bridge through time. Naturally, the changes in the kids behavior do not go unnoticed by mom (Joely Richardson) and dad (Timothy Hutton). And at school; Noah's science teacher also notices a change when he goes from apathetic C student to science fair champion.

Eventually, the power of their new toys gets beyond the walls of their own home and when it does it causes an incident with homeland security. Can the kids help Mimzy build his time travel bridge before the federal government steps in? Or is the future doomed by government scientists who can't wait to dissect the little child's toy.

The Last Mimzy is loosely based on a 60's sci fi short story called Mimsy Were The Borogoves. Director Robert Shaye read and fell in love with the story years ago but only now found the opportunity to bring it to the big screen. Shaye's direction conveys how much he loves this story. The Last Mimzy is energetic and fun with a terrifically childlike imagination.

The secret weapon of The Last Mimzy was the casting of two terrific young leads. Chris O'Neill and Rhiannon Leigh Wryn capture perfectly the innocence and childish wonder of The Last Mimzy. This is a whimsical, sweet natured little movie that could have crumbled under the weight over overly precocious child actors. O'Neill and Wryn deliver performances of great sweetness and lightheartedness that  perfectly match the tone of this story.

The supporting cast of The Last Mimzy is as strong as the two young leads. I especially enjoyed Rainn Wilson as Noah's science teacher who has psychic dreams and Katherine Hahn as his girlfriend who can't get over the time he dreamed of winning lottery numbers but neglected to play them. These two quirky funny actors really play well together and like their co-stars, match the good natured whimsy of the story being told.

The Last Mimzy has nothing deep to say. It's not a movie that is going to stick with you long after you leave the theater. But, for a kiddie flick; it has a big heart, a few laughs and is just too darn fun not to be enjoyed by anyone willing to give it some time. See The Last Mimzy with your kids. They will love it and maybe you will too.

Movie Review The Last Metro

The Last Metro (1980) 

Directed by Francois Truffaut 

Written by Francois Truffaut, Suzanne Schiffman, Jean Claude Grumberg 

Starring Gerard Depardieu, Catherine Deneuve, Jean Poirer 

Release Date September 17th, 1980 

Published September 17th, 2015 

What is it that makes a work timeless? Can an artist set out to create a timeless work or must it organically linger in the minds of those who experience it and share that experience with others for years and decades. Francois Truffaut's “The Last Metro” is undoubtedly a timeless work; one that will linger for me and has taken up space in the minds of many for three decades now. 

”The Last Metro” stars legendary ingénue Catherine Deneuve as Marion Steiner, a famous film actress now operating the Theater Montmartre in Paris following the disappearance of her husband Lucas (Heinz Bennett). It is 1942 and being Jewish while Nazis occupy half the country and members of the Vichy Government conspire with them has made life dangerous for even a man as loved and respected as Lucas Steiner. 

Lucas is supposedly on the run, headed for Spain or South America or maybe Hollywood. We will find out however that he is still in the theater and still very much in love with his wife. Meanwhile, Marion is running the theater and preparing to unveil a brand new production under the direction of Jean Loup-Cottins (Jean Poiret), a noble but not all that interesting director who will unknowingly be receiving Lucas's notes. 

Joining the theaters regular players is an up and coming young actor named Bernard Granger (Gerard Depardieu) who we meet one day as he fails miserably attempting to pick up a woman he meets on the street. The woman, Arlette (Andrea Ferreol), also happens to be the wardrobe designer for Montmartre and she has a very good reason for declining Bernard's advances. 

Between meeting women on the street and now starring in Montmartre's new play, Bernard also happens to be a member of the French Resistance, working in secret to get the Nazis out of Paris by any means necessary. Marion Steiner is unaware of the danger Bernard brings to the theater, especially with Lucas hiding in the basement.  Marion works hard to avoid politics but when one of Paris's most influential theater critics Monsieur Daxiat also happens to be one of the top Nazi conspirators in France, he brings politics to the fore and forces Marion into some very difficult and dangerous choices. 

Reading my plot description I can see that I have described “The Last Metro” as something of a hot-house of plot. However, what is so amazing about Truffaut's work in “The Last Metro” is the complete lack of danger he brings to this material. Instead, Truffaut brings an effortless charm, sensitivity, care and nonchalance to even the most distressing and surprising plot revelations. 

In “The Last Metro” the Nazis are a mounting threat but never the arch, over the top villains of most World War 2 films. Truffaut makes the simple choice to allow the audience to fill in the danger; who doesn't know how evil the Nazis were? Truffaut recognized that there was no need to underline the point. 

We will learn that though Marion loves her husband she will inevitably fall for Bernard because that is what happens in a movie such as this. These two people are called upon to love each other on the stage and that love must eventually spread off the stage. It's part of a conventional narrative that this conflict must exist, what sets this conflict apart in “The Last Metro” is Truffaut's casual acceptance and passive presentation of Bernard and Marion's destined love affair. 

Conflict is maybe too harsh a word to describe the effortless evolution of Marion's love for her husband to her love for Bernard. Making the transition charming and easy to swallow is the ingenious way Truffaut and actor Heinz Bennett conspire to make the audience feel good about Lucas being cuckolded. For Lucas, like Truffaut, art is evolution and the evolution of his production of this play calls for Marion to love Bernard regardless of her commitment to him. 

There are other revelations in “The Last Metro” that also rise and fall like a gentle tide washing ashore. Watch the elegant ways in which Truffaut weaves the story of a pair of homosexual characters. As with his approach to the Nazis, Truffaut allows the audience to fill in the blanks about the difficulties these two characters face in both the time the film is set and, of course, under the thumb of the Nazis. 

The Last Metro is remarkably sensitive and smart, gentle and dramatic. “The Last Metro” is simply a perfect movie, one so graceful and elegant that it could only come from an extraordinarily gifted creator like Francois Truffaut. In a too short life, he passed away at just 52 years old in 1984; Truffaut created a cinematic legacy like few others.


Movie Review The Last King of Scotland

The Last King of Scotland (2006) 

Directed by Kevin MacDonald 

Written by Jeremy Brock, Peter Morgan 

Starring Forrest Whitaker, James McAvoy, Kerry Washington, Simon McBurney, Gillian Anderson 

Release Date September 27th, 2006 

Published September 26th, 2006 

Forest Whitaker has long been one of our most respected actors. And yet, the big prize, that signature role, has always eluded him. That gives a little extra juice to his role in Last King Of Scotland. Hollywood has wanted to find a way to honor Whitaker and now they have a good reason for it. As the evil Ugandan dictator Idi Amin, Whitaker is a powerful presence who dominates the screen even when offscreen. The Last King of Scotland overall is a flawed, somewhat messy movie that without Whitaker's mesmerizing performance would have never made it to the screen.

In 1970 Nicholas Garrigan (James McAvoy) graduated medical school and seemed destined to join his father's family practice in Glasgow Scotland. Seeing his life laid out before him, Nicholas decided to shake things up. Taking on a missionary role in Uganda Africa, Nicholas thought he would spend a year treating the locals, building his karma and then head home. He wound up staying for nine eventful years.

Nicholas's arrival in Uganda coincided with a coup that brought the country a new leader. His name was Idi Amin (Forest Whitaker) and his man of the people schtick worked because of his huge personality and the tacit backing of the British government who had trained him for leadership for years. Nicholas and Amin met by chance when the dictator was injured in a minor car accident. The two bonded over Scotland where Nicholas was born and where Amin was trained as a younger man.

Amin, liking Nicholas's heritage and brash spirit invites him to come to the capital where he is to become the dictator's personal physician. At first he resists, but after being promised the opportunity to shape Uganda's health care industry and advise his friend on all matters, health as well as political and social issues, the offer of power is too much for Nicholas to turn down. His decision is a fateful deal with the devil as Amin's wild mood swings have Nicholas watching people killed and worrying for his own life.

The Last King of Scotland was the inventive idea of fiction writer Giles Foden who got the idea to chronicle the life and crimes of Idi Amin through a fictional character, Nicholas Garrigan. Nicholas is a composite of several different men who held favor with the real life dictator throughout his 9 year reign. It works as a shorthand way of trying to tell the story of Idi Amin. However, as a dramatic device in this movie it's distracting.

Too often the fictional character of Nicholas Garrigan pushes the real life Idi Amin off stage. So much time is spent establishing the stakes for this fictional composite character that we lose focus on the story hof Idi Amin that is the supposed driving force of this movie. The scenes with Garrigan are strong enough but because Forrest Whitaker's Idi Amin is so powerful that when he's not on screen we want to know where he is and what he's doing. 

Director Kevin MacDonald directed the exceptional documentary Touching The Void, one of the ten best films of 2003. That film combined documentary style interviews with dramatic recreations of the events that took place. Macdonald's documentary style approach is often well used in Last King of Scotland, however there are a few too many instances when McDonald's documentary look is at odds with his melodramatic storytelling.

Forest Whitaker nails the role of bloodthirsty paranoid dictator. Unfortunately, the film too often lurches away from his performance for more time with Nicolas Garrigan and we are left wondering what Idi Amin is doing. Granted, a movie that focused more directly on the evil dictator would likely be oppressive and dark given Amin's well chronicled crimes, however it would be more interesting than much of what made up the final cut of The Last King Of Scotland.

The problems with The Last King Of Scotland stem from the Nicolas Garrigan character and not from anything done by Forest Whitaker in the film. The Garrigan character is weak and far less interesting than Idi Amin. Moreover, Garrigan never develops much beyond being a plot device. He is a manufactured character in place so this story could be told. That might be okay if the character were more interesting but as written Garrigan is lightweight and forgettable where Amin is at once horrifying and fascinating.

Forest Whitaker nails every aspect of this role. His Idi Amin is monstrous yet charismatic. He is a horror film character made real. This is a remarkable, transformative performance and yet not surprising. People have been waiting for Forrest Whitaker to find this kind of role and make it his signature and he finally has. That his performance is far better than the film in which it exists is all that holds it back from being the best performance of any actor in the last year.

See The Last King of Scotland for Forest Whitaker

Movie Review The Last Legion

The Last Legion (2007) 

Directed by Doug Lefler 

Written by Jez Butterworth, Tom Butterworth 

Starring Colin Firth, Ben Kingsley, Aishwarya Ray, Peter Mullan, Kevin McKidd 

Release Date August 17th, 2007 

Published August 16th, 2007 

The Last Legion is meant to be a rousing retelling of Arthurian legend crossed with Roman history. With an international cast, including Oscar winner Sir Ben Kingsley and Indian superstar Aishwarya Rai, the movie should have been a well acted and lively entertainment. Unfortunately, with a corner cutting director and a desperately miscast lead, Colin Firth as a tough guy roman general, The Last Legion is just simply, one lousy movie.

Cobbling together elements of Arthur-ian legend and a bit of Julius Caesar, The Last Legion casts young Thomas Sangster (Love Actually) as Romulus; the last in the royal line of Caesars, the rulers of the Greek empire. When the goths sack Rome, Romulus and his teacher Ambrosinus (Sir Ben Kingsley) are taken hostage to the roman island of Capri. On the bright side, Capri is also the home of the legendary Caesarian sword Excalibur.

While young Romulas seeks the sword a coterie of Roman soldiers who survived the battle of Rome conspire to rescue Caesar/Romulus and whisk him away to the Eastern empire, the home of the staunchest of Greek allies in Persia. Led by General Aurelius (Colin Firth), and backed up by an Indian warrior named Mira (Aishwarya Rai), this tiny faction will give their lives for Caesar.

After the rescue things change quickly. The Eastern empire falls to the Goths and the remaining Romans are forced to journey to Britannia and rally the last remaining Roman army legion. There, they will face off with an evil British conqueror Vortgyn (Harry Van Gorkum) who seeks Excalibur and has a nasty history with Abrosinus.

I'm not quite sure what the point of all this legend retelling is. The Last Legion is not a rousing adventure or even a good war story. As directed by Doug Lefler (Dragonheart: A New Beginning) The Last Legion is a stale period movie dressed up with the occasional well staged sword fight and the lovely appearance of Indian star Aishwarya Rai.

Ms. Rai is a lovely presence but opposite Colin Firth as the 'manly' Roman general, she is at a loss to make this material work. Nothing against Mr. Firth as an actor but he doesn't exactly cut an action hero figure. His lilting accent and gentile British-ness just does not translate to being a Russell Crowe style Roman army legend. Even the great Sir Ben Kingsley isn't very good here. Kingsley, as he's shown in films as varied as Suspect Zero, Bloodrayne, and A Sound of Thunder has a tendency to choose some really bad roles. The Last Legion isn't quite as bad as those films but it's not very good either.

Rai, Kingsley and Firth are the good guys and we are bored by them. Even worse are the bad guys, a collection of unrecognizable character actors whose main talent seems to be seething and hissing through ugly piles of makeup or ridiculous looking masks. Director Doug Lefler's work is dull and uninspired and the scripting by Jez and Tom Butterworth (Birthday Girl) creates characters we don't care about and places them in situations we aren't interested in. Toying with dueling legends, Arthur and Caesar, even literate audiences are at a loss to make sense of or even care about the history of The Last Legion.


The Last Legion re-imagines two legends into one uninteresting adventure story. Colin Firth, often a very good actor, is desperately miscast as an action hero and though she is a sensational beauty, Aishwarya Rai fails to demonstrate her star power and is at a loss to overcome this dull story. Director Doug Lefler's experience comes mostly from the sets of Xena: Warrior Princess and Hercules: The Legendary Journeys and while the low budget aesthetics may be OK for TV; the same approach doesn't work in feature films.

The Last Legion is only slightly better than your average Xena or Hercules episode, and slightly less historically accurate.

Movie Review The Last Exorcism

The Last Exorcism (2010) 

Directed by Daniel Stamm 

Written by Huck Botko, Andrew Gurland 

Starring Patrick Fabian, Ashley Bell, Caleb Landry Jones 

Release Date August 27th, 2010

Published August 26th, 2010 

“The Last Exorcism” is a phenomenal movie. Horror and suspense are mixed perfectly in this faux documentary throwback to the low budget roots of “The Blair Witch Project.” Directed with supreme skill by Daniel Stamm, “The Last Exorcism” is smart, funny, exciting and terrifying and features a lead performance by Patrick Fabian that is one of the best of the year.

Reverend Cotton Marcus (Fabian) is suffering a crisis of faith. Having been a preacher since the age of 10, even going as far as participating in exorcisms alongside his preacher father from that early age, Cotton now finds himself wondering if God exists. Thus, when Cotton is approached by a documentary crew, led Iris (Iris Bahr), intending to debunk exorcisms Cotton agrees to help out.

Despite having given up believing that exorcism and demonic possession were real afflictions, Cotton continues to perform exorcisms as a therapeutic treatment. His shyster-esque practice is to agree that exorcism is real, create the circumstance of a real possession through trickery, and then heal the afflicted by convincing them they have been released by their non-existent demon.

This time the documentary crew will follow along and see how he creates an exorcism while also debunking the practice. The afflicted in this case is a 16 year old named Nell Sweetzer (Ashley Bell). Nell's father, Louis (Louis Herthum), has been losing cattle, sheep and other farm animals, all of them gutted, while his daughter wakes up covered in blood and claiming not to know what happened.

Her story is suspicious as are the actions of her older brother Caleb (Caleb Landry Jones) who first warns the preacher and the filmmakers to leave and then proceeds to further, equally disturbing, threats. Is Caleb the real troublemaker? Are Nell's father and his alcoholism the real culprit? Or is there something deeply, psychologically wrong with the seemingly innocent and unassuming Nell.

The answers to each of the questions posed above in “The Last Exorcism” are offered with stunning effectiveness. Director Daniel Stamm and screenwriters Huck Botko and Andrew gurland have crafted a terrifically clever tale of horror that gets to the heart of the best of horror movies, the anticipation and build to horror.

Using the faux documentary, shaky Cam, style popularized by “The Blair Witch Project,” the makers of “The Last Exorcism” crank the horror tension up to 11 by effectively keeping the horror at bay without teasing the audience with cheap thrills. Yes, there are shrieks in the music score and minor misdirection, but more often than not the typical horror movie scenes payoff with unexpected results.

One of the ways “The Last Exorcism” shrewdly defies expectations is in the casting of TV veteran Patrick Fabian as Reverend Cotton Marcus. A handsome, charismatic actor with a carnival barker’s ability for B.S and actor’s ability to compel your attention, Fabian is the best bit of misdirection in the movie, his compelling presence and handsome face draws your attention while the horror movie stuff unfolds around him to great effect. The rest of the small ensemble cast, including Ashley Bell, Caleb Landry Jones, Louis Herthum and Iris Bahr fit perfectly into the story. These performances are captured with care and logic and play perfectly into the suspense and the great con of the best horror movies, creating the belief that these characters are in real danger.


No “Piranha 3D” garbage here, though Eli Roth is surprisingly a producer, “The Last Exorcism” puts the lie to movies like “Piranha” by placing believable, sympathetic characters in the way of great evil and allowing us to fear for and care for them. Never for a moment does Daniel Stamm prefer showing off his ability to scare us or appall us over the interests of his characters. The story is about how these characters react and attempt to counteract evil and because of that we are compelled; we are on the journey with them and not rooting for their bloody end. 

I could go on for pages about how clever, scary, suspenseful and ingenious “The Last Exorcism” is. A great cast, exceptionally well directed and working from a terrific script craft not just the year's best horror film but one of the best movies of the year of any genre. “The Last Exorcism” really is THAT good.

Movie Review The Last Airbender

The Last Airbender (2010) 

Directed by M. Night Shyamalan 

Written by M. Night Shyamalan 

Starring Noah Ringer, Dev Patel, Nicola Peltz, Jackson Rathbone, Shaun Toub 

Release Date July 1st, 2010 

Published June 30th, 2010 

“The Last Airbender” tells the story of a young boy named Aang (Noah Ringer) who is the reincarnation of the Avatar, the master of all the elements. The elements are Earth, Fire, Water and Air, and The Avatar is the person who brings balance to the world dominated by tribes of those who can master, or rather "Bend," only one of the elements. Unfortunately for all involved, Aang is a petulant deity reincarnated and he runs off for more than a hundred years.

Losing himself in a block of ice, Aang is rescued as our story begins by a Waterbender named Katara (Nicola Peltz) and her warrior brother Sokka (Jackson Rathbone). Together the trio journey's across the world leading a rebellion against the evil Firebenders who, in the Avatar's absence, began a hostile takeover of the world, taking harsh control over the Water and Earth Tribes and wiping out the Airbenders, Aang's original tribe before he found that he controlled all elements. 

The Firebenders are led by Fire Lord Ozai and his evil minion, Commander Zhao (Aasif Mondvi). Also on the side of the Firebenders are Ozai's son, Prince Zuko (Dev Patel) and his faithful uncle General Iroh (Shaun Taub) who have been cast out of the Firebender Kingdom after Zuko defied his father's leadership and lost a head to head fight with his even more evil sister, Princess Yue. If, however, Zuko can capture the Avatar he can reclaim his rightful place at his father's side.

If this sounds at all intriguing then you have likely enjoyed the cartoon series “Avatar: The Last Airbender” which had a healthy run on Nickelodeon and in worldwide television syndication. If you haven't seen the series you are more than likely scratching your head over all of the portentous goofiness that this plot entails. Things grow only goofier under the direction of M. Night Shyamalan whose fall from golden boy status in just the last 6 years is one of the more remarkable failures in film history. Shyamalan was once considered alongside Steven Speilberg and George Lucas for his seemingly unfailing talent for wowing audiences.

Then Mr. Shyamalan made “The Village” and the drying of the fount of Shyamalan's genius for twisting, knotting plots began. “Lady in the Water” and “The Happening” followed and seemed to come from a different director altogether as not only was Shyamalan's talent for twisty narrative gone, so was his skill with a camera and even the basic smarts for telling a coherent story. The Happening was a true nadir, an utterly bonkers environmental fable about trees causing people to kill themselves. 

”The Last Airbender” is, at the very least, somewhat more coherent and intelligible than “Lady in the Water” and “The Happening.” Then again, that's not saying much. What The Last Airbender shares with those blisteringly awful films is a taste for inexplicably absurd visual flourish and wildly bizarre inversions of tone and logic. Sure, you can divine a plot in “The Last Airbender” but it is quite a committed fight.

Now, if you are a fan of the cartoon you begin with an advantage that lifts the burden the rest of the audience must carry throughout. In fact, if you are a fan you may actually find a way to enjoy the goofball nuttiness of Shyamalan's insane kiddie landscapes. It helps to have a taste and tolerance for this level of cockamamy mumbo jumbo. The Last Airbender is far up its own you know what in terms of being an obtuse bit of fan service, impenetrable to those not already part of the fandon. 

Without the prior introduction and slavish devotion to this characters and this property, one can only observe “The Last Airbender” with jaws agape and mind slightly melted. “The Last Airbender” is so violently ludicrous in storytelling, dialogue, effects and just about every other aspect of filmmaking that one almost appreciates the opportunity to experience it as it is unlikely you will see something this brazenly insular ever again on a movie screen.

M. Night Shyamalan is the single most daring bad director in the business. When M Night  Shyamalan fails he does so with epic intentions. No filmmaker has the courage to fail as spectacularly as Mr. Shyamalan has in his most recent films. “The Village” was a minor failure, a seeming blip after his wildly successful run of “Sixth Sense,” “Unbreakable” and “Signs.” ”Lady in the Water” however was such a bold and ballsy disaster that one cannot help but appreciate the nutzo spirit that went into creating it. 



“The Happening” ranks up there next to “Plan 9 From Outer Space” and Tommy Wiseau's “The Room,” in my estimation, for the sheer outlandish unintended awfulness. Few films have committed such professional effort to such a misguided endeavor as “The Happening.” Now comes “The Last Airbender” a far more benign failure; one with the possibility of entertaining more than a few people. Those people however, are a fan cult devoted to the material in ways only Twi-Hards and Star Wars fans can truly appreciate. “The Last Airbender” fan cult is vast and devoted and without seeing an inch of film many of them have been defending the film from people such as myself who find the movie “The Last Airbender” an impenetrable and ungodly mess of a feature film.

Movie Review The Lake House

The Lake House (2006) 

Directed by Alejandro Agresti 

Written by David Auburn 

Starring Sandra Bullock, Keanu Reeves, Christopher Plummer, Dylan Walsh, Shorheh Aghdashloo  

Release Date June 16th, 2006 

Published June 15th, 2006 

I have a favorite kind of moment. It's a moment of intimacy that happens rarely. It is usually confined to the first kiss of a new relationship. It is a moment where you and a new love look into one another's eyes and, within inches of each other, share the same warm breathes of air. That moment just before the kiss is my favorite moment, better often than the kiss itself which can sometimes be disappointing. But that moment before the kiss, never fails. The new romance The Lake House starring Keanu Reeves and Sandra Bullock captures that moment beautifully as the two fabulous stars play strangers who share more than one first kiss under some very odd circumstances.

Keanu Reeves and Sandra Bullock star in The Lake House as Alex and Kate two strangers who have each lived in a beautiful glass enclosed house on a lake north of Chicago. They meet when Kate moves out of the house and leaves a note to the next tenant to please forward her mail. Returning to the lake house to escape the stress of her job as an E.R resident Kate finds the house still empty but a letter waiting for her. The letter is from Alex an architect who claims to be the new tenant but also that no one has lived in the house before him.

This odd exchange between Alex and Kate takes on a bizarre bit of science fiction when Alex claims to be writing in 2004 and Kate from 2006. Somehow through the magic lake house mailbox they commune through notes that begin to form a running conversation. Naturally, Alex and Kate fall tragically in love. Tragically because they cannot bring themselves to meet. Kate has some serious commitment issues stemming from a bad relationship with Morgan (Dylan Walsh). Meanwhile Alex is distracted dealing with his brilliant but difficult father (Christopher Plummer).

One of the fun and frustrating things about The Lake House is how often you will be distracted trying to keep track of it's competing timelines. Keeping track of the many things Alex does in the past that effect what happens to he and Kate in the future is a futile effort that left me with more questions than answers. A remake of the Korean film Il Mare, The Lake House fails to explain away the same logical questions that film failed to answer. However where Il Mare is a little unsatisfying in it's unanswered questions, The Lake House colors over similar problems with star power.

Sandra Bullock and Keanu Reeves have sensational chemistry stemming from their history together from Speed and the maturing of their star personas. Neither has accomplished the kind of star power predicted for them but that has not dimmed their appeal in the right roles. Alex and Kate are near perfect roles for each as Reeves is not forced to concentrate to hard and Bullock just has be her naturally huggable self.

The films best performance comes from Christopher Plummer as Alex's father. As an aging world renowned architect Plummer perfectly captures the curious proclivity of the genius to be as cruel as they are brilliant. The skills most hone into being a loving compassionate human being are, for the brilliant, often channeled directly into their work with little left for trivial matters like other people. Watch as Plummer takes on a vocal tic in the role that is pitch perfect in capturing his halting attempts to find the humanity a normal person is supposed to have.

Director Alejandro Agresti, working in America for the first time after years of work in his native Argentina, brings a lush visual tone to The Lake House that is especially loving of the architecture of the Chicago setting. At times the architecture is so lovingly captured that the film becomes more of a tourism calendar and less of a romantic drama. Of course with a love story as convoluted as Kate and Alex's getting lost in the architecture at least draws your mind away from the mind bending plot issues.

I am willing to look past many of the problems with The Lake House because these two stars are so great together. It's long been a hobby of mine to trash Keanu Reeves for his slacker style and slack-jawed delivery but here and in his previous film Constantine Mr. Wind Through The Mountains (that is the meaning of the name Keanu FYI), has really begun to mature into a likable screen presence if still not much of an actor.

Sandra Bullock has always been cute and sweet and even in dreck like Miss Congeniality 2 she finds moments to show off just how lovable she is. In The Lake House Bullock has the kind of role we want her in, sweet, shy and longing. Not rooting for her is like not rooting for a kitten to open it's eyes for the first time. Bullock is the perfect romantic avatar, you can't help but identify with her, root for her, and cheer when she gets her big romantic moment. 

Let's get back to that kiss I mentioned earlier. While I have been glib in my descriptions of Reeves and Bullock in the past two paragraphs I must admit that they transcend all of that with their first kiss in The Lake House. With Paul McCartney's beautiful love song "This Never Happened Before" playing in the background, Alex and Kate share a slow dance that burns up the screen leading to that moment, that two or three seconds of time where two people make the decision to become one for just a moment. That moment of hot breath shared. This kiss is no disappointment.

The kiss alone is nearly enough to make me recommend The Lake House.

In the end it's star power over brain power for me as I admit, I really enjoyed The Lake House. Forget about figuring out the time line or whether Alex and Kate violated the prime directive by screwing around with time through their magic mailbox, go see The Lake House to see these two glamorous stars fall in the kind of love everyone dreams about. The Lake House is a love story and love has no time for your time travel logic. 

Movie Review Funny People

Funny People (2009)

Directed by Judd Apatow 

Written by Judd Apatow 

Starring Adam Sandler, Seth Rogen, Leslie Mann, Eric Bana, Jonah Hill, Jason Schwartzman 

Release Date July 31st, 2009

Published July 30th, 2009 

Comics have their own idiom, a way of speaking that is more often than not aggressive and abnormal. Words are their weapons and they wield them with particular expertise. Listen to comedian Patton Oswalt, a shambling, unkempt often alcohol infused comic whose word use is as precise and exacting as your average marksmen is with a high caliber rifle. The brain of the comic is different always, searching at all times for the absurd in the average, that detail that they can see that the average person misses. That brain gets a thorough and exacting examination in Funny People, Judd Apatow's adroit, mature comedy of penis jokes and honest to goodness pathos.

Adam Sandler is the star of Funny People playing a variation on his real life superstar career. His George Simmons is one of the biggest stars in the world thanks to movies like Mer-Man where he plays, you guessed it, a half man half fish and Re-Do where Sandler's soft ball like skull is placed on the body of a baby by cheesy CGI. You can sense the shame he feels over these movies, made only to line his pockets, and purchase cars he never drives and a large, Xanadu-esque mansion that he doesn't need, and one can't help but wonder if the shame applies in real life to dreck like Little Nicky or Billy Madison. Probably not, but I can dream.

The shame can be seen in George when he see's himself worshipped in the eyes of his new assistant Ira (Seth Rogan). Hired to help write jokes so George can go back to where he feels most at home, the comedy stage, Ira becomes George's only real friend, even if he won't admit it. It's a forced friendship with young Ira carrying most of the burden especially after George reveals he has a rare blood disease and may soon be dead. That's a lot for Ira to carry but he does carry it and soon Ira begins to develop his own talents and find his own comic persona through the mirror of George's age and and hard won wisdom.

Outside of his wealth and privilege, George's life is empty and impending death has only magnified the void. He now longs for all the stuff he took for granted as a younger man, things family and children. Ira helps George reconnect with his parents and sister and even a few of his comic 'friends' who are more like fellow former hostages of some unknown captor. They aren't friends, they just share the same trauma it seems and that bonds them.

The one person George really hopes to reconnect with however, is Laura, the only woman he ever really loved. Laura is now married and living in San Francisco. She comes to George after he reveals his illness and the reunion is emotional in the way one might talk to someone who dying, an exaggerated pseudo-truth that takes conversational reality to a heightened emotional realm. Yes, Laura loved him once and, in his dying state, she forgives him his indiscretions of the past but is he really the love of her life? That could just be comfort food for the dying.

Well, George will find out if Laura is for real. The last 45 minutes of Funny People is dedicated to George surviving his illness and deciding to chase the life he thinks he always wanted. What happens then is for you to discover but thanks to the exceptionally smart and true writing and direction of Judd Apatow you are in for something funny and unexpected. For those trained by The 40 Year Old Virgin and Knocked Up to expect a lot of foul humor, your training comes in handy. Apatow's verbiage is as scatological and unapologetically foul as ever. The difference is the level of sophistication in the way these words are used. Comics use foul language in such a secondary, comfortable manner that it's less natural when they don't use them.

Adam Sandler has shown in the past that beneath the juvenile mask is an immensely talented actor. He simply cannot often enough restrain his id and allow that talent some time in the sun. In Funny People the mask is off and the talent shines like never before. His George is a stunningly bitter, brusque and off-putting guy who makes no apologies for being repugnant. He is fully conscious of his disgust for himself and in finding death he turns that disgust toward whatever human target is close by. As in his shame for his movies, George loathes the people who love them as much as she loathes himself for making them love him. He lives the old Groucho Marx maxim "I would never be a part of a club that would have me as a member".

Sandler's performance in Funny People is so raw and remarkable that you must wonder how true it all is to the real life of Adam Sandler. Thankfully, in real life Sandler appears to be happily married with children and close friends. It's very likely however, that Sandler knows a George Simmons and shares a deep sympathy with him. Sandler comes at this role with such ferocity and authentic self-loathing and contempt for the world that it just feels real. Then there is the blurring of the lines when George/Adam criticizes his terrible movie roles and that blurring of the lines becomes an uncanny valley between real life and the funny fiction of Funny People. 

As for Seth Rogen, I loved how Rogen's Ira represents all the hope and joy that has seemingly slipped away from jaded George and the way that Ira's youth and enthusiasm enlivens the mentor-student relationship of Geore and Ira. Rogen plays Ira as his usual foul-mouthed man-child, the persona he has perfected in his short but fast rising career. However, Rogen and Apatow take great care to make Ira the heart of the story and use the character as a mirror to highlight the best and worst of George while deepening both characters through their growth together as friends and colleagues. It's a dynamite dynamic and the chemistry between Rogen and Sandler is outstanding. 

With Adam Sandler delivering a career best performance and Seth Rogen and Judd Apatow showing newfound maturity and complexity, Funny People becomes one of the best movies you will see all year. Funny People is also another maddening symbol of how incredibly talented Adam Sandler can be when he wants to be. It makes me dislike Sandler more when he makes terrible comedies because I have seen a movie like this and I can see how talented he is. It's frustrating to watch him make some of the worst movies in the world when he's capable of making movies like this. 


Movie Review Fun with Dick and Jane

Fun with Dick and Jane (2005) 

Directed by Dean Parisot

Written by Judd Apatow, Nicholas Stoller 

Starring Jim Carrey, Tea Leoni, Alec Baldwin, Richard Jenkins 

Release Date December 21st, 2005 

Published December 20th, 2005 

Remakes are an inherently lazy project. No matter how well made and recreated they are, remakes are  still telling someone else's story and making a profit on it. Laziness is the hallmark of the remake of 1977's Fun With Dick and Jane. With a talented cast including Jim Carrey and Tea Leoni and a script polish by the very funny Judd Apatow, Fun With Dick and Jane is an all the more depressing effort for the talent involved.

Dick Harper (Jim Carrey) has a great job working in corporate communications for a massive corporation called Globodyne. Things are just about to get even better for Dick when the company CEO, slimily portrayed by Alec Baldwin, decides to promote Dick to vice president and put him on TV to talk up Globodyne's latest financial numbers on a Moneyline-esque cable show. Unfortunately as Dick is putting a smiling face on the numbers the stock tanks live on the air. Dick, as the new face of the company, is completely screwed. The CEO has bankrupted the company, including all the severance and pension funds, and is in the wind, leaving Dick and the company's chief finance officer (Richard Jenkins) to take all of the heat.

This could not be worse timing for the Harper family because Dick's wife Jane (Tea Leoni) has just quit her job as a travel agent to spend more time with their son who is being raised by the nanny (the kid had even adopted the nanny's own broken English accent, in an ugly, awful gag).  Now with both Dick and Jane out of work, and Dick a virtual pariah in his chosen field, the family faces losing all of their accumulated wealth and their home.

After unfortunate attempts by both Dick and Jane to work at new jobs, Dick at a Wal-mart clone and then as a day laborer, in yet another awful gag, and Jane as an aerobics instructor and product tester, the frustrated couple turn to armed robbery to solve their money troubles. Using their son's toy weapon and the rationalization that they were screwed by the system, the couple sets about robbing convenience stores, coffee shops and eventually even an attempted bank heist before finally turning to revenge against the CEO that put them in this predicament.

Fun With Dick and Jane fails because director Dean Parisot and writers Judd Apatow, Nicolas Stoller and Peter Tollin fail to establish whether they are attempting broad slapstick or dark satire. Most of the film plays to star Jim Carrey's strength, broad physical comedy. However, the story of a family losing everything and turning to desperate measures to keep their home is not a story that lends itself to big slapsticky laughs. Thus, the film fishes around searching for laughs in broad set pieces unable to reconcile those with the film's dark subject.

The filmmakers try everything from funny costumes (the couple dressed as Sonny and Cher with Carrey as Cher) to movie parody (Dick and Jane driving a stolen car into a storefront dressed as the Blues Brothers), to irreverent racial humor, but nothing connects with anything more than mild amusement. And, the racial humor is downright offensive. Watching it you don't laugh as much as you squirm in discomfort. 

Director Dean Parisot was the talented director of 2000'sGalaxy Quest, a good natured ribbing of the Star Trek series. There is nothing groundbreaking about that little movie but it hits its target well with good-natured parody. Parisot may be the wrong director for the much darker Dick and Jane in which he irritatingly attempts to force broad comedy out of narrow material. Parisot never finds the right angle on the film's corporate satire and fails miserably in establishing why Dick and Jane must turn to crime in order to survive.

The corporate scandal that costs Dick his job is merely a quick way to get him out of a job so we can get to the supposedly funny attempts at crime. There are a couple of unconvincing scenes of both Dick and Jane trying to work low paying jobs and failing miserably but these scenes fail to help us understand why they must turn to crime. We can feel the plot forcing them toward crime because the crimes are where the supposed comedy is and the filmmakers show their desperation to get through a few setup scenes so they can get the stars into their funny costumes.

Because Jim Carrey and Tea Leoni are such terrifically talented comic actors there are a number of solid laughs in Fun With Dick and Jane. A scene where the couple commit a home invasion robbery dressed in black ninja gear and voice disguisers is funny for the way the couple are like children playing with new toys. Another scene where Dick and Jane ponder their situation while sitting in the unfinished hole where their new hot tub was to be shows each actor's ability to connect with us on a sympathetic level.

Dick and Jane by the standards of decent society aren't good people. They commit serious crimes that are humorously treated by director Dean Parisot but we are never allowed scenes that might help us forgive them their crimes. Simply saying 'it's just a comedy' does not excuse the fact that our protagonists are unpunished criminals. The 1977 version of Fun With Dick and Jane, I'm told, established its heroes as Robin Hood outlaws whose crimes have an undercurrent of social conscience. Yes they were robbers, but when they knocked over banks they also attempted to burn the debt records of other troubled families so that maybe they to could be debt free.

No such moralizing in the new version where the motivation is solely material and selfish. The modern Dick and Jane are concerned about maintaining their social status and regaining their material wealth. A scene where Dick and Jane retrieve their LCD big screen television using some of their ill-gotten gains is played as a moment of triumph with their young son celebrating wildly. I guess, like the nanny, that television was another parent to the kid, which is yet another bit of sardonic humor the film fails to capitalize on.


Spoiler warning!

When at the end our heroes target Baldwin's corporate criminal and end up turning Robin Hood and stealing his money and giving it back to the employees he screwed, we are supposed to admire them. But you can see the plot gears turning as the filmmakers try to redeem these lost characters with one act of deus ex machina, the hand of god, putting everything right with the world in less than 10 minutes screen time.

Fun With Dick and Jane ends with a dedication to the corporations like Enron that have been subjects of the biggest financial swindles in history. Unfortunately, what was intemded to play as an ironic thumb in the eye of these corporations comes off as more of an honest thank you for inspiring this film's failed ideas.  Fun With Dick and Jane never develops into any kind of satire of corporate scandals. The corporate crimes in the movie are a mere backdrop for the flailing slapstick physical comedy. 

Fun With Dick and Jane is yet another sad, lazy Hollywood remake. The work of slacking geniuses picking up paychecks rather than actually making a funny movie.

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