Movie Review Life As a House

Life as a House (2001) 

Directed by Irwin Winkler 

Written by Mark Andrus 

Starring Kevin Kline, Kristen Scott Thomas, Hayden Christensen, Jena Malone, Mary Steenburgen

Release Date October 26th, 2001 

Published October 27th, 2001 

Life as A House starring Kevin Kline and directed by Irwin Winkler has been universally praised by critics and fans which leaves me wondering: did I see the same movie they did? I watched Life as a House in permanent awe of how derivative, obvious, and faux-deep Life as a House is. This is a middle aged man's very obvious, up his own backside, conception of what makes a deep statement about life. Honestly, I am embarrassed for everyone involved. 

Life as a House is the story of George, a depressed divorcee with a son who hates him, and who loses his job early in the film and then finds out he has terminal cancer. Is this a movie character or a biblical tragedy? With all that has happened George decides it's time to build his dream house which, for those who are a little on the slow side, is a metaphor for his rebirth. Do you get it? His life is represented by the house? Does that resonate with you? 

The house he currently lives in is a rundown shack overlooking the ocean in a beautiful neighborhood. Don't even get me started on that implausibility, which, duh, is a metaphor for who he used to be. The screenplay doesn't trust us to figure the metaphors out ourselves. Instead there is dialogue to state the obvious. You see, the rundown house is who he is when we meet him and the new house is who he is going to be. Do you get it? Because the voiceover will explain this if you don't. GAH!!!!! 

Life as a House is filled with such trite dialogue that continuously states the obvious as if leading blind audience members through a story the screenwriter thinks is so deep we won't get it. And it's sad because the actors: Kline, Kristin Scott Thomas as his ex wife, and Hayden Christenson as his son, have the ability to communicate these emotions with subtle acting. But no, instead the film is filled with leaden dialogue and a couple of hundred direct lifts from American Beauty. Yes that's right dear reader not only is the film dull, it's unoriginal.

From the voiceover narration at the beginning and end to the score to George's 'Lesterlike' rebirth, including a kiss with an underage sexpot, Life as A House is like American Beauty filtered through TV's Hallmark hall of fame.

P.S.: I refuse to make any cute housebuilding aside. Honestly, if I hear another critic use a pun title like "House is built on a great FOUNDATION HA HA," I will scream.

Movie Review My First Mister

My First Mister (2001) 

Directed by Christine Lahti 

Written by Jill Franklyn 

Starring Albert Brooks, Leelee Sobieski, John Goodman, Carole Kane, Michael McKean 

Release Date October 12th, 2001 

Published June 3rd, 2002 

Albert Brooks has been around a long time but yet, he still seems to go unnoticed. The fact is though, Brooks is one of the great comic geniuses in the world. If you've seen his highly underappreciated gems Defending Your Life and The Muse as well as his brilliant guest voice work on the Simpsons, you know what I'm talking about. Brooks is a talented writer who is funny without having to obviously try to be funny. He just is. In My First Mister, Brooks' humor is on display as is his surprising knack for depth and poignancy.

My First Mister stars Leelee Sobieski as Jennifer, a suicidal Goth teen just out of high school and searching for a job. Jennifer's job hunt leads her to Randall (Brooks), the owner of a conservative men’s clothing store. For some strange reason, Jennifer and Randall click and Randall hires her to work in the stock room, and stay off the main floor because he fears her Goth clothes and multiple piercings may frighten his older upscale customers.

As unlikely as these two people are as friends, their connection is believable and the interaction between them is entertaining. They have few things in common, the biggest thing being they both don't have anyone else. Jennifer doesn't get along with her divorced parents (Carol Kane and John Goodman) and Randall has been divorced for 17 years. 

Kane is quite good as Jennifer's much-abused mother who, though she seems like an addled Donna Reed wannabe, is actually just a loving parent at a loss as to how to relate to her emotionally distant daughter. If Kane and the other supporting players (Goodman, Michael McKean and Mary Kay) seem like caricatures it's because we are seeing them through Jennifer’s warped perspective. As the film progresses and Jennifer begins to open up we begin to see these characters as they really are.

First time director Christine Lahti shows a skillful hand in directing two characters whose interactions could seem like a very creepy version of Lolita. Lahti makes sure we know the film isn't about sex or lust but about finding someone who understands you and accepts you for who are. Though towards the end Lahti allows the melodrama to get away from her, the performances of Brooks and Sobieski keep the film from drifting too far off the path.

There is an interesting comparison to be made here between Sobieski and Brooks in this film and Thora Birch and Steve Buscemi in Ghost World. It’s not just the age difference but also the uniqueness of each of the characters and the reasons why they came together. While My First Mister isn't as entertaining as Ghost World, it has the same emotional depth with a slightly less caustic humor. My First Mister isn't the masterwork that Ghost World is,  it is an entertainingly similar work and worth seeing at least once.

Movie Review: K-Pax

K-Pax (2001) 

Directed by Iain Softley 

Written by Charles Leavitt 

Starring Kevin Spacey, Jeff Bridges, Alfre Woodard, Mary McCormack

Release Date August 13th, 2001 

Published November 1st, 2001 

Kevin Spacey is one our finest actors having created such enduring characters as American Beauty's Lester Burnham, Seven's John Doe, and the unforgettable Verbal Kint in The Usual Suspects (My personal favorite). But no matter how great the actor, he can't get it right every time. Need I remind you of Pay it Forward, and now with K-Pax Spacey has struck out again. High hopes still persist for his role in The Shipping News in December.

You can't blame Spacey entirely for the failure of K-Pax -- director Iain Softley and the screenwriter must share equal blame. They seemed to approach the film with no idea how they would resolve it which leaves the audience with an ending so unsatisfying it collapses any interesting elements the film had built to that point.

K-Pax is the story of Prot (Spacey) a man who's either an alien or a mental patient. Prot is picked up by police at the scene of a mugging after babbling about not being from Earth. He is placed in a mental institution where Dr. Mark Powell (Jeff Bridges, in the film's best performance) treats him. K Pax is at its best when Bridges and Spacey go one on one with Bridge's doctor attempting to logically ascertain why this seemingly brilliant man thinks he is an alien. 

The film's other scenes are less interesting featuring your typical cast of loony bin loonies such as the germophobe, the mean one, and the patient who could leave the hospital if someone would treat him with love instead of medicine. Of course Prot will redeem them and these scenes are lifted from the Patch Adams scrap heap though slightly elevated by Spacey's presence. 

Jeff Bridge's performance nearly saves K Pax his search for Prot's true identity is well played with the right amount of emotional impact. Bridges is stringing together one of the most under-appreciated resumes in the business with brilliant turns in The Contender, The Big Lebowski and Fearless. If all of K-Pax were as good as he is, K-Pax could have been one of the best films of the year.

As for Spacey, Prot is a nearly impossible character who's required to be quirky because all aliens are quirky, and he's required to be psychologically damaged and then be a saint. That's a lot of work. In the end the director refuses to give the audience any catharsis by not answering the film's big question, one I won't print because I don't want to spoil it. The ending is left open either for a sequel or to offer the audience the opportunity to write their own ending, but intelligent moviegoers may be annoyed with the mystery. I know I was.

Movie Review: Wet Hot American Summer

Wet Hot American Summer (2001) 

Directed by David Wain 

Written by David Wain, Michael Showalter

Starring Paul Rudd, Janeane Garofalo, David Hyde Pierce, Elizabeth Banks, Ken Marino 

Release Date July 27th, 2001 

Published January 15th, 2002

A few weeks back theatres were infected with the inept, unfunny, teen movie sendup Not Another Teen Movie. An exercise in stupidity, it quickly disappeared from theatres. To see how a teen movie sendup should work, see the new to video and DVD Wet Hot American Summer, a hysterical take on the teen movie sub-genre, the summer camp movie.

Summer is the brainchild of David Wain and Michael Showalter, better known as members of the comedy troupe The State whose short-lived MTV sketch show mastered the art of teen movie parody. Showalter also stars in the film as the nerdy camp counselor who on the last day of camp is going to win over the hottest girl. Janeane Garofalo also stars as the head counselor who is romancing David Hyde Pierce as a nerdy scientist. Indeed all the great camp movie cliches are in place, save for the evil rival camp whose owner wants to takeover the camp, a cliche that is referred to but then knowingly dismissed in one the movies funniest scenes.

The films best moments are provided by Law and Order SVU star Christopher Meloni as the camp cook, whose best friend is a can of mixed vegetables. Anyone who ever saw Meloni on HBO's Oz will laugh hysterically everytime he's onscreen.

If anything keeps Wet Hot American Summer from being a great movie instead of a good movie, it's Garofalo. At times, she can't seem to keep up with her costars outrageous-ness. It's not her fault, all the members of The State, Showalter, Ken Marino and Michael Ian Black have been together a long time and have a chemistry that can't be picked up in the time it takes to shoot a movie.

Wet Hot American Summer is everything Not Another Teen Movie wasn't. It's funny, intelligent and over the top in ways that don't involve excrement and bodily functions. Let's hope Michael Showalter, David Wain and the other members of The State get the chance to make more movies, though the film's box office makes that unlikely.

Movie Review Hedwig and the Angry Inch

Hedwig and the Angry Inch (2001) 

Directed by John Cameron Mitchell 

Written by John Cameron Mitchell 

Starring John Cameron Mitchell, Michael Pitt, Andrea Martin, Miriam Shor

Release Date July 20th, 2001 

Published November 27th, 2001 

One of my favorite shows is VH1's behind the music and my favorite part is usually about 30 minutes in when the announcer intones "Fame came with a price." For Hedwig the genderless protagonist of Hedwig and the Angry Inch the price is one I know I could not have paid.

You see Hedwig used to be Hansel an earnest faced gay teen living in communist East Germany who decides to attempt to become a woman after falling in love with an American GI. I say attempts to become a woman because poor Hansel's operation went awry leaving him with an angry inch get it. Penis or no penis Hansel marries the GI, changes his name to Hedwig and moves to a Kansas trailer park. All of this is enough material for a fascinating offbeat comedy but this is merely the back-story to Hedwig. John Cameron Mitchell writes directs and stars as Hedwig, which he created in an off Broadway theater.

The music is the real star of Hedwig and the Angry Inch; it is brilliant rock music like nothing that's been heard in years. The music emulates Bowie Iggy Pop and the New York Dolls with only slightly more accessible pop edge. There is a great deal of Ziggy Stardust in Hedwig and thank God, if your gonna steal steal from the best.

Oh how nice it is to see a film that is surprising, that is not bound by the rules of genre or conventional filmmaking. Hedwig is a breath of fresh air and one of the best films of the year.

Movie Review Made

Made (2001) 

Directed by Jon Favreau

Written by Jon Favreau 

Starring Jon Favreau, Vince Vaughn, Puff Daddy, Peter Falk, Famke Janssen 

Release Date July 13th, 2001 

Published October 25th, 2001 

I hate living in the Midwest, always hopelessly behind the times. I get Variety a month behind and no Hollywood reporter at all. But the worst is not getting indie films 'til they're very successful or headed to video. But thanks to Nova Cinetech I get too see some indies, though still much later than those of you in big cities. 

Which brings me to my review of Jon Favreau's Made which, for a lot of you, is a couple months ago memory and for me not exactly new having read so much about it. Nonetheless Made is the first post Soprano's gangster story all be it on the periphery of "gangsterism," as a pair of would be goomba's take on their first assignment a simple money drop that, of course, if it were that simple there wouldn't be a movie.

For Jon Favreau, it's not really the gangster part that interests him. It's the interaction between his character and his best friend played by Vince Vaughn, who seems to have been instructed to not just act his lines but to make sure he gets in the way of everyone else acting their lines. Favreau plays the flustered straight man to Vaughn's wacky troublemaker beautifully, tweaking their Swingers dynamic with a bit of danger and a dollop more of forced machismo, fitting of the gangster setting. 



Made is populated with great performances including a surprisingly good turn by Sean Puffy Combs. But it's clearly Vince Vaughn's show. As Ricky Slade, Vaugh he is a force of annoying nature. Ricky is the first post Soprano/Gangsta Rap wannabe gangster who believes that if he just knows the lingo and acts tough he can be a gangster.

Made is a funny and entertaining film that I highly recommend.

Movie Review Sexy Beast

Sexy Beast (2001) 

Directed by Jonathan Glazer 

Written by Louis Mellis David Scinto

Starring Ben Kingsley, Ray Winstone, Ian McShane

Release Date June 15th, 2001 

Published March 13th, 2002 

All the talk has been about Ben Kingsley's Oscar nominated turn in the British gangster drama, Sexy Beast. Beast is an unsatisfying genre exercise somewhat elevated by Kingsley's blistering performance.

Sexy Beast is the story of retired British gangster named Gale and played by Ray Winstone. Gale is living the high life in Spain with his beautiful wife in a gorgeous, idyllic Spanish villa. Things are going well until a friend informs him that an old associate from England is coming to town to offer him a job he can't refuse. This isn't just any old associate though; this is the infamous Don Logan. 

We aren't introduced to Logan necessarily, but the faces of the people discussing him tell the audience everything we need to know. We eventually see Logan, played by Ben Kingsley, and though he is not physically imposing, we quickly see why people are afraid of him. Logan has no time for small talk, has no apparent sense of humor and seems as if he would piss on you as much as talk to you. 

Tbe plot turns on Gale's attempts to turn down Logan's offer but Logan won't hear of it, screaming and threatening him all the while firing expletives like bullets. Logan's words are so raw and so fiery that when he speaks people duck out of the way. Kingsley's ability to be menacing with manner, with presence, and with the expert deployment of four letter words. 

Unfortunately the rest of the film can't match Kingsley's pace or energy. The job Logan wants Gale to do is not all that interesting in setup or execution. And to be honest, I'm not sure I knew just what the job was because by the time the film gets to it, Kingsley's out of the picture and I had lost interest. 

Ray Winstone is a good actor but here, he seems lackadaisical, as if he isn't much interested in what's going on. I understand that some of that is by design but it's not helped by Winstone having to be compared to Kingsley's fiery performance. The man formerly known as Lovejoy, Ian Mcshane, has a supporting role as the mob boss who sets the plot in motion but all he did for me was provide an opportunity to make jokes about Lovejoy.

The cinematography of Sexy Beast is outstanding. Cinematographer Ivan Bird gives the film a gorgeously sun-baked look. Bird also innovates with an incredible boulders eye view scene early in the film as a boulder rolls toward Gale's home, one thematically reminiscent of the unstoppable force that is Kingsley's Logan. I also want to highlight the film's soundtrack, provided by British star Unkle. His energy is fitting of Kingsley's Logan in the most unexpected ways.

Ben Kingsley more than shows why he is Oscar nominated for this performance, he is awesome. If the rest of the film were as good as him it would be a Best Picture candidate.

Movie Review Kill Bill Volume 2

Kill Bill Volume 2 (2004) 

Directed by Quentin Tarentino

Written by Quentin Tarentino 

Starring Uma Thurman, David Carradine, Daryl Hannah, Michael Madsen, Gordon Liu

Release Date April 16th, 2004

Published April 15th, 2004

Much griping ensued when Miramax decided to cut Quentin Tarantino's magnum opus Kill Bill into two pieces. I was amongst those who were dismayed by the choice, but now that both halves of the film have been released it's clear that Miramax did the right thing. As one three-and-a-half-hour film it would have been brilliant, but as two films with a total combined length of more than four hours, we see Tarantino's vision uncompromised. The fact is, Miramax could not release Kill Bill as one four-hour film, and they did us a favor by cutting it. Because of that, we get two brilliant films for the price of one.

When we last saw our vengeance-seeking heroine The Bride (Uma Thurman), she had wiped out her former associate O-Ren Ishii and 88 of her henchman in a bloody brutal martial arts sword fight. Now, she is back on the road and on her way to Bill (David Carradine). But first a revision of history. In voiceover, the Bride explains what really happened in "The Massacre at Two Pines" where she and her wedding party were wiped out by Bill and the Deadly Viper Assassination Squad. In one of many scenes of brilliant Tarantino dialogue, we get the backstory of Bill and the Bride.

Back to the future, the Bride is on the trail of Bill's brother and fellow assassin Budd, code name Sidewinder (Michael Madsen). Budd has given up the assassin game and has taken a job as a bouncer at a strip club. Bill has warned him that yhe Bride is coming for him, and regardless of Budd's current state of mind, he's still very dangerous. Budd is more than ready when the Bride arrives which leads to a torture scene that is like a film school class in sound editing and building tension. After knocking the bride unconscious, Budd loads her in a coffin and buries her alive, but not before yet another brilliant but of Tarantino dialogue as Budd offers the bride a flashlight. Claustrophobia has never been so well rendered on screen.

This leads to another flashback, this one taking us back to the Bride's training with the legendary master Pai Mei (Gordon Liu). The master is a brutal taskmaster who, we are told hates Americans, white people, and women. This, of course, makes our hero's training that much more difficult. This series of training scenes have been rendered in any number of classic kung fu movies and Tarantino manages to evoke the look, feel, and sounds of the films he is sampling from.

Needless to say, the Bride escapes from her premature grave and is soon back on her quest for vengeance with Budd and Elle (Daryl Hannah) standing in her way. Budd's end is a little disappointing, but the Bride's fight with Elle is arguably the best of both films. Daryl Hannah gives a comeback performance worthy of Travolta’s in Pulp Fiction. Elle's habit of writing everything in a tiny notebook is the kind of little quirk that most screenwriters neglect; the kind of quirk that makes an average character a memorable character. Hannah has a terrific monologue that she recites directly from her notebook.

Of course, the film’s centerpiece is the confrontation with Bill and to describe any further is to describe too much. Suffice it to say that it lives up to and in fact exceeds expectations with a legendary Tarantino dialogue exchange. The words between Bill and The Bride are better than most fight scenes and the finale is quick but very satisfying.

Where the first film was an exercise in style and direction, with little of Tarantino's trademark dialogue Volume 2 makes up for lost dialogue by providing some of the best screenwriting we have seen since Pulp Fiction revolutionized the art form. Kill Bill is proof that the auteur, the director whose vision is complete from script to screen is where film d'art still lives. Say what you will about great screenwriters, it takes a director to create art and Tarantino is the pre-eminent artist of our time.

Mixing genres from a noirish opening credit and direct-to-camera black and white sequence, to Sergio Leone-style western vistas, to more of the first film’s kung fu grind house vibe, Tarantino is like a club DJ, but instead of mixing Elvis Costello into Public Enemy, he mixes Michael Curtiz into Sergio Leone into Kurosawa. Call it film sampling if you want; the result is a work of art that belongs solely to Tarantino.

Movie Review: Chaos Theory

Chaos Theory (2008) 

Directed by Marcos Siega 

Written by Daniel Taplitz, Kathy Gori

Starring Ryan Reynolds, Stuart Townsend, Emily Mortimer, Sarah Chalke

Release Date April 11th, 2008 

Published October 15th, 2008

Ryan Reynolds carries himself as a man who knows he is a star. Reynolds has Confidence just short of arrogance and a real sense of self onscreen, Reynolds, at times, evinces the earnest friendly quality of Tom Hanks and crosses it with a Johnny Depp-like aversion toward anything to conventional. Don't be mistaken, Reynolds makes conventional movies but like Depp he plays his part in a way that gives convention a noticeable tweak. For his latest movie, the conventional romantic dramedy Chaos Theory Reynolds plays his characters tics and fears as physical expressions and gives a performance of grave irritation.

In Chaos Theory Ryan Reynolds stars as Frank Allen, efficiency expert. Frank gives seminars on time management and lives his life with swiss watch precision. That Frank managed to find a woman willing to put up with his maddening lists and schedules is something of an only in the movies miracle. Emily Mortimer is Susan, a wife of infinite patience. The two were friends for years before she decided of the group of male friends she had amassed, Frank was the one she could see herself with permanantly. That was seven years ago, they have a lovely young daughter now and a life of ease and elegance.

Things change drastically and by chance when a finally snapping Susan decides to push the clock ahead 10 minutes. The result is Frank missing his ferry to the city and having to sheepishly reschedule a talk on time management. If you think being late to work is tough, try being a time management guru and show up late.

Nevertheless, Frank powers through the presentation and meets his pal Buddy (Stuart Townsend) in the lobby. They hit the bar and while Buddy chases skirts Frank drinks a little too much, drowning his inefficient sorrows, and ends up back in his hotel room with Paula (Sarah Chalke, Scrubs) trying to keep from cheating on Susan.

Making a run for it, Frank is involved in a car accident with a pregnant woman. He rushes her to the hospital and a couple of misplaced signatures have him mistaken as the baby daddy. When the pregnant girl disappears the next day, leaving the baby behind, a befuddled Susan receives a call to 'return to the hospital and her baby'. Frank has some explaining to do.

The theory of Chaos Theory is that Frank being late, missing his ferry, sets off a series of chaotic events that leave his marriage in trouble. Had Frank been on schedule perhaps, if he had made it to his ferry and given his talk in time, things could have been different. Now, however, because he was later, he is forced to confront the random, uncontrollable forces of fate.,

Director Marcos Siega and writer Daniel Taplitz start from an interesting place but as the chaos sets in on Frank's life so does it set in on a script that is too uncertain of itself. Is it comedy? Is it drama? The balance is even between the two but without a true perspective a vacuum of ideas develops and Chaos Theory becomes a dramatic/comedic void.

The idea of chaos and order fate and chance, are ideas that many filmmakers have explored with relative success. Siega and Taplitz unfortunately bring no depth or substance to the discussion. Chaos theory, chance, fate, all of these are merely building blocks to a mediocre comedy drama with no real driving dramatic force.

Movie Review: Definitely, Maybe

Definitely, Maybe (2008) 

Directed by Adam Brooks

Written by Adam Brooks 

Starring Ryan Reynolds, Elizabeth Banks, Rachel Weisz, Isla Fisher, Abigail Breslin, Derek Luke, Kevin Kline

Release Date February 14th, 2008 

Published February 13th, 2008 

In his first mature leading man performance Ryan Reynolds becomes a star before our eyes in the terrific romance Definitely, Maybe. Call it his Sleepless In Seattle moment, Reynolds becomes the new millennium answer to Tom Hanks as he establishes his romantic leading man street cred opposite not a single Meg Ryan but three tremendous young actresses on three completely different star tracks.

There is the capital A actress Rachel Weisz, already a hairs breath away from Oscar. Elizabeth Banks, the comic character actress. And then there is Isla Fisher, who is still too young to know where her career is headed. Reynolds sparks with each and makes you believe that indeed one man could get that lucky in his life.

Definitely, Maybe stars Reynolds as Will Hayes an ad exec who has just received his divorce papers. He's been headed for divorce for awhile it seems. Will see's his daughter Maya (Abigail Breslin) on Wednesdays and Fridays and is on his way to pick her up as the opening credits wrap. On this particular Friday Maya's school is abuzz. Today the kids took a surprise sex education course and all are bursting with questions. All of this talk of sex has Maya wondering where she came from, not necessarily the technical details, she learned all too much of that, rather about how mom and dad met and how they are where they are today.

Dad is not so hot on telling the tale and thus devises the story as a romantic mystery, leaving Maya to guess which of three women from his past is her mother. There is Emily (Elizabeth Banks) not her real name, who was his college sweetheart. They split up when he went to New York. It's more complicated and messy than that but that comes later. Then there is the copy girl aka April (Isla Fisher). She makes copies for a living in the Bill Clinton for President campaign office where Will has come all the way from Wisconsin to work. Politics of the early to late 90's play a big part in Definitely, Maybe.

And finally there is Summer Heartley (Rachel Weisz), a woman from Emily's past who Will meets when he delivers a present to her from Emily. What that present is has all sorts of surprises attached. Summer is an aspiring journalist sleeping with her esteemed professor (Kevin Kline) when she meets Will. They bounce around each other a little before the girly crush on the professor passes and Summer wants to get serious. She and Will share a relationship with many twists and moments you will not see coming.

So which girl is really mommy? Which girl is also the ex? That is the mystery and the secret charm of Definitely, Maybe.

Writer-director Allan Brooks isn't teasing the audience or screwing with us just to keep us off track. What he devises, structurally and with these terrifically charming and smart characters, is a romantic mystery that in-trances and enchants.This seemingly typical romantic comedy defies convention by mixing three different romances and allowing us to guess, take sides, and hope for our favorite to win out. Leading the guessing game is 12 year old Oscar nominee Abigail Breslin. In yet another devastatingly cute performance, Breslin charms us into a romantic journey that would be lonely and a little dreary without her hopeful, doe eyed presence.

The humor of Definitely, Maybe is warm and comfortable. It emanates naturally from these characters without the force of set ups and punchlines. The skill of Brooks' script may not occur to you until much later when you realize just how invested you are in the outcome of this mystery. Listen for the subtle ways Brooks uses politics as an undercurrent of Will's emotional state. His optimistic investment in President Clinton's promise of hope in 1992 juxtaposed against his disillusionment with his love life and the scandal that engulfs Clinton's presidency. This sets up a final moment in the movie so subtle; blink and you'll miss it. It's a minor scene but it means so much if you follow the context of the film as a whole.

Definitely, Maybe doesn't necessarily break the mold of the traditional romantic comedy. Rather, like the best of the gentrified genre lot, it takes the typical and improves upon it. The formula is familiar, it's just better performed, filmed and crafted in Definitely, Maybe. Rather than limiting himself to what is expected of the romance genre, Adam Brooks goes in slightly off kilter directions. He tweaks the formula, changes the expectations and, by creating wonderful characters with just the right actors, he changes the dynamics of the formula romantic comedy, bends it to the will of his story and creates something special.

Indeed, Definitely, Maybe is something special in the romantic comedy genre.

Movie Review: Waiting

Waiting... (2005) 

Directed by Rob McKittrick

Written by Rob McKittrick 

Starring Ryan Reynolds, Amy Faris, Justin Long Alanna Ubach, Dane Cook, Luis Guzman

Release Date October 7th, 2005 

Published October 6th, 2005

There is an art to low or crude humor that makes it work. The brother directing duos of the Weitzs (American Pie) and the Farrellys (There's Something About Mary, et al) have mastered the formula of lowering the level of humor to childish levels but still delivering very funny movies. The formula works only when the lovable natures of characters and the pathos they bring from the audience is equal to the level they degrade themselves to.

The new movie Waiting..., written and directed by first timer Rob McKittrick, goes to new lows to achieve its humor but without characters we love and feel for it's an exercise in both crudity and futility.  

Shenaniganz is one of those cloned chain restaurants that pervades the parking lots of mini-malls around the country. Inside, its staff are the kind of wage slave drones biding their time until they graduate college, get fired, or end up in prison. Justin Long stars as Dean, a 22 year old finally confronting his arrested development. While high school friends are graduating from University and getting high paying, real life, jobs, Dean is wrapping up a general arts degree at Community College and contemplating the chance of becoming assistant manager of the restaurant.

Ryan Reynolds plays Dean's best friend and roommate, Monty, who is defined by his raging libido and rapid fire wit, essentially Van Wilder kicked out of college. Monty's job on this day in the life of Shenaniganz is to be our narrator without actual narration. Monty is training Mitch (John Francis Daly) which gives him the opportunity to introduce the rest of the cast and set the stage for all of the seriously low humor to come. It's a clever gimmick that removes the need for a third person narration and sets the stage for the films main running gag 'the penis game'.

Waiting... features a huge cast of well known and recognizable characters that include veterans Luis Guzman, David Koechner and Chi McBride; newcomers Dane Cook, Andy Milonakis and Kaitlin Doubleday; a couple of "Hey where have I seen them before?" types in Robert Patrick Bennett and Alanna Ubach; and established stars Reynolds and Anna Faris, the only members of the cast to have toplined a feature before.

Waiting... suffers the typical pitfalls of such a large cast, the main one being the loss of continuity caused by trying to find time for each character. The main story seems to be Justin Long's Dean struggling to grow into an adult but he is too often shuffled offscreen for his storyline to take hold. The only consistency in Waiting... comes from its series of running gags about sex, genitalia and the classic urban legend of the food service industry: What are they putting in the food?

Waiting... revels in the juvenile humor that the Farrelly brothers made safe for the masses in Dumb and Dumber and that was furthered by the Weitz's in the original American Pie which brought low humor to a whole new mainstream blockbuster generation. Unfortunately for Waiting... it lacks the elements that elevates low humor from mere shock for shock's sake to transcendentally funny. Where the Farrellys humanize the craziness with pathos and the Weitz brothers humanize it with lovable characters, Waiting... simply has no time for either. You never feel for the characters in Waiting... because you simply don't get to know them well enough and some of them you don't want to know at all.

There is something to be said for the economy of characters.  American Pie, for example, focused on four main characters and worked to establish each before delivering the humorous humiliations. These characters were familiar, the actors made them lovable and pathos is borne of that. Waiting... is simply too crowded to establish its characters beyond stereotypes and placeholders and thus we could care less when they are hurt or triumph.

The women of Waiting... especially suffer from the lack of characterization. Each of the ladies fall into types: the girlfriend type, the best friend type, the bitch type and the less pervasive lesbian type.  None of the woman break the mold of their character.  Even Faris, who gets marginalized early on, is given only one scene, a verbal showdown with Reynolds where she shows the comic chops that made the Scary Movie series so funny.

Another big problem with Waiting... is its look. The film looks as if it was shot through a bad lens. The look of the film is grainy and distracting. There is very little visual imagination in Waiting... which is damning because of the colorful setting which lends itself to creative set design. The film never takes advantage of either the restaurant setting or the condo set of Monty and Dean's apartment which also contained strong possibilities.

The best films combine the creative and technical aspects of filmmaking. Waiting... is in the hole from the outset because little care is taken for the look of the film and the various other technical aspects of film craftsmanship, lighting, camera work and especially set design.

Do not under any circumstance see Waiting... before you go out to dinner. Waiting... does for the restaurant kitchen what Psycho did for the shower, what Jaws did for the ocean, and what Silkwood did for nuclear waste. Heed the films warning; never send it back. The scenes portrayed in the kitchen in Waiting... are not for the weak stomach. They are also only rarely funny. A perfect example of the film's hit and miss humor, the kitchen scenes are either riotously funny or a complete strikeout.

With all of the things wrong with Waiting... it's still often quite funny. Even the lowest of all of the running gags in the film has its moments and of course I'm talking about the penis game. Not wanting to be too detailed because the film goes into way too much detail itself, the penis game consists of finding sneaky ways of getting co-workers to look at your exposed genitalia. Points are assigned for the various different kinds of exposure and punishment is assigned for those who fall for it.

As outrageous as it seems I know guys who could do this. Listening to the game as it is explained and watching it unfold I feared for the fact that I could ever witness such a thing, because I actually could. Uggh! Still I cannot deny that I laughed a few times at the horrifying ways that director Rob McKittrick worked this running gag.

The unfortunate part of this gag, however, is the homophobia inherent in its conception. Part of the rules of the game, as part of the punishment, is calling the victim a fag and the punishment is punishment for falsely perceived homosexuality. Though I know that this is not meant to be harmful, it is undeniably homophobic and plays to the basest of stereotypes. Attempts to excuse homophobia by acknowleging it only serve to affirm it. Am I being too politically correct? Maybe, but the joke is so excessively homophobic that at some point it goes beyond good natured ribbing.

The cast is a group that could really make a very funny movie but not this movie. The film's charismatic lead actors Long, Reynolds and Faris required more screen time in order to pull the film into the mold of a real movie as opposed to the stop and start episodic piece that is this finished product. The producers of Waiting... simply could not resist the stunt casting of hot comic Dane Cook and MTV star Andy Milonakis. Neither one does a particularly poor job but taking time out for them pulls the focus of the film away from telling a coherent story. 

Even with all of deficiencies in Waiting... I see little standing in the way of this film becoming a cult classic. Among its target audience of frat boys and service industry drones the film was a hit from its trailer to its commercials. There are just enough laughs in Waiting... that the core fans are likely to be satisfied and will scoop the film up on DVD.

The setting is so ripe for this type of sendup that it was very difficult for this film to miss completely and it doesn't. It does miss though and where it misses is in creating characters we identify with and care for. Without those characters all you have are a group of talented funny actors creating a hit and miss gag reel of grossout jokes, not a funny movie.

Movie Review Green Lantern

Green Lantern (2011) 

Directed by Martin Campbell

Written by Craig Berlanti, Michael Green, Marc Guggenheim, Michael Goldenberg

Starring Ryan Reynolds, Blake Lively, Peter Sarsgard, Mark Strong, Angela Bassett, Tim Robbins

Release Date June 17th, 2011 

Published June 16th, 2011 

"Green Lantern" is the latest superhero story to hit the big screen following the spring adventures of "Thor" and the summer spectacular that was "X-Men: The First Class." "Green Lantern" however, is the first of these superhero flicks to feature a big star as the big hero. Ryan Reynolds, long on the road to superstar status, plays the heroic Green Lantern and while the casting is alright there was little any star could have done to improve the rather limp story.

Hal Jordan, Our Hero

Hal Jordan is a bed-hopping, test-pilot with serious daddy issues. So serious, in fact, are Hal's unresolved issues with his late father, that he nearly crashes his plane as he distractedly recalls his dad's death. Naturally, Hal comes through the crisis alright but not without angering his best friend, and would be love of his life, Carol Ferris (Blake Lively.)

Putting aside Hal's daddy and romantic issues, he is a special guy and we know this because a purple alien guardian from another world carrying a very powerful green ring and a green lantern tells us so. Of the billions of people on earth Hal Jordan has been chosen as humanity's protector, the newest member of the universal force known as the Green Lantern Corp.

The Green Lantern Corp

Soon, Hal has a special suit and mask that are made from -- well we aren't quite sure what. The suit seems to generate directly from Hal's own skin and the fewer questions asked about the suit's (ahem) functionality (?) the better. Through his alien ring and lantern Hal can now create anything he wants using only his mind.

If we go with Hal to his training on a distant planet we are just asking for this plot description to grow far too unwieldy and since the plot isn't great to begin with let's just leave it at special voice appearances by Geoffrey Rush, Michael Clark Duncan and go to bad guy Mark Strong as sort of a good guy.

Peter Sarsgard is creepy

Back on earth Hal will have to defend humanity against a former colleague and friend, Dr. Hector Hammond (Peter Sarsgard) who has contracted an alien infection that somehow managed to make him even creepier than the massively foreheaded, dweeby, community college professor he already was.

There is also a good deal of nonsense related to a giant monster cloud of what I believe is fear energy combined with some all powerful alien creature. Honestly, I stopped caring so early on in "Green Lantern" that I tuned out whatever wasn't Ryan Reynolds being cute and Blake Lively flashing her beautiful, "Gossip Girl" half smile; truly is there a woman in the world who is so attractively bemused?

Fanboys Only

"Green Lantern" was directed by Martin Campbell who is an immensely talented director. Here, however, Campbell hits the wall with far too much fanboy nonsense and not nearly enough stuff that's interesting to people who aren't in fealty to the D.C Comics legend. I assume, because I am not familiar with the comic, that much of the stuff I found goofy and nonsensical was some kind of homage or nod to the faithful? How else do you explain it?

The thing about a great superhero movie like "Batman Begins" and "The Dark Knight" or "Spiderman 1 & 2" or the "Iron Man" movies is they were good movies first and comic book movies second. The best of the genre add the fan touches on the sides in the periphery. "Green Lantern," like "Thor," places the comic book stuff first and in doing so leaves the non-comic fan distracted and waiting for the actual story to kick in.

Not Recommended for General Audiences

When the story never really kicks in it only serves to magnify why the filmmakers included all of the comic book stuff, they didn't have enough of a compelling original story to push the fanboy stuff to the sides. I liked Ryan Reynolds and Blake Lively and the voice of Geoffrey Rush, as some kind of muscled up alien fish, but in the end that is not enough for me to recommend "Green Lantern" to a general audience.

Now, if you are a fan of the comic book Green Lantern, I do recommend the movie. You are going to get it on another level. You will enjoy the stuff I found goofy and or needless. You will get the stuff that I found distracting. You, Green Lantern fan, may just really enjoy this movie and bully for you. Enjoy.

Movie Review: Wicker Park

Wicker Park (2004) 

Directed by Paul McGuigan

Written by Brandon Boyce 

Starring Josh Hartnett, Rose Byrne, Matthew Lillard, Diane Kruger 

Release Date September 3rd, 2004 

September 2nd, 2004 

When Josh Hartnett starred in Jerry Bruckheimer’s awful blockbuster Pearl Harbor, his next-big-thing status was just hitting its stride. Then, his first solo starring gig, 40 Days and 40 Nights tanked. Then his shot at action stardom opposite Harrison Ford in Hollywood Homicide also failed. Suddenly the next big thing was next to nothing.

That may explain why the film Wicker Park, a once highly buzzed about remake of a French movie called L’Appartement, ended up in the September waste bin. It is quite a shame that MGM has chosen to give up on this film because it’s really not that bad.

A plot description for Wicker Park is a bit of a minefield. There are a number of important twists and turns that are better left unmentioned. What can I tell you without giving anything away? Well, Josh Hartnett stars as Matthew, a dour young ad exec who has just moved back to his old Chicago neighborhood, the artist enclave Wicker Park. Two years earlier Matthew moved to New York to escape the memories of a lost love.

Her name was Lisa (Diane Kruger) and it seemed like they would be together forever. Then out of the blue, right after he asked her to move in with him, she vanished. No note, no phone call, no explanation whatsoever. Despondent, he took the gig in New York and disappeared himself.

Now back in Chicago, Matt has reconnected with his old friend Lucas (Matthew Lillard), thanks to a chance meeting on the street while Lucas was leaving lunch with his girl, Alex. Alex has a mysterious connection to Matt that is one of the film’s more intriguing plot points. Later, as Matt is having dinner with his new fiancé Rebecca (Jessica Pare), he thinks that he saw Lisa leaving the restaurant, a sight that sends him into a tailspin and effects everyone he knows.

Director Paul McGuigan and writer Brandon Boyce, adapting the original French screenplay by Gilles Mimouni, have crafted a dense, often confusing story of lost love, manipulation and heartbreak. Step away from the movie at the end and you realize that this twist filled story has a rather thin plot. The film uses many flashbacks, often covering the same scene more than once. This use of flashbacks tends to confuse the film’s timeline and leave the audience playing catch-up.

However, as confusing as this film can be it’s also surprisingly engaging. Hartnett in particular does a tremendous job of drawing in the audience, gaining our sympathy and delivering in the big emotional moments. He is well matched with Kruger (whose face launched a thousand ships in Troy) with whom he has a terrific chemistry. Matthew Lillard is quite a surprise in a strong supporting role in which he drops his usual obnoxious posing in favor of real acting.

Lillard does not spark with Rose Byrne’s Alex but he’s not necessarily supposed to. Alex is the most complicated character in the film and also the most difficult to describe without giving something away. I can say that Byrne, who had a walk on in Troy with Diane Kruger, does what she can with this difficult role. If she did not succeed it’s likely because of how the character is written as opposed to her performance.

McGuigan, whose previous film was the underrated The Reckoning, does a fantastic job of disguising this paper-thin plot. His film style evokes a Eurpoean aesthetic, a likely nod to the film’s French roots. From its color palettes to its somber mood, it is very easy to imagine Wicker Park set in the classic French traditions of sidewalk cafes and disaffected artists. The script includes a quick nod to the Italian master Fellini, who also knew a little something about making the most of a thin plot.

Wicker Park is a stylish, well-acted romantic drama the likes of which we rarely see anymore. Yes, the plot is thin and becomes quite obviously so after you leave the theater but the good in Wicker Park far outweighs the bad. What makes it work is Hartnett in what could have been a comeback performance if MGM hadn’t decided to give up on it. What a shame to have your career best performance in a film so few people will see.

Movie Review Pokemon Detective Pikachu

Detective Pikachu (2019) 

Directed by Rob Letterman 

Written by Dan Herdandez, Rob Letterman, Benji Smart, Derek Connelly 

Starring Ryan Reynolds, Justice Smith, Kathryn Newton, Suki Waterhouse,Bill Nighy 

Release Date May 10th, 2019 

Published May 8th, 2019 

Pokemon Detective Pikachu is some hardcore fan service. In fact, if you are not immersed in the universe of Pokemon, you aren’t likely to find much to enjoy beyond the occasional Ryan Reynolds quip. Reynolds himself is a kind of Pokemon fan service as giving this franchise the voice of one of the world’s most popular and charismatic actors is akin to one of the cool kids passing up the cool kid table in the cafeteria so he can sit with the A.V Club and they can absorb some of his aura. 

Pokemon Detective Pikachu opens in pure, visual chaos. A car is escaping from a mysterious lab facility while being chased by a powerful Pokemon called a Mewtoo. The Mewtoo appears to blow up the car, knocking the vehicle over the side of a bridge. The driver appears to have been killed but the swirling vortex of CG chaos makes it impossible to know what happens and since this is our introduction to the story, we are at a loss to care much for what is happening. 

The film slam cuts from the car crash to a field in a small, vaguely Asian town. Tim Goodman (Justice Smith) is one of the few people in his small town who doesn’t have his own Pokemon, a tiny, animal-like creature, who people capture using a special ball that opens up to capture the Pokemon, but only if the Pokemon likes and trusts its new owner or master or trainer? I’m not familiar with the terms and the movie is less than forthcoming for newcomers. 

Tim’s lack of interest in Pokemon is a reaction to his father’s dedication to Pokemon, as a law enforcement officer with his own Pokemon partner named Pikachu. Work took his father away and Tim resents Pokemon for his dad not being around when his mom died. Tim is soon thrust back into his father’s world however when he receives a message that his father was in a deadly car accident. 

Tim must travel to his father’s home in Rhyme City, the rare place where Pokemon and humans live in harmony together. Everyone has their own Pokemon and peace reigns as the two species live in harmony under the watchful leadership of Howard Clifford (Bill Nighy). Howard created Rhyme City as a utopia for Pokemon and humans alike. Naturally, however, there are snakes in Eden and Pikachu is on the lookout. 

Pikachu was believed to have died in the crash that killed Tim’s father so when the two come face to face in Tim’s father’s apartment, they nearly kill each other. In what we are told is a completely unfathomable anomaly, Tim has the ability to hear Pikachu speaking English. No one else on the planet has the ability to communicate with a Pokemon directly and this will not be used in any useful way beyond quips, lots of quips, mildly amusing, inoffensive, only occasionally funny, quips. 

Together, Tim and Pikachu will team with ace junior reporter Lucy Stevens (Kathryn Newton) to find the source of some strange Pokemon behavior. This strange behavior harkens back to the days before humans and Pokemon became friends and it is the key to finding out who is behind Harry’s disappearance, the dangerous Mew-Too and the apparent intention to create a rift between Pokemon and humanity. 

Rob Letterman directed Pokemon Detective Pikachu and he has packed it full of stuff that Pokemon fans will adore. There are Easter eggs on top of Easter eggs with appearances by fan favorite Pokemon doing fan favorite Pokemon things. Characters from the longtime Pokemon cartoons make cameos, I am assuming, special attention is paid, ever so briefly, to a character even I recognized from years of cultural osmosis. Fans will be excited and the inclusion could hint at a wider Detective Pikachu-Pokemon cinematic universe. 

Or so I assume, only Pokemon fans will be able to tell me if I am right or wrong about that. The bottom line issue that I have with Pokemon Detective Pikachu is with the remarkable amount of fan service. The movie is very bland and basic in its general storytelling and so the only thing left in terms of making Detective Pikachu special would either come from making it funny, which it really isn’t or in making it so packed with Pokemon stuff as to render story unnecessary for the hardcore devotees. The makers of this movie went with the second option and left non-Pokemon fans scratching our collective heads waiting for Ryan Reynolds to get funny.

The story takes elements of the mystery genre and mushes them up into a highly predictable story arc. The opening scene is meant to provide a mystery that will play out over the course of the movie but the story cheats this opening repeatedly throughout the movie to fit the narrative. This particular narrative feels as if it was altered numerous times, something strongly indicated by 6 credited writers for Pokemon Detective Pikachu. 

If you can’t tell who the bad guy is from the cast list you aren’t really trying. It’s glaringly obvious throughout where the movie is headed, albeit the actual endgame of the story is a tad bizarre, but by then it was hard to care. In fact, a lot of fans might really have liked what the movie plays as an evil scheme, but that’s an odd digression for another, spoiler filled time. Weird ending aside, there isn’t a story beat in Detective Pikachu that will surprise you from the mismatched partners, the convenient bouts of amnesia, to a third act separation that is so perfunctory the screenwriters should step on screen to introduce it while thanking and giving credit to every screenplay guide ever written.

But, as I stated earlier, I am not the audience for this movie. I am not a Pokemon fan. I have nothing against Pokemon, I know plenty of people who find Pokemon delightful. I am just not into it, it doesn’t do anything for me and since the movie isn’t very funny, even Ryan Reynolds is missing that classic Ryan Reynolds wit, there isn’t much for me to invest in. Fans of Pokemon will likely flip for all of the neato Pokemon stuff in Detective Pikachu but if you are not part of the cult of Pokemon, you’re better off sitting this one out. 

Movie Review The Cookout

The Cookout (2004) 

Directed by Lance Rivera 

Written by Laurie B Turner, Jeffrey Brian Holmes 

Starring Queen Latifah, Jennifer Lewis, Storm P, Danny Glover, Ja Rule 

Release Date September 3rd, 2004 

Published September 4th, 2004 

Not being African-American myself it's difficult for me to complain about the way African-Americans are portrayed in the movies. Still I find the segmentation of black actors to be one of the most disturbing things about the movie business. It was something that crystallized with the release of the movie Soul Food in 1997. Hollywood took notice of that film’s breakout success and saw the potential of films with all black casts to make money only appealing to black people.

That's not an indictment of Soul Food, which did appeal to a number of people beyond African-Americans. It is the way that subsequent films of similar appeal have been so cynically made and marketed to African-Americans that I find disturbing. Hollywood marketers underestimating the savvy and intelligence of moviegoers began packaging cheap stereotypes and recycled clichés with all black casts in the hopes that the paucity of quality entertainment featuring African-Americans would draw in that segment of the audience. It is with that same cynicism that The Cookout reaches theaters.

Cobble together loose stereotypes under a banner of one big star (Queen Latifah) and just hope that at least black people will come and see it. The cynicism and dare I say racism that comes from that approach flows from the screen and what is supposed to be a comedy feels disturbing and uncomfortable to watch.

The film stars Storm P as basketball star Todd Henderson. Todd has just become the number one draft pick of the New Jersey Nets and is ready to celebrate. With his mother Emma (Jennifer Lewis) and dad JoJo (Frankie Faison), Todd is ready to throw a traditional Henderson family cookout at his brand new multi-million dollar pad. The place is perfect with a big backyard and Todd's expendable millions. This should be the best family cookout ever, but if it were that easy we wouldn't have a movie.

Todd has a new girlfriend Brittany (smokin hot Meagan Good) who complicates everything by getting on mom's nerves. Brittany was raised in the suburbs, obsessed with social climbing and has no idea what a cookout is all about. She does know how to spend Todd's money, on the decorating of the house, on fancy European chef's and expensive cars, and anything else that might drive Todd's mother crazy, especially since Todd and Brittany have no plans for marriage.

Todd's family is a collection of movie cliches so tired that they aren't worth mentioning other than to mention that Tim Meadows, Godfrey and Reg E. Cathey play various family members too dull to name. The supporting cast outside the family is actually quite good, especially Eve who plays Todd's childhood best friend who's grown a lot from the awkward girl he knew as a kid to challenge Brittany for his affection. Sadly, her part is very small.

The other good supporting role is that of the security guard played by Queen Latifah. Latifah is credited with writing the screenplay, which if true is mind blowing. Maybe she only wrote her part, which is by far the best thing in the film. Latifah gets all of the film’s big laughs, which are few and far between. The remaining supporting players are treated worse than the cliched family members, especially poor Danny Glover who sacrifices all dignity in a poorly written stereotype of a black man acting like an uptight white guy.

The less said about Ja Rule in the film’s unnecessary bad guy role the better. I would tell Ja to not quit his day job but his recent album sales leave him few options.

What Cookout really comes down to essentially are its two disparate lead performances by Storm P, real name Quaran Pender, and Jennifer Lewis. When I say disparate I mean they are two very different performances. Where Pender melts unnoticeable into the scenery while Lewis stands out and damn near makes this thing work with her sheer force of will. Lewis' role is an underwritten cliche, clipped together from pieces of other movies featuring domineering black mothers. Yet Lewis manages to make many of her scenes work. Were the film about her and not Storm P's character the movie might have had a chance.

Sadly, who am I kidding, this film never had a chance. Cookout is the cynical invention of a marketing department salivating at the opportunity to appeal to what they see as a reliable niche market. They aren't concerned with making good movies starring African-American casts, the studios simply want them cheap and fast with the thought that just having black people in starring roles is enough to draw small segmented audiences, just enough to make a little profit. Cynicism is bad enough but combined with racism as it is here it's disturbing.

Movie Review: Comic Book Villains

Comic Book Villains (2002) 

Directed by James Robinson

Written by James Robinson 

Starring Donal Logue, D.J Qualls, Cary Elwes, Natasha Lyonne, Michael Rappaport 

Release Date September 3rd, 2002 

Published September 9th, 2002 

The comic book fanboy culture is ripe for satire. Such was shown in Kevin Smith's brilliant Chasing Amy. Comics aren't the center of that film but the scenes involving comics and the comic convention are comedic gold. Comic Book Villains aspires to tell the story of some serious fanboys but in reality it's a ridiculous farce with not one likeable character.

DJ Qualls stars as Archie, a comic fanboy who is beginning to grow out of his former obsession. Though he would never tell that to Raymond, his best friend and the owner of the most snobbish comic store in town, and proud of it. Raymond, played by Donal Logue, is the ultimate fanboy who won't speak to anyone who doesn't the names of the Fantastic Four, their alter egos, how they got their powers, which issue introduced what character and various other pieces of minutia someone with no friends and especially no dates would know.

Raymond's rivals in the comic biz are Norman (Michael Rappoport) and his wife Judy (Natascha Lyonne). Though they aren't comic book fans they know a quick buck when they see it.

The rivalry comes to a head when a 40-something collector kicks the bucket, leaving behind the ultimate comic collection. Raymond and Norman are each quick to pounce on the guy's clueless mom who never understood her son's obsession with those funny books. The mom is played by the venerable Eileen Brennen, and as she puts up with Raymond and Norman's incessant begging and pleading, she strikes up a real friendship with Archie who has been dragged into the mess by Raymond.

As the comic book war heats up both, sides begin to lose their grip on reality as they each plot a break-in of the old woman's house to steal the comics. Raymond goes as far as attempting to hire a hitman to kill the old lady and steal the comics.

The hitman is played by Cary Elwes and at the beginning, his character is the only sympathetic character in the film. He's a guy who's fresh from prison and looking to rebuild his life. Director James Robinson makes the hitman character both sympathetic and menacing which is supposed to prepare us for the film's climax. Sadly this fails as Elwes gets sucked into the plot's stupidity and is then crushed underneath it like all of the other characters.

Every character in the film is a complete moron, with the possible exception of DJ Qualls'sArchie who isn't as stupid as the other characters. Still, his character is just utterly useless. Archie narrates the story but is not really involved in it. He should consider himself lucky! Elwes, Logue, Rappaport and Lyonne probably wish their characters weren't involved in this ridiculousness but they are and they suffer greatly for it.

Writer-Director James Robinson has crafted a thoroughly unlikable film. Incoherent, ridiculous and endlessly stupid. The film is marketed as a comedy and you would think since it's about comic books, it would be, but it's not. In fact I'm not sure James Robinson intended to make a comedy. It seemed to me he was trying for drama and suspense. He failed miserably.

Movie Review: A Prairie Home Companion

A Prairie Home Companion (2006) 

Directed by Robert Altman 

Written by Garrison Keillor 

Starring Woody Harrelson, Meryl Streep, Tommy Lee Jones, Garrison Keillor, Lindsay Lohan, John C. Reilly, Kevin Kline

Release Date June 9th, 2006 

Published June 8th, 2006 

Words like quaint and charming are anachronistic in this day and age. They are anathema to modern audiences bred on irony and detached perspective. Garrison Keillor's A Prairie Home Companion has always been of another time. A time when quaint and charming were far from insulting, they were the height of faint praise, as Keillor himself might say.

Now that A Prairie Home Companion has been brought to the big screen, under the direction of the legendary Robert Altman, you might fairly assume that it has been somehow updates, jazzed up somehow for modern audiences. That is thankfully not the case. A Prairie Home Companion is as old fashioned as has always been on Minnesota Public Radio and the throwback nature is one of the films many great pleasures.

In the era of irony a little earnest homespun humor is just the thing to warm your heart and give you a good tickle. It's the last night for the cast and crew of A Prairie Home Companion. For 30 some years the WLD radio variety show has emanated from the Fitzgerald theater in St Paul Minnesota. However, now that the longtime heritage station has been sold to a major corporate chain, the show's over.

This is distressing news to long time performers like the Johnson Sisters, Yolanda (Meryl Streep) and Rhonda (Lily Tomlin) who have performed on the show since it's inception. Yolanda's late husband was the inspiration for the show and Yolanda had hoped her daughter Lola (Lindsey Lohan) might one day perform there one day.

Also distressed at losing their regular gig are the singing cowboys Dusty (Woody Harrelson) and Lefty (John C. Reilly) whose ribald tunes about life on the plains are one of the shows humorous highlights, unless your the shows harried producer worried about FCC violations.

Seemingly unaffected by the sadness of the last broadcast is the shows longtime host G.K (Garrison Keillor) who is intent on making the very last show just like the first one. Refusing any attempt at evoking audience sympathies, G.K will not say thank you or goodbye in any kind of grand fashion. Why even when one of the shows older performers passes away in his dressing room mid-show G.K refuses an on air eulogy telling the cast that if he were to start eulogizing his friends at his age he wouldn't stop till he was dead himself.

Lurking in the background backstage is the shows head of security an oddball right out of a fifties private eye movie the aptly named Guy Noir (Kevin Kline) when he's not watching the door or providing a running commentary, Guy searches for a mysterious blonde in a trench coat only known as A Dangerous Woman (Virginia Madsen).

Saturday Night Live's Maya Rudolf and the real life band and singers of the radio show A Prairie Home Companion round out the cast of this deliciously simple showbiz comedy. Simple in terms of smart character driven humor and old school showbiz pizazz.

Lurking behind this behind the scenes comedy is a bizarre whimsy that is pure Robert Altman. In bringing to life Garrison Keillor's radio show, Altman has brought literal life to some of his fictional characters including the aforementioned Dusty and Lefty and most importantly Guy Noir who has long been Keillor's favored creation outside the denizens of the fictional town of Lake Woebegone.

Guy's whole persona and function in the film are a delightful mixture of detective movie parody and straight comedy and in the person of Kevin Kline these elements reach a near symphony level of comic timing and perfection. Kline is more than worthy of a supporting actor nomination as the standout of this brilliant ensemble.

Meryl Streep provides the emotional center of A Prairie Home Companion. Yolanda is more than just a performer on the show, in the films history her family is entwined in the history of the show. Her husband was G.K's partner before he passed on. Yolanda herself was for a time entwined with G.K and her daughter has been coming to the show with her since birth.

Her colorful history, only alluded to, colors the film and brings depth to the emotions that resonate from her especially while on stage with her voice breaking belting out the same old time gospel songs she and her sister have sang on the show for years.

Streep's performance is not perfect. She along with Harrelson and Reilly occasionally betray their performances by allowing Hollywood affectations to leak through their Midwestern patois. Overall though the performances are universally strong.

Maybe most surprising of all is Garrison Keillor. Playing himself is certainly the kind of comfort zone any actor can thrive in but Keillor does truly impress with his deft wit and comic timing. Anyone who listens to his real life show on a regular basis will likely recognize that this is typical Garrison Keillor but the uninitiated will likely be very impressed with the his sleight of hand phraseology and warm charismatic nature.

In his most recent directorial effort the ballet drama The Company Robert Altman directed as if the whole thing bored him. The director was constantly allowing the camera to wiggle around and wander away from the actors, when they weren't dancing. It was as if he were directing from a script he didn't much care for and simple set the camera and walked away when he wasn't enjoying the ballet performances.

A Prairie Home Companion is a return to form for the great director. Fully engaged and even modestly excited about this smart, homespun material, Altman seems to delight in every last detail from Keillor's wacky fake product commercials to the style of Kevin Kline's haircut meant match that of a bust of the great F. Scott Fitzgerald whose bust is prominently displayed in the theater that is named for him.

A Prairie Home Companion is a masters class in Altman's managed chaos style. The film floats backstage to look in on Guy Noir and the backstage happenings and then simply glides back on to the stage for another song and a story. The flow is hypnotic when it's not laugh out loud funny. This is one of Robert Altman's best efforts in a very long while.

Quaint and charming may be curse words in this day and age but not in relation to this wonderfully quaint charming comedy from a master director and a master storyteller. A Prairie Home Companion is one of the best films of the year.

Movie Review Harold and Kumar Go to White Castle

Harold and Kumar Go to White Castle (2004) 

Directed by Danny Leiner

Written by Jon Hurwitz, Hayden Schlossberg

Starring John Cho, Kal Penn, Neil Patrick Harris, Ryan Reynolds, Anthony Anderson, Malin Akerman

Release Date July 30th, 2004 

Published July 29th, 2004 

I can’t be the only one for whom the words “From the Director of Dude Where’s My Car” are not reassuring. That said, you can’t judge a filmmaker by his only film. Director Danny Leiner deserves a chance to make a second impression. However, when I heard that his Dude follow-up was called Harold and Kumar Go To White Castle, I was less than enthusiastic. From the depths of low expectations can spring something amazing and Harold and Kumar Go To White Castle is amazing for the fact that it doesn’t suck.

Harold and Kumar are your typically mismatched pair of lifelong friends. Harold (John Cho) is a neurotic investment banker who is constantly put upon by his co-workers. Kumar (Kal Penn) has a high IQ and the test scores to go to any med school in the country, but he’d rather live off of his dad’s money and smoke some weed.

Well Harold and Kumar have that in common, they both smoke weed and when a White Castle commercial pops up on television they know exactly where to cure the munchies that accompany smoking the chronic. Kumar thinks he knows where the closest White Castle is but you know this is a buddy comedy road movie so this will not be that easy.

On the way to White Castle, Harold and Kumar encounter a group of skinhead extreme sports guys, a backwoods hick with a taste for group sex, an escaped leopard, racist cops and Neil Patrick Harris. Yes, that Neil Patrick Harris in the best of numerous cameos that also include Jaime Kennedy, Anthony Anderson and an unrecognizable Christopher Meloni as the previously mentioned backwoodsman.

The unique thing about Harold and Kumar is the smart satirical way it treats race. Harold is Korean, Kumar is Indian, but neither is defined by their ethnicity. They face racism at every turn and eventually they fight back in funny anarchic fashion, stealing cars, breaking into and out of prison, riding a leopard (see it for yourself).

Cho and Penn are a pair of terrific comic actors. Great chemistry, timing and charm. These two are really likable and you can’t help but cheer for them every humiliating, degrading step of the way. The few scenes they share with Neil Patrick Harris in a cameo as himself are absolutely hysterical. We have seen this type of career send up before, The Simpsons are famous for tweaking an actor’s past persona for ironic laughs, this time it’s somehow fresh and smart. That is because Harris is so committed and Cho and Penn sell the jokes so well.

Director Danny Leiner still has a way to go before we start praising his technique but this is unquestionably an improvement over Dude Where’s My Car. Of course, ninety minutes of blank screen would be an improvement over that film, but I’m trying to pay the guy a compliment. Harold and Kumar is a stoner comedy with all the stoner comedy beats and expected jokes. It’s juvenile and wades into the muck of gross out humor that genre does best.

Harold and Kumar would be valuable for just providing the rare starring role for a Korean guy and an Indian guy. It transcends that because those guys are actually very funny.

Movie Review: The Village

The Village (2004) 

Directed by M Night Shyamalan 

Written by M Night Shyamalan

Starring Joaquin Phoenix, Adrien Brody, Bryce Dallas Howard, William Hurt, Sigourney Weaver 

Release Date July 30th, 2004 

Published July 19th, 2021 

The Village is a real trip, an at times exceptionally well acted, epically misguided story of outsiders with a deep, dark secret. The film stars Joaquin Phoenix as Lucius and Bryce Dallas Howard as Ivy. Despite a slow start, the film slowly evolves as a mysterious 19th century romance with a twist of horror movie monsters hanging over it. The couple are residents of a colony that is cut off from the rest of the nearby towns by a forest populated by monsters who live in a delicate detente with the residents of The Village.

The town elders, led by William Hurt as Ivy’s father, Edward Walker, have raised their families in fear of the creatures who are fed a sacrifice of animal flesh on a weekly basis. Residents of the Village are not allowed to enter the forest and must not wear the forbidden color, red, which is said to set off the creatures. As we join the story, the monsters are believed to be raiding the town at night and causing a panic.

In the midst of the panic, Lucius begins to spend more and more time looking in on Ivy and her family and while he is a character of few words, Joaquin Phoenix as an actor communicates all we need to know about Lucius, he’s in love with Ivy and shows it by becoming her de-facto protector. For her part, Ivy is far more open and vocal about her feelings and these two approaches collide in the best scene in The Village in which they eventually declare their love.

I had forgotten about The Village since seeing it on the big screen in 2004. This led to a wild viewing experience in which I was convinced that I completely disliked it and then shocked to find myself deeply invested and enjoying it during this rewatch. No joke, I was riveted by the performances by Joaquin Phoenix, Bryce Dallas Howard, William Hurt and the supporting players including the brilliant Brendan Gleeson and Sigourney Weaver.

Then the third act hit and my memory came rushing back. Now I remember why I hated The Village back in 2004. The third act of The Village is a complete trainwreck. From the moment that Joaquin Phoenix is knocked into a plot device coma to the reveal of the big twist well before the actual end of the movie to the nonsensical and self indulgent ending, The Village goes completely off the rails.

The next section of this review of The Village goes into spoilers so if you still haven’t seen The Village and want to remain unspoiled, jump off now and come back after you see the movie, it’s on Netflix. We’ll be here when you get back.

The big twist of The Village is despite the setting in a village that even the tombstones indicate exists in the late 1800’s, the movie is actually set in modern America 2004. The monsters that provide the oppressive atmosphere of the first two acts aren’t real. The town elders portray the monsters as a way of keeping their families from trying to leave the village and find out about the modern world outside the forest.

William Hurt, it turns out, is a secret billionaire who, with the help of the elders, created The Village as a way of escaping the crime of the modern world that had tragically taken the lives of members of every family in town. This ‘twist’ is deeply problematic in numerous ways. For instance, why convince everyone they can’t wear red? Why make red a plot point at all? It never becomes important, especially after Hurt admits to making up the rules along the way/ 

At one point, after the creatures are revealed as not real, Bryce Dallas Howard, whose character is blind, is seen to have wandered into a field of red flowers and tense music plays and you’re baffled as you know there is no danger and she knows there is no danger and yet the movie wants the scene to be suspenseful because of the monsters. The monsters that, by this point, he's already revealed as fake. Why would we be afraid in this scene?

Why didn't the elders simply declare themselves Amish and create a colony based on those values? Why the elaborate ruse about the outside world? I get that they want to frighten the children into never leaving but there has to be something simpler than goofy-looking woods' monsters to convince people from leaving. This just seems like a lot of unnecessary work to hide a secret that doesn't need much hiding.

Shyamalan directs the third act of The Village as if he hadn’t revealed the twist ending at the start of the act. The movie straight up has William Hurt admit the elaborate lie to Bryce Dallas Howard and then sends her on a journey through the now completely safe woods that is then played as if there were still real monsters on the loose. When Howard finally makes it out of the woods it appears Shyamalan wants us to be surprised that we are in modern day America.

That would be fine if he didn’t tell us that before she ever actually left the village. The only real tension is that Howard’s Ivy is blind and must find her way through the forest alone and blind. This is something she manages quite well under the dire circumstances but raises the question of why Hurt didn’t just go himself. He gives some nonsense about how he vowed to never leave the village and yet he reveals the lies about everything to his blind daughter and then encourages her to leave the village on her own? Blind, going into the woods alone. At the very least, that’s awful parenting.

The Village stinks because it wastes two acts of a really compelling drama on a twist that wasn’t a twist and a series of nonsensical story beats that the script undercuts by revealing everything far too soon. We get the secret about the fake monsters and the modern day setting before Ivy leaves into the forest. The film has an action beat left courtesy of Adrien Brody’s offensive burlesque of a mentally challenged man but that’s not what we have been building toward.

We were promised a twist ala The Sixth Sense and what we got instead was a third act that would come to define the worst traits of M Night Shyamalan, his tendency toward convoluted and overwrought twist endings and big plot moments. In the third act, Shyamalan abandons the strength and heart of the film, the love story between Joaquin Phoenix and Bryce Dallas Howard in favor of nonsense action movie chases and a twist that he spoils himself before it can surprise us.

It’s a shame because there were two thirds of a really compelling movie in The Village.

Movie Review: Without a Paddle

Without a Paddle (2004) 

Directed by Steven Brill 

Written by Jay Leggett, Mitch Rouse 

Starring Seth Green, Matthew Lillard, Dax Shepard, Ethan Suplee, Burt Reynolds 

Release Date August 20th, 2004

Published August 19th, 2004 

Despite what many screenwriters will tell you, writing a screenplay is not that hard. Not hard at all if you're not interested in writing a good script. Simply follow the formula used by the writers of Without A Paddle: take three successful films, say City Slickers, Road Trip, and Deliverance, extract the most basic elements from each, and combine them into your movie. Be sure to read Screenplay Writing for Dummies to fill out your screenplay into the proper salable length and you’re done.

Without A Paddle stars Matthew Lillard, Dax Shepard, and Seth Green as three childhood buddies confronting life as adults after a friend’s death. Lillard is Jerry, a computer programmer who hates his job and can't decide whether or not to settle down with his girlfriend; for you screenwriters looking for character development shorthand, Jerry is a surfer with all of the stereotypical attributes of a surfer to fill out his character. That saves you having to write him witty dialogue or anything that might resemble an interesting character; he is a placeholder for a stereotype.

Dax Shepard is Tom, a part-time criminal, gambler, and full time ladies man. Again, a little screenwriter shorthand, the writers here use other characters’ conversations to establish Tom's colorful background (prison stays, casino trips, orgies). This is helpful because now you don't have to write the character anything interesting to do, simply tell the audience he is wacky and you’re done. Tom is a placeholder for a backstory far more interesting than the character that is written.

Finally, there is Seth Green as Dan, a doctor ,and by far the most successful of the three friends. Now, screenwriters, pay attention to the Dan character because he is an example of a modern comic rule that states that any comedy with more than one male lead must have one of those male leads be super-neurotic. Establish various fears and phobias and then add the nerd accouterments, asthma inhaler, pocket protector, bad glasses and a general fear of women. Again, you save yourself having to write an interesting, funny character.

The plot finds our intrepid trio paying tribute to their dead buddy by taking the canoe trip they had always dreamed of. The trip is special because it involves searching for the lost loot of D. B Cooper, the urban legend who robbed passengers on an airplane and leaped from the plane at an altitude that could only have killed him. It is an intriguing legend -- neither his body nor his loot have never been found -- that has inspired more than one film. If only it had inspired a better film than this.

From there, the boys head for the backwoods of Oregon where they quickly lose their way while fighting off a bear, a crooked sheriff and a pair of redneck dope dealers played by Abe Benrubi and Ethan Suplee. Both Suplee and Benrubi have seen better days. Also on the trip the guys commune with a pair of nutty environmentalist chicks and a backwoodsman played by Burt Reynolds who may hold the key to the Cooper legend.

One rather unique problem in Without A Paddle is one I mentioned briefly earlier in this review and that is the back stories given to key characters. Both the dead friend Billy and Dax Shepard's Tom have back stories that are way more interesting than the story we are forced to watch. Billy has climbed Everest, dated supermodels, and rafted the most difficult rapids in the world. Tom has been in and out of prison with all sorts of oddball encounters with criminals, scam artists, and beautiful woman. We see almost none of that and instead are treated to a very mundane road movie.

Mundane is a rather kind description for a film made by guys who think it's funny to have Burt Reynolds in their movie. Not that they have written anything funny for Mr. Reynolds, they just think that Burt Reynolds is funny. Is it kitsch? Is it ironic in some way? I have no idea and I doubt that poor Mr. Reynolds knows either, or cares as long as the check clears. Reynolds long ago surrendered his likeness to parody and now only acts for the dollars.

We should not be surprised that such a hack movie would be Directed by Steven "Adam Sandler's bitch" Brill. Brill was lenser on both Mr. Deeds and Little Nicky as well as the wretched Disney kids flick Heavyweights with Ben Stiller. Brill may have actually written the book Screenplay Writing for Dummies, he wrote Little Nicky as well as the wrestling comedy (tragedy?) Ready To Rumble and two Mighty Ducks movies. To his defense, however, he is not credited on Without A Paddle; that dubious honor goes to TV veterans Mitch Rouse and Jay Leggett.

The three leads Lillard, Shepard, and Green don't do themselves any favors but they don't embarrass themselves. Lillard, to his credit, is becoming less and less abrasive and off-putting with each role. Green will always have a place as a second or third banana and he will always have endless goodwill for his voicework on TV's Family Guy. As for Shepard, the former Punk'd star, he has a little charm. I like how he bites into a punchline but he never had a chance with this poorly written role. Based on this it's difficult to pass any kind of judgment on Dax Shepard.

I must admit that I laughed during Without A Paddle more than once. However it was mostly a reflex action from remembering funnier jokes from Road Trip or City Slickers and one quick reference that a character makes to Ned Beatty's moment of truth in Deliverance. This film is a perfect example of the kind of assembly line comedy that Hollywood executives excel at making. It's relatively inoffensive, not entirely inept but utterly unmemorable comedy that you will forget as soon as the credits roll.

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