The_Matrix_Rocks Reviews

Seven Pounds (2008)

Good Will, But He's Still Hunting

[6/10 · 27 February 2009]

Poor Will Smith suffers from a tragic Hollywood handicap. Like Robin Williams and Jim Carrey, his off-screen persona overshadows his craftsmanship when it comes to acting. This means that he has to work extra hard to achieve an authentic transformation into a character different from his persona.

This affliction tends to predominate among comedians, and maybe that's the reason Jack Nicholson has been able to overcome this potentially debilitating condition. Or maybe he's just a brilliant actor.

But "Seven Pounds" fails as a movie because it doesn't manage to counterbalance the powerful force that is "Big Willy Style", confirming once again that Smith is most clearly in his element in comedy or action settings.

His valiant attempts at more dramatic roles are definitely workmanlike, and I can't help feel that eventually the right director will give him a context which amplifies his efforts. Sadly though, that doesn't happen here.

"Seven Pounds'' director, Gabriele Muccino previously helmed a superior attempt by Smith to transcend himself in "Pursuit of Happiness". He took on a more difficult challenge here when he decided to play the story as a suspense thriller, instead of a straight drama. It requires significant skill to arrange the various devices subtly enough to keep the viewer intrigued without losing them before the climax. Shyamalan's "Sixth Sense" and any of Hitchhock's famous works are fine examples of achievement in this respect.

It's hard to summarise the plot without giving it away, so let's just say that Smith portrays a man who tries, in a unique way, to wrestle down the demons scared up in the aftermath of a terrible personal tragedy.

The narrative is non-linear enough to indeed build some mystery. It provides sufficient clues along the way to keep the audience guessing and on your way home you'll have the added bonus of finally being able to work out what the enigmatic title refers to.

But if you're not a die-hard Will Smith fan, willing to forgive most any trespasses by the great man, some of the dramatic interludes and intense staring will start to wear thin long before the end credits are rolling.

Welcome Home, Roscoe Jenkins (2008)

Exceedinlgy Average

[5/10 · 27 November 2008]

African American family values movies have matured into a distinct and popular genre and, Martin Lawrence traverses familiar territory with this awkwardly-titled movie.

He plays RJ Stevens, a big city motivational guru who has taken the concept of "self-help" too far, leaving him somewhat estranged from his family in the Deep South.

In an inelegant plot device, his parents' 50th anniversary serves as an exploitable marketing opportunity sufficiently enticing to lure him back to his hometown.

From there, things unfold fairly formulaicly to RJ's rekindling of his true identity, Roscoe Steven Jenkins.

Although Lawrence is the lead around whom the story revolves, it does feel slightly like an ensemble piece. But fortunately the cast is competent and believable, even those fulfilling comic relief roles.

So as an illustration of good ol' hometown values like "always be true to yourself", "the importance of family", and the "power of forgiveness", it's a good choice for family night viewing, if you can find a way around Mo'Nique's apparent inability to avoid the B-word.

First Sunday (2008)

Funny, but only in very isolated parts.

[4/10 · 26 November 2008]

So, it turns out "blaxploitation" films are still alive and well, and these days cast Ice Cube, Katt Williams and Tracy Morgan in the leading roles.

This offensive film parades just about every stereotype about African Americans that you can get away with while still maintaining a PG-13 rating. That translates into a ghetto setting curiously devoid of drug dealers and crack whores. There is one character who dresses like a pimp, but I'm convinced that was because of a mix-up in wardrobe, rather than a deliberate attempt at authenticity.

What is inexcusably absent though is a discernible plot. The screenplay seems to be a weak attempt to re-purpose the flimsy dramatic premise that powers "Die Hard", but relocating it in a church and mashing some Agatha Christie mystery elements for good measure.

What emerges then, in place of a plot, is a severely frayed thread, ambitiously intended to link together a series of set pieces where the various performers deliver signature material - kind of like what you'd find at a school concert, only less coherent.

"First Sunday" does have some funny moments and to be fair, the family did chuckle about the movie for a couple of days after watching it. So think of this movie as a set of toppings in search of a (first) sundae.

Good Luck Chuck (2007)

Dane Cook Returns To Form

[4/10 · 25 November 2008]

If FHM magazine were ever made into a movie, then "Good Luck Chuck" would be it. It's pure ladsy fun with plenty of eye candy and testosterone-fueled humour.

In what is surely an unintentional homage to Steve Martin's brilliantly manic dentist-with-issues character from "Little Shop Of Horrors", Dane Cook also portrays a dentist with a curse that, although different from Steve Martin's, makes falling in love equally problematic.

He meets excessively-penguin-loving Jessica Alba, which kick starts an hilarity-filled set-up towards an eco-friendly "if you love something set it free"-type crescendo.

Cook has much more scope in this film to do his signature "Dane Cook" thing than he had in the previous, more restrictive "Employee of the Month". And for the most part it works well, especially with the able support of Dan Folger as his obligatory sex-obsessed colleague/buddy/side-kick.

And staying true to the FHM theme, invoked earlier, I'll conclude with some remarks about an ironic reflection of the movie's title: poor Dane must surely be cursing his own frustratingly bad luck after doing this movie. Remember that in "Employee of the Month", he got nowhere near pneumatic leading lady Jessica Simpson's... umm... "fun bags" (especially ironic, considering how hard they were to miss in that movie).

Things get worse in "Good Luck Chuck", because despite getting to share ample screen time with lots of boobies (especially in one montage that's sure to be one of the year's top downloads), he fails yet again to get to celluloid second base with an even hotter Jessica (Alba, this time).

And as if that wasn't enough of a kick in the nuts, the outtakes reel shows Folger relishing some fortuitous naked-Alba action.

So, assuming Dane is now cursed with similar bad luck as the titular Chuck, then any future role opposite supremely-hot Jessica Biel will surely complete the unfortunate Mr. Cook's tragic trifecta of missed "opportuni-titties".

10,000 BC (2008)

Everyone's Phoning It In

[3/10 · 25 November 2008]

Oh all right then, Roland! I guess you can cobble together montages (or indeed editing room clippings) from "Quest For Fire", "Jurassic Park" and "Stargate" and hope to arrive at a sort of proto-version of "Apocalypto", but as "10 000 B.C." shows, that doesn't mean it's a good idea! Emmerich is capable of producing much better fare than this lame tale of a prehistoric hunter's epic journey to save his loved one, and maybe his people too in the process. It's hard to believe fairly decent movies like "Independence Day", "Thirteenth Floor" and "Godzilla" were made by the same director.

Weighed down by wooden performances and make-up that raises far too many questions, the leads inspire very little interest. But then again, when "Whale Rider" alumnus Cliff Curtis has to be saddled with a character name like "Tic'Tic", you really have to wonder if everyone wasn't just phoning it it.

One or two interesting touches are present in the narrative, but the abiding sense is that the whole thing feels like a stretch. This story has more plot holes than a mole-ridden cabbage patch.

Be Kind Rewind (2008)

Good Choice for a Family Night In

[7/10 · 25 November 2008]

It's a shame this under-rated gem of a movie never really took off, because it has all the makings of a cult classic.

Uncannily resembling the hypothetical film-ic love child of a Spike Lee Joint and Kevin Smith's "Clerks", "Be Kind, Rewind" tells an implausible tale of two inept video store clerks played by Mos Def and Jack Black, who attempt to recreate video classics like "Robocop" and "Ghostbusters", after bumbling Black inadvertently erases all the store's rental tapes. How this happens is an even more far-fetched turn of events, which I won't spoil by revealing.

All of this mayhem plays out against the backdrop of a community desperate to save its heritage in the face encroaching consumerism, and congeals into a nice little allegory on the perils of modern society.

Charmingly acted and with the always-edgy Jack Black stealing the show as usual, the film has lots and lots of heart, making it an ideal choice for a family movie night.

The Kite Runner (2007)

A Tear Jerker Of Note

[9/10 · 24 November 2008]

It's been quite a while since I cried during a movie, so hats off to director Marc Forster for producing a tear-jerker of note.

Based on Khaled Hosseini's beautiful best-selling novel, this tragic tale of friendship, betrayal and redemption unfolds against the depressing backdrop of the atrocities of war.

The skillful screenplay presents the disturbing elements of the story with a dexterous discretion, shocking the viewer just enough to want to disengage, but pulling back just before you do. It's as compelling as it is sad. It's also accomplished because it deftly avoids overblown sentimentality.

There are strong performances by a cast of unknowns, and the child performers out-act the adults at just about every turn.

This film is highly recommended, as is a box of tissues while you watch it.

Juno (2007)

Overrated Script Saved by Good Acting Performances

[5/10 · 24 November 2008]

Diablo Cody's script for "Juno" may have won an Oscar, but it's over-rated and fails to impress.

As if channelling her previous career, this stripper-turned-celebrity-blogger's product resembles a typical lapdance - lots of teasing and attempts to shock, but woefully short on both delivery and substance.

No, the true strength of this movie lies in the excellent performances from its hard-working cast. All the portrayals resonate with authenticity, and I believe much more fuss should have been made about Ellen Page's precocious performance as the eponymous pregnant teen.

Juno's soundtrack is also full of delightful songs with lyrics you'll want to follow closely.

Cloverfield (2008)

Noisy, Shaky and Incoherent

[3/10 · 24 November 2008]

Noisy, shaky and incoherent - and no, I'm not talking about a cantankerous geriatric.

"Cloverfield" unashamedly rips off 1999's truly terrifying "The Blair Witch Project", but ironically both misses and is missing a plot.

Good looking twenty-somethings jog around Manhattan in improbable footwear while trying to rescue a friend, who is most likely already dead. One of them videos everything in a desperate attempt to "document" the attack of a monster from the deep. And that's the movie, folks! Mercifully this movie is over in about 75 minutes. This, at least, is a saving grace which again calls to mind the equally compact "The Blair Witch Project". I remain puzzled though at how battery life technology seems to have remained static for almost 10 years, but I suppose it's nothing partial recharging can't explain.

While I discussed and analysed "The Blair Witch Project" for weeks after the movie, I'm amazed I remembered "Cloverfield" long enough to write this review.

Eagle Eye (2008)

Seen It All Before

[5/10 · 24 November 2008]

D.J. Caruso and Steven Spielberg team up to give us a fun and utterly forgettable roller-coaster ride.

Almost-intense Shia LaBeouf goes on the run from a faceless pursuer who turns out to be harder to evade than initially meets the eye. Meanwhile, almost-hysterical Michelle Monaghan races against time to save her son from a menace that turns out to be more... well... menacing than initially meets the eye.

I noted a problem in chemistry between the lead actors, and I think it has to do with the 10-year age gap between them.

Despite LaBeouf's valiant attempt to sport a goatee, he only ends up looking look a guy trying to look older than he is.

He would have done better to rather embrace the boy-toyish sub-text resulting from the casting decisions, and just celebrate the manifestly MILF-ish complexion of his burgeoning intentions with single-mom Monaghan.

You've seen this movie before if you watched "Stealth" 2 or 3 years back. And only the eagle-eyed among you will have enjoyed the eagle-eye-candy in the form of Jessica Biel in a hot bikini!

The Incredible Hulk (2008)

Ang Lee vs Louis Leterrier

[7/10 · 24 November 2008]

Comparisons are inevitable with Ang Lee's much-panned 2003 attempt at the story of the big green monster. So for the record, I think they come out about even, but for different reasons.

Lee's Hulk/Bruce Banner combo, as portrayed by Eric Bana, ended up more cartoonish, but ironically more complex. Leterrier's combo starring Ed Norton, on the other hand, is not only better rendered, but Norton just looks as if he was born to play Bruce Banner in 2008. He effortlessly modernises the character, infusing him with new age attributes like hoodies, back-packs and Brazilian martial arts, while retaining the quintessential intensity that transforms into rage just as Banner transforms into the Hulk.

I favoured Jennifer Connelly over Liv Tyler for the Betty Ross character, but William Hurt does make a great Thunderbolt Ross.

I can't really remember the villain in Ang Lee's version - something about "daddy issues", so Tim Roth's excellent descent into Abomination is a bona fide Marvel villain.

Stan Lee must be very happy (if not very wealthy) for two reasons: 1)because the Incredible Hulk, as immortalised in this movie, continues to be one of the most adored stalwarts of the Marvel universe, and 2) because even though "The Dark Knight" recently beat down "Spiderman" as king of the box office, there is no doubt that it's the Marvel universe and not the D.C. one, that's filling out very nicely at a theatre near you.

Indiana Jones and the Kingdom of the Crystal Skull (2008)

Misses It's Mark By A Mile

[4/10 · 24 November 2008]

I felt pretty bad for Harrison Ford throughout this movie because he looked decidedly out of place for a man acting in a movie franchise that was built up around him.

It's as if deep in the recesses of his own artistic consciousness, he knew that the idea of a fourth outing so many years later as the titular Indiana Jones was ill-conceived.

But the financial inducement must have been good, and "Firewall" was after all, quite a lot of house-and-car re-payments ago. So at some level, perhaps he had no choice but to plod along. And plod he does.

Assuming the heyday of these movies passed about 20 years ago, Spielberg needs to remember what George Lucas learnt with his Star Wars projects - it's OK to re-package an old product, but don't try to sell it to the same audience. Kids today won't respond to Indy in the way we responded when we were growing up - even with the relentless merchandising.

This movie would offer an intriguing exam poser for Film Studies students though: "Is it still considered 'derivative' when you copy your own work?"

Granted Spielberg almost had it though, laying some groundwork to introduce Shia LaBeouf as a new-age Indy. But his undoing lay in trying to re-birth an action hero fundamentally out of step with his target generation.

And while Cate Blanchett was deliciously evil, I have to say Karen Allen's performance is pure fodder for an "E! Online's Top 25 Most Embarrassing Comebacks in 2008" show.

Sex and the City (2008)

Extraneous Movie-Making

[4/10 · 24 November 2008]

If ever there was an unnecessary movie, this is it! "Sex and the City: The Movie" is nothing but a naked attempt at cashing in on the wildly successful TV franchise. Dressing up that naked attempt in some stunning clothing by leading fashion designers still constitutes no justification for making this movie.

The film adds nothing significant to the mythology of the Fabulous Foursome, and unfortunately, their ageing (in both senses of the word) antics don't translate well onto the big screen.

Many a hit TV series has suffered this fate (think "The X-Files") and I never thought I'd compliment the makers of hit 80s shows like "Knight Rider", "Airwolf" and the "The A-Team" for knowing that discretion was the better part of valour.

Meet the Spartans (2008)

Avoid These Spartans!

[1/10 · 30 September 2008]

What a complete waste of time! I don't know quite what made me rent this inane piece of trash based on the movie "300" - in fact it was most likely a misguided sense of fandom that made me do it.

But even if imitation is the sincerest form of flattery, I'd still be insulted by this if I were the makers of "300".

It eventually got so tiresome that I ended up listening to the audio commentary. From the sounds of it, at least the cast had a ball making the movie, so I'm glad at least some people got to enjoy it.

There really is very little to recommend here, as even the "Casino Royale", "Spiderman 3", "American Idol" and "Happy Feet" send-ups are pathetically devoid of any intelligent input. You see every gag coming from a mile away, and it almost always involves testicles, boobs or some crack about Spartans being gay. The producers should have spent more money on quality comedy writers, instead of wasting all the funding on securing I've-almost-made-it TV actors on vacation from their real jobs. I'm particularly embarrassed for Diederich Bader, whose pedigree is much better than this.

In this Little League genre of spoofs, the Wayans brothers' "Scary Movie" franchise, "Not Another Teen Movie" and the intro sequence to probably every year's MTV Movie Awards since 2001 are the leading contenders. Against that field, "Meet the Spartans" comes off as a tired also-ran.

The Night Listener (2006)

Engaging, but failed to raise my interest

[4/10 · 29 September 2008]

It is always interesting when Robin Williams strays outside the space in which he is most effective (or not, as some may argue).

As in "Insomnia" and "One Hour Photo", his character here is more complex. Williams plays an acclaimed writer, Gabriel No one, who has also parlayed his writing into a successful late night radio show.

Williams' troubles start when an avid fan makes contact with him during a slump period in his career and personal life. The fan is a boy with a terminal condition who starts sharing stories of the terrible abuse he suffered while growing up.

As the relationship deepens, a more sinister aspect emerges, and the movie shifts into a mystery mode.

The problem is that the pace is too slow, and it becomes clear too early in the plot what is going on. The story also fails to build interest or anxiety especially around the imperilment of Williams' character.

And that's ultimately a casting problem, because in concept there's actually nothing wrong.

Office Space (1999)

Good, With Space For Improvement

[6/10 · 29 September 2008]

I was very disappointed in this amateurish dot-com bubble attempt at a critique on Corporate America.

Ron Livingston delivers an average performance as a loser slacker in a nondescript office environment who falls under the spell of a relaxation tape. This changes his whole outlook on work, and amazingly, starts him inadvertently on an acceleration path to management in his organisation.

Any movie that recycles a plot point from "Superman III" , and then meat-loafs it with a "Shallow Hal" plot point must raise serious questions.

"Friends" fans will likely platz at the sight of Jennifer Aniston in an early foreshadowing of much edgier work to come ("Friends with Money" and "The Good Girl").

There were some good points: Gary Cole as the snide boss is excellent, Diederich Bader as the loopy neighbour is true to form, as ever. But my favourite part was the opening scene in which David Herman raps along with requisite attitude to Scarface's "Damn It Feels Good To Be A Gangster". A postcard moment for every Eminem wanna-be if I ever saw one.

On the whole though, writer/director Mike Judge unfortunately misses his mark.

Rendition (2007)

Scarier Than Fiction

[7/10 · 28 September 2008]

The truth, it's said, is often stranger than fiction. "Rendition" reminds us that the truth is often also scarier.

For any viewers of conscience, who are concerned at developments on the world stage since the early 1990s and even prior, this movie provides much food for thought as it deals with the very disturbing themes of government-sponsored kidnapping and detention-without-trial. It's essentially an essay on the innocent victims of America's escalating post-9/11 paranoia and Oscar-winning South African director Gavin Hood restrains himself admirably to avoid a presentation that is overly preachy.

Aided by a calm screenplay, he offers, wisely, a dispassionate account of the impacts and aftermath of an unfortunate mistake made in the wake of a terrible event. The story revolves around Anwar El-Ibrahimi (Omar Metwally), an Egyptian-born chemical engineer on his way home to his family in America who is mistakenly assumed to be involved in a terrorist bombing that claims the lives of 19 civilians and, critically, 1 American.

He is abducted by mysterious government forces upon touchdown in Washington and 48 hours later is being brutally interrogated in an Egyptian hell-hole of a prison. The film is constructed as a set of parallel dramas unfolding around El-Ibrahimi's torture and offers a jolting twist which underscores the film's central message about the danger of misleading assumptions.

The cast is superb, and not only the "big Hollywood" names like Meryl Streep, Alan Aarkin, Jake Gyllenhaal and Reese Witherspoon , but also the lesser known actors portraying the "ethnic" roles.

In fact, in keeping with the theme of Hood's disciplined restraint, I was particularly impressed that he resisted the temptation to focus on the stars, and decided rather to coax truly excellent performances from his unknown actors. Yigal Naor, as the relentless torturer, and Omar Metwally, as the terrified and confused El-Ibrahimi, deliver captivating turns replete with substance and authenticity.

The film does have a few flaws, like insufficient integration of the plot threads, but this is a minor criticism in an otherwise strong and instructive movie.

Keep a very close eye on director Gavin Hood though, as I'm convinced we have yet to see his best work.

The Dark Knight (2008)

Not Just for Batfans - An Instant Classic

[10/10 · 28 September 2008]

Chris Nolan scores a direct hit with "The Dark Knight". He extracts brilliant performances from his cast and presents an engaging story which moves along at a healthy clip which belies it two-and-a-half hour running time. Nolan continues to refresh the Batman franchise, turning it into something with broad appeal but with the added dimension of staying power.

Expect to find high quality acting performances across the board. Christan Bale, as the titular Dark Knight, continues the sterling work he started in "Batman Begins", sustaining the admirable portrayal of a man struggling with the dualities inherent in the lifestyle choices he's made. He convincingly captures both the deeply dark motives that fuel the Batman, and the flighty lightness of the wealthy playboy reality that Bruce Wayne is forced to construct. At its core it's fully consistent with the essence of Batman and definitely raises the bar over the last decent attempt, which was back in 1989 when Michael Keaton had his first outing as the Caped Crusader.

Honourable mentions also go to Morgan Freeman, Michael Cane, Gary Oldman, and Aaron Eckhart. The only possible mis-step was Maggie Gyllenhaal's turn at Rachel Dawes. Her performance does well to capture the conflicted loyalties to Bruce Wayne (Bale) and Harvey Dent (Eckhart), but is devoid of any chemistry with either of them. Her presence therefore turns out ultimately to be more decorative than functional.

All of this however, pales into insignificance in the face of the late Heath Ledger's astounding performance as the Joker. His character is irresistibly magnetic and he dominates all his scenes. I defy you to notice anything else on-screen when he's in frame.

Ledger's ultimate feat though is that he completely disappears into the Joker character - not one trace of Ledger the actor is recognisable as he spins two or three discrete and all equally disturbing personalities during the course of the film. And this is about a lot more than the fact that his face remains painted throughout the film.

The posthumous Oscar buzz is most definitely not misplaced sentimentality. With this portrayal, Ledger has created the definitive version of the enigmatic Joker, and it will be the one to which all subsequent (and indeed other) Jokers will be compared. Weeks later I am still wrestling with the question of whether the Joker was either very sick or very smart, or some truly scary hybrid of both which cannot be captured in a single word.

A lot has been said about the toll that portraying the Joker took on Ledger's psyche. Speculation is rife that the extent to which he invested in the character for an authentic interpretation spurred him tragically to take his own life. This performance certainly lends credibility to that notion and leaves on asking whether the fictional Joker has finally claimed his first real-life victim.

As for the remaining aspects of the film, they all come together very well to create a compelling backdrop for the powerful performances. Economical dialogue, inspired selection and dressing of Chicago as Gotham City, super-cool new Batman technology (or should I say "toys"?), and a rich story filled with nuances which faithfully expose the richness of the Batman mythology.

A word on the prohibitive rating applied to the film: "The Dark Knight" is definitely not kids fare, with disturbing themes and some scary visuals. Much is made about the violence content but it's mostly implied violence and I must confess, I think I've seen worse in Chris Farley movies. So with proper adult supervision, this film can be an appropriate choice for a great family night in.

Wanted (2008)

Thumping Good Action!

[7/10 · 17 July 2008]

"Wanted" is a rip-roaring thrill ride that will keep you entertained from start to finish. I'm usually a silent movie-goer so it's a testament to the excitement generated during this film that on a couple of occasions I audibly vocalised my amazement at what was happening on-screen.

The title seemed slightly arbitrary to me, but this may relate to the fact that the film is based a somewhat obscure comic-book series. However, the plot is patently derivative and owes as much to (the very over-rated) "Da Vinci Code" and (the very under-rated) "Equilibrium" as it does to the "Matrix" trilogy. But this potential weakness did little to offset my enjoyment of the story which delivers a cracking twist at a moment when you least expect it.

Wesley Gibson (James McAvoy) is a complete loser. His overweight boss terrorises him, his best friend is sleeping with his girlfriend, he apologises way too much, and cares only about the fact that he cares about nothing.

Abruptly yanked from this humdrum existence by a shadowy band of assassins called Weavers, he learns from the leader, Sloan (Morgan Freeman), that he has to take the place of his long lost and recently murdered father. And so begins an inexorable advance to a showdown with his father's killer.

The phase of the plot where Wesley uncovers his father's almost supernatural legacy introduces several colourful characters, chief among which is Fox (Angelina Jolie). Powered by the seething sexual tension between them, Wesley gradually awakens to the true extent of his latent capabilities. But then again, Jolie's deliciously-tattooed hotness is enough to awaken latent capabilities (supernatural or otherwise) in anyone.

Unfortunately, intriguing plot elements like the history of the Weavers and a jaw-dropping new gun physics weren't developed more. But this is a petty point because there is already a lot of really good stuff happening in the narrative. Those plot points may contain the makings of a fan-boy sequel, but it is unlikely to attract the same stellar cast or live outside the domain of DVD-release. And that's a real pity because I do believe there is a still a solid prequel buried in there somewhere.

Visually, the movie is an achievement. CGI is powerfully employed to generate violence and car-chase imagery that pays due deference to the graphic novel genre from which the story springs. Nothing revolutionary is presented per se, but Director Timur Bekmambetov has reworked definitive elements from other films and definitely taken them up a notch.

The acting was the only truly questionable element for me. McAvoy may well be the darling of the new generation, but he looks hopelessly out of place all the way through this film. The benchmark performance for his role Was Keanu Reeves's Neo, who managed to sustain a convincing level of "engaged blank-ness" through three "Matrix" films. McAvoy by contrast seems incapable of shaking his art-house aura and makes a play for being serious. But he comes seriously undone and his fake American accent does him no favours at all. Jolie was closer to the mark and left the screen positively drenched with raw sexiness (and yes, it really is better on the big screen). Both Morgan Freeman and Terence Stamp's performances were not given enough space, although Freeman does have a delightful flourish near the end.

But despite being found "wanting" in some areas, "Wanted" is still a thumping good action movie. Watch it!

The Namesake (2006)

For A Select Few Only

[6/10 · 16 May 2008]

Mira Nair's latest attempt to popularise Indians in the West fails to achieve its objective. The film is not without its merits, but this is certainly not her best achievement, and it falls somewhat short of both "Monsoon Wedding" and "Kama Sutra".

The titular namesake refers to Gogol Ganguly, played by Kal Penn, who seems to be to Indians today what Sidney Poitier was to Blacks in 60s and 70s Hollywood i.e. the guy who plays every role available for that ethnic group.

But there is one important difference between Penn and Poitier (and it's not the letters that come after the P). It's that Poitier's acting skills and class in general are far superior. I couldn't help feeling that Penn was punching above his weight, and that he needs to graduate past teen comedies a little more slowly.

But Penn is not the film's greatest impediment. Try as I might, I couldn't narrow this film's protagonists down to less than 3 (namely Gogol, his mom and his dad). This device works well for epics and mini series', but made this movie seem unwieldy if I were to be kind, and unfocused if I were to be realistic.

The other problem is the unashamed "high-brow-ness" of choosing a relatively obscure literary reference for a movie destined for general release. I'm the first one to speak out against dumbing things down, but even I think a back story related to the writings of Shakespeare (or even Dostoevsky for goodness sake!) would have made for a more accessible story.

No doubt Mira and her friends are all congratulating themselves for being incredibly clever and well-read and being able to catch all the in jokes. And since succeeds so well on that front, maybe that was the ultimate objective.

Evan Almighty (2007)

Evan Almighty Good

[7/10 · 16 May 2008]

Viewers expecting to find the return of Jim Carrey's character from the previous movie will be disappointed to not find him. The wafer-thin plot link between the two movies was unnecessary in my opinion. Although some characters were carried over, there is no real link.

Evan Baxter (Steve Carrell) is a new senator who has pledged to change the world. God (the once again excellent Morgan Freeman) takes him up on his pledge, and Baxter transforms hilariously into a modern day Noah reluctantly building an ark and suffering ridicule at the hands of his community.

Carrell and Freeman play off each other beautifully, and both are very well cast. There is a delicious bit part by the chubby kid from "Superbad" and "Knocked Up", Jonah Hill. Watch him go up and up.

Like in "Bruce Almighty", God is confining the scale of his operations somewhat in this film (there's no real global peril at stake, it's more municipal in scale), but this movie's real heart is in its surprisingly profound message.

And while targeted at a faith-based audience, the themes remain relevant in these desperately a-spiritual times.

Seriousness aside, this movie belongs to Carrell and Freeman's excellent performances.

But be warned: there's an irritating thing about "doing the dance".

Iron Man (2008)

Heavy Mettle

[8/10 · 16 May 2008]

Director Jon Favreau scores a hit with his movie adaptation of the popular Marvel Comics character, Iron Man.

It's the story of wealthy, weapons-manufacturing, industrialist playboy, Tony Stark. During a particularly harrowing abduction episode Stark uncovers some disturbing facts about his organisation that make him rethink his approach to life.

Putting the wealth of resources at his disposal to good use yields the titular character. Iron Man is a super-soldier of sorts with all manner of modern gadgetry and weaponry on tap and ready to take out the "bad guys", whoever they may be.

Favreau makes a good call to update what was initially a Vietnam-themed story and reset it in modern times. Instead of "Charlie" we have dodgy, desert-cave dwelling, quasi-Afghan Mujahideen providing the revised backdrop.

On a technical level, the film is very satisfying - the visual effects are a treat, the story moves at a good pace, and the supporting performances are up to scratch.

But let's be clear: Robert Downey Jr.'s performance is the centre piece of this film. And it's a tour-de-force, effortlessly capturing the complexities of the Tony Stark character.

The vagaries of Downey Jr.'s personal life add an unexpected dimension of realism and credibility to his portrayal, enriching the Stark character well beyond Marvel's original design.

So Iron Man's comic-book fans can rest assured that their hero has been treated with requisite respect. There's also plenty of sequel potential, making this the first instalment of a lucrative new franchise.

Comparisons are inevitable between Marvel's Tony Stark and DC Comics' parallel character, Bruce Wayne (Batman). Although Batman is a more leading character in the DC universe, Iron Man's relative obscurity presents no impediment in this film, and he holds his own admirably.

With a new Batman instalment slated for later this year, Iron Man sets a very high bar for big releases as we enter the blockbuster season. Iron Man vs Batman will be a box-office showdown not to be missed!

Superbad (2007)

Superbad is Supergood

[8/10 · 16 May 2008]

A stunning and hilarious comedy from the crowd who brought us "Knocked Up" and "40-Year-Old Virgin". It also brilliantly showcases some emerging talents in the form of Jonah Hill and Michael Cera.

Rogen/Apatow/Evan's latest offering is right on the money, in this story about a couple of high school loser geeks trying to make some kind of impact on their dreary lives as they prepare to head out to college.

It's loosely based on Rogen and Evan's own experiences in high school, and charts new territory in the teen comedy drama despite being set against the well-worn backdrop of a "the last big party before graduation".

The comedy is razor-sharp, and evokes Kevin Smith's early outings like "Clerks" and "Mallrats". But there's also a 'mainstream-iness" about it last seen in the original "American Pie".

Hill and Cera are charmingly gormless as the leads, and they do a sterling job of balancing the film's comedic elements off against a fairly serious theme about the separation anxiety we all feel as we approach the end of high school.

Director, Greg Mottola has also teased out very good performances from the rest of cast.

All in all, an instant cult classic. Be warned though: this is the kind of movie you'll end up watching 2 or 3 times in a single sitting.

Michael Clayton (2007)

Michael Clayton is Over-hyped

[5/10 · 16 May 2008]

What a bore! The posters outside the theatre said this was Clooney's best work, but I totally disagree.

What this is, is a sad, but uninteresting story about big business being primarily motivated by profit - no surprise there.

Against this backdrop, we see the story of a aging fringe operator in a formidable legal machine.

I have seen far more compelling versions of this same story - "A Civil Action" springs to mind, as does "Erin Brokovich" (and not just because of the boobs) and even "The Devil's Advocate" for heaven's sake (and again, not just because of the boobs).

Where "Michael Clayton" fails is in the complete absence of drama. I ascribe this to a problem of poor focus and unfortunate choices - the film is unable to decide which story thread to focus on, and lazily tries to tie up this indecision by requiring the viewer to believe that an implausible accident sets in motion an even more implausible sting operation.

Much has been made about Clooney's performance, but the only deserved Oscar buzz was that generated for Tilda Swanson's performance.

If it's a strong Clooney performance you're after, then rather watch "Syriana" again.

Balls of Fury (2007)

Like Candy - Too Much Is Bad For You, But It's Good While It Lasts

[6/10 · 21 April 2008]

Part of living a full life is indulging a guilty pleasure once in a while. That's my explanation (read: "excuse") for getting a huge kick of enjoyment out of "Balls of Fury"... and I'm sticking with it! The film borrows heavily from the plot lines of "Enter The Dragon", just about every 80s and 90s kung fu movie and (get this), at least 2 Will Ferrell movies! "Balls of Fury" replaces nunchakas and unrealistic sound effects with ping pong paddles and incredibly realistic sound effects. And all the while retaining a lavishly-dressed island-tournament setting.

Dan Fogler is believable as the slacker with a huge responsibility, but is totally unconvincing as a table tennis wunder-kind. He's incredibly lucky though and not only for having to play a character called Randy Daytona (I mean how cool is THAT name?!). He also gets to be cooed at by an incredibly hot Maggie Q (being hot in ways I've never seen her be hot before - did I mention she was HOT?) A decent comic performance from George Lopez, whose head looks less distractingly over-sized for his body for once - well done, Costume Department! Diederich Bader, Thomas Lennon and even Jason Scott Lee also turned in delightful and in Lennon and Lee's cases, hilariously over-the-top cameo appearances. Christopher Walken was Christopher Walken, and getting more and more caricatured in every outing.

But in my opinion, this picture belonged to the ubiquitous James Hong. He essentially reprises a role from a "Revenge of the Nerds" sequel and takes it up a good few notches. His ultimate triumph was to unseat, finally, from my memory this classic line: "to truly hawk a loogie, you must retrieve the phlegm not from the throat... but from the soul". In "Balls of Fury" he delivers a whole monologue that I am now moved to memorise in its place.

You've seen a movie like "Balls of Fury" a hundred times, and one wonders if anything except a predictable financial return motivates filmmakers to keep producing fare such as this.

But every now and then, on a lazy Saturday afternoon, you actually stumble onto one that you and your kids will be laughing about for the rest of the weekend.