Cel_Stacker Reviews

Rango (2011)

Rango -- There's No Western Like It

[8/10 · 4 March 2011]

I realize a review is supposed to talk about the movie, but indulge me for a moment.

I enjoy Westerns. But, that wasn't always the case. My mother of all people turned me on to the virtues and value found in "Bonanza", "Cimarron Strip", "The Big Valley", and "The Virginian". Later, I would discover what made everyone from Sergio Leone to Clint Eastwood cool. I came to respect the romance and intrigue inherent in the genre; rarely was I turned off.

It's that much more pleasing when the genre is taken in a different direction. We have an excellent example this year! It starts with a neurotic pet chameleon (Johnny Depp), naturally well-versed in drama and portrayal. Cruel fate sees him stranded in the wasteland, literally guided by voices, as he spends an amusing opening trying to survive. A chance meeting with strong-willed rancher lizard Beans (Isla Fisher) gets him a ride from the sewer to the toilet, a last-legs town, appropriately called "Dirt". There are water problems as well as outlaws aplenty. Mr. Neurotic lays eyes on a label in a saloon, spins a few tall tales, and Rango is born! After more dumb luck sees him nail a hawk and run toughie Bad Bill (Ray Winstone) and his gang off, Rango becomes a name in the community.

But, can he figure out what's behind the water shortage? He's on a clock, since to said outlaws, a sheriff's star may as well be a bulls-eye.

Prior to rushing out to see this, I heard a couple of pre-cog complaints about ugly character designs. That's easily answered, along with many other stigma you true believers may be having. First, if you are into clean, perfect, "attractive" character design and execution as displayed through the rose-colored, 3-D VR helmets borne of the PIXAR/DreamWorks debate, stay away from this film. That goes triple for you parents looking for the next animated film before which to plop your kids down, where any animated film will do. Don't do it. Save money and gas...go see "Toy Story 3" for the twelfth time.

None of that here. Just as men are men and women are women in the Old West, "Rango" is it's own film. More "Shane" than "Shrek". More "Foreign Correspondent" than "Finding Nemo". It's gritty. Raw. Filthy. Surreal. Disturbingly violent at times. But with just the right amount of well-placed humor to break it up. Gore Verbinski's trademark pacing, put to increasingly awkward use in the "Pirates Of The Caribbean" franchise, works surprisingly well here. Equal attention must be paid to animation director Hal Hickel and the ever-improving staff at ILM, as they trade firm handshakes with art director John Bell and production designer Mark McCreery in the successful effort to craft stunning, unforgettable visuals, accented by outstanding lighting, which puts the fruit of the current 3-D, hi-def craze to shame. The not-so-original, yet solid story receives further grand support from a sweeping score by the winning Hans Zimmer and the further contributions of co-producers such as Mark Bakshi. (Yes, he's related to that Bakshi. Those in the know need not hear anything further. The rest of you, get to Googling.) Everything about the film cries "unorthodox", including the performance of a highly capable cast, who actually performed their scenes on sound stage, near-to-unheard of in animation procedure. Keep eyes peeled for humorous set pieces and important cameos. This is well worth your repeat viewings.

So, head on west. But leave the kids at home to wrestle with PIXAR, DreamWorks, and the other juveniles of the terrarium.

Zelig (1983)

Pop Culture goes *pop*

[8/10 · 19 March 2009]

This is an engaging mockumentary about Leonard Zelig (writer/director Woody Allen), the undisputed medical phenomenon of 1929. So serious is his neurological condition, that he will assimilate the physical, mental, and even cultural attributes of whomever with he spends significant time. That's right--around fat people, he gets fat. Around black people, he becomes black. He'll develop a beard and orthodox learning before your eyes if he's around rabbis. The only one who understands, and consequently, fights for him, is the long-suffering Dr. Eudora Nesbitt Fletcher (Mia Farrow), determined to find the cure.

It's just a shame that this film didn't win more awards than it actually did, and a near perfect crime that it's not discussed more often than it is. For one thing, it's far and away among Allen's VERY BEST. The textbook subjects that he confronts so well, such as disease and physical yearnings, are present, but are righteously treated as window dressing for the presentation of the story. The insertion of Allen, Farrow, and a cast of their pals (all of whom perform to a T) to the pre-war era is eye-popping, to say the least. As said before, it's a mockumentary executed so nicely that it could make Christopher Guest turn stone with envy. The highly improbable plot is considerably well-handled, leading us to the inevitable comparison that follows.

Now, if you run around praising "Forrest Gump" (and I KNOW you do), and you haven't seen this, you're really missing it. As fun and briefly interesting as "Gump" was, this classic edges past it, for the simple reason that it knows better than to take itself seriously. This is a comedy, start to finish. The gags are gags, and never manipulate. When we feel for Zelig, Eudora, or both, it's real. After all, who HASN'T tried to fit in somewhere? Finally, the ever-changing way in which the public views/treats Zelig through the whole ordeal that was his "career" exposes the fickle nature of pop culture, showing it for the joke that it is. This was truly Woody at his finest, in a work that definitely should have a little more admiration.

Watchmen (2009)

"Does Anybody Really Know What Time It Is?"

[7/10 · 6 March 2009]

It is...a most interesting version of 1985. Nixon has been president for FAR too long, the Soviet Union struggles with the West over control of Afghanistan, and crime and social upheaval are at an all time high.

And, oh yeah, superheroes exist.

However, superheroes have problems, just like anyone else. The most notable of super teams, the Minute Men, had long passed their glory days and handed the torch to the next generation, whose problems were so severe that they wound up disbanded.

But now, the murder of a veteran member causes these new Watchmen to unite again, with the purpose of solving said murder, and perhaps, saving the world once again.

As different as the source material upon which this movie was based proved to be, I never really liked it. I knew very little of the mysterious writer Alan Moore at the time that I read it (somewhere between high school and college), but he would go on to write works that I enjoyed much more. I gained an appreciation for the dark themes and the social mirrors he explores. But after two readings, I found this particular story somewhat abrupt and naive.

Now, a movie comes along. Surprise, surprise, it proves effective.

Don't go expecting the typical comic book nonsense (aside from Christopher Nolan's take on Batman, and a scant few other examples, that is) to which we've been exposed up to this point. In fact, it's most effective if you attend with no expectations at all. This prompts me to wave a BIG flag before parents--it's rated R for a reason. In fact, there are many reasons.

Some solid performances abound in a cast of actual character actors rather than stars. In particular, talking head followers should enjoy the fine actors portraying The MacLaughlin Group and Ted Koppel. The musical choices pull you in to the narrative, reflecting the troubled era well. (Who would have thought that a Bob Dylan tune would be such a powerful intro?) The film is faithful to the source material to no grammatical fault.

This is one problem critics have had with the film already. One such critic, whose review I thought was rather good otherwise, put forth that the photo-play is so faithful to the novel, that it lacks any spirit of its own. I don't necessarily argue with that, but I do differ with the idea that the story is irrelevant due to the passage of time. (Since there's no Soviet Union, etc.) It's the reason for my title. Some will recognize the classic Chicago Transit Authority tune: "Does anybody really care? And so I can't imagine why, we've all got time enough to die..." (Kinda surprised they didn't add that one.) If anything, the social and cultural connotations of a story like this are MORE relevant today than ever.

In a world facing problems like economic downturn, increasing social upheaval, and families being ruined by a whole lot more than just war, perhaps it is the right time to revisit The Watchmen.

Coraline (2009)

Nothing like the Moon

[8/10 · 14 February 2009]

Henry Selick again brings a tour-de-force by way of fascinating innovation in "puppetmation".

The story, adapted from a fine Neil Gaiman work, features feisty 'tween Coraline Jones (Dakota Fanning), fresh from Michigan and taking up residence with her independent journalist parents in "The Pink Palace", a landmark on the edge of nowhere. The only other kid for miles, Wybie (Robbie Bailey), is a rambling nerd with a strange pet cat, her mother (Teri Hatcher) is absorbed in meeting her deadline, her father (John Hodgman) is, well, simply absorbed, and her neighbors are elderly oddities, especially Mr. Bobinsky (Ian McShane, in a role that suits him), a former acrobat from Russia with an appreciation for stinky cheese. Things aren't necessarily bad, just weird and dull.

That is, until Coraline unlocks a door in the house far too small for most humans, and discovers another world, where another family awaits, similar to the first family, but with everything Coraline misses. All too soon, the lines between fantasy and reality blur, and Coraline is forced into making a decision that will either change her life or end it.

The usual nitpicks may rear their ugly heads when comparing the film to the novel, but in general, this is a great adaptation, in that it captures the essence of the story. Reality and fantasy blur as quickly for the viewers as they do for Coraline, which helps to plunge us into the urgency. The flowing animation, some of the best I've seen for stop-motion OR go-motion, rivals the best CGI; even surpasses it in digital! Details are well-pronounced, from Coraline's wardrobe (as well as the other characters'), to the evolving garden outside, to the near ever-present moon, which plays a peculiar role in marking time and stretching the suspense. Again, the film is best experienced in digital, and a worthwhile experience in 3-D, if you can plunk down the extra cash.

While the pace may drift in a few places, that is certainly a minor gripe. If you like a good suspense story, there's really no reason to stay away from the Pink Palace, unless of course, Grandma tells you to.

The Cable Guy (1996)

Perhaps it hits a little too close to home...

[7/10 · 7 December 2008]

Steven M. Kovacks (Matthew Broderick) is in transition time. At work, his boss is using the current account he's working on as a daily Sword of Damocles, as girlfriend Robin (Leslie Mann) reacts to his marriage proposal by kicking him out (a true romance killer). Buddy Rick (Jack Black) suggests that, as part of moving in to his own place, he slips whatever cable guy shows up an extra $50 to snag the premium channels for free. Steven repeats this to the Cable Guy (Jim Carrey) that DOES show up to install his cable.

Big mistake.

Oh, yeah, all this takes place against the backdrop of the trial of angry, disgruntled former child star Sam Sweet (director Ben Stiller), an event being celebrated as if it were the Super Bowl.

I'd like to get the contemporaries of the film out of the way first. It's the kind of casting that only Stiller could concoct, which is one of the trademarks of his films. You can see performances of members of Stiller's own "inner circle"--Janeane Garofalo, Andy Dick, and even charter member Owen Wilson, as well as Black and his "Tenacious D" cohort, Kyle Gass, Kathy Griffin, Sean Whalen, "Mr. Show" masterminds David Cross and Bob Odenkirk, and a truly priceless cameo by Eric Roberts, easily one of Hollywood's greatest sports. Set pieces and scenes are mini-stories in themselves, played for laughs, as you might expect. The atmosphere is classic Greek tragedy by the way of Saturday Night Live and Madison Avenue, with just the slightest dash of Mark Twain. (I'd offer a ransom to hear what Mark Twain might say about television.) Which brings me to the point--a lot of what I hear about this film courts terms such as "underrated" and "overlooked". I have a theory about why that is. First, know that at its heart, "The Cable Guy" is satire, a second-home genre to Stiller. Satire normally doesn't do very well at the box office, because it is usually an honest attempt to hold a high-definition mirror up to society. This perpetuates truth, something, according to history, humans hate. The worst effects of television on society are on display in this film, and they're funny because they're truth. It's extremely fair to say that it's not a comedy--possibly more accurate to say that it's not JUST a comedy. It's easy to dismiss a film like this while we gallop right back into the arms of "Will & Grace", "Ultimate Fighting Championship", "Survivor", "The O.C.", "TMZ", or the ruling distraction of the moment. The darkness, whether in Carrey's performance, or the resulting interplay (say what you will of Broderick, but doing the straight man ain't no piece of cake), is validated by everything else.

Again, it's funny BECAUSE it's true. Take for granted that if you have even a little TV in your home, you have a little "Chip Douglas" in you. Yes, even you.

Monster (2008 Video)

Something else...

[2/10 · 6 September 2008]

Sisters Sarah and Erin hop the bigger pond, landing in Tokyo to film a documentary about global warming (though God knows why). In the midst of their interview with the Environmental Minister, havoc strikes. At first, it's assumed to be another earthquake. When military presence intensifies, terrorism is suspected. But all too soon, it's revealed to be...something else. Sounds a bit familiar, no? Just to get it out of the way, whether or not it's an unhappy accident of conflicting release dates, there's no getting around that this is "Cloverfield"-lite, with a few (very few) deviations. This is evident--from the distant explosion that marks the start of the action, to the overall concept, to splattering the camera with blood at least once. The monsters even roar as if they were separated at birth. To be fair, this film does have a few things on Cloverfield. The fish-out-of-water angle, namely placing the protagonists in an unfamiliar culture, was a great idea. It's difficult enough to survive disaster when most everyone speaks your language, but when they don't, the challenge is increased quite a bit. While the presentation of the global warming message is..."crunchy" at best, the not-so-subtle hint that global warming itself awakened the creature is another juicy notion. Honestly, there's no better place on earth to set your disaster than Tokyo, the world's capital of disasters! The biggest thing for me personally would have to be the logic of the beast itself. In this film, it seemed to cut its paths of destruction through heavily populated areas, as I believe an angry beast would, rather than conveniently following four scrawny twenty-somethings around, and even directly snacking on one of them, as New York's monster did.

Now that that's out of the way, even if Cloverfield never existed, this would still be pretty poor. The creature, a giant squid presumably, isn't actually seen doing very much to constitute a threat. Perhaps it could have actually picked up someone or smashed something, but all we're treated to is many angles of large, waving tentacles. One thing it makes you appreciate is how difficult disaster is to write. It seems that it's very easy to get so wrapped up in the turmoil of your story that you forget how people actually talk, particularly in the midst of emergency. Sarah and Erin (their actual first names, by the way; a bright-and-shining sign of non-actors) appear to struggle on the initiative to keep many of David Michael Latt's throw-away lines out of the production, but enough of them sneak in to become distracting. "I feel like we were meant to be here...", "It's so important to document this..." Sure. I realize they would have to invent reasons for our heroines to lug around an industrial-grade camera, but there must have been another way. Call me shallow, but I believe I'd find it difficult to think of what progeny will see someday when flaming debris is exploding all around me, and the street is caving in underneath my feet.

An additional note about the cast--in truth, considering the script, there's really no reason to have anyone American in it. The Japanese actors (and their characters) are FAR better than the American ones; particularly the high-schooler who lives with her half-crazed dad (and dad seems to know something of the angry creature) and the young doctor who just wants to get across town and make sure his son is okay. I wished the film were about THEM, or someone like them. Were I in Erik Estenberg and company's shoes, I'm sure I would have shot the entire thing with an entirely Japanese cast and subtitles. Couldn't the Japanese document their own disasters? They've had lots of practice.

So, maybe it's not so much a ripoff as it is just not good. Of course, consider that trailer for another Asylum treat, "AVH". As in, "Alien Vs. Hunter". As in intergalactic hunters with advanced camouflage fighting slimy aliens with elongated heads and teeth. Can't wait for that one, can ya? What? You've seen it? Of course you have...

WALL·E (2008)

An animated chick-flick? PIXAR breaks new ground again...

[7/10 · 30 June 2008]

WALL-E (Waste Allocation Load Lifter Earth-class) is the last of a series of machines left to clean up humanity's mess. But this is a sponsored mess, courtesy of friendly-neighborhood planet-seizing corporate titan "Buy 'N Large", whose corporate logo nearly covers the waste-ridden landscape. WALL-E rather cheerfully goes about his "directive" to the tune of his favorite film, 1969 Technicolor bombast "Hello, Dolly!". His well-developed personality combined with repeat viewings of the musical practically set the stage for the entrance of EVE(an "Environmental Vegetation Evaluator", maybe?), who literally blasts her way into his environment, looking for signs of organic life. When WALL-E presents his houseplant to her, EVE hits a mission accomplished mode, and the road to fireworks is paved.

Your circuit board's dead if you don't get a spark from this one. As effective as the somewhat chilling views of the ravaged earth are, along with what the long space-borne human race has become, adventure and intrigue take a firm back seat to romance. Chick-flick? Sure it is. Proof? PIXAR has truly managed to forge new territory in getting women and teenage girls, like the ones in my showing, to weep over a couple of machines. I admit, this central love story is heart-felt, as even the survival of our species is less important to us than whether EVE and WALL-E will end up together. And will they? You'll just have to go see it. This is a very good time at your theater.

As much fun as the movie is, the opening short may very well be even better! Check out "Presto!" and find out why Alec the Bunny is my new most favorite PIXAR character.

The Chronicles of Narnia: Prince Caspian (2008)

When you're not looking...

[7/10 · 16 May 2008]

The fantastic legend of that other world called Narnia continues with a second act that, again, does fine justice to the masterpieces of C.S. Lewis. A year after the first adventure, Peter (William Moseley), Susan (Anna Popplewell), Edmund (Skandar Keynes), and Lucy (Georgie Henley) find themselves being shipped away again, this time to school. As the doldrums of the coming excursion rear their heads before they can even leave the station, the Deep Magic strikes again, and the Pevensies are whisked away to Narnia a second time. However, a millennium and a half has passed there. Cair Paravel is a ruin, Aslan is nowhere to be found, and the last vestiges of the Narnian citizenry are under threat from the new ruling class, the Telmarines, with the influence of their ruthless regent, Miraz (Sergio Castellito). A new army is needed, and one is haphazardly gathered under the banner of fugitive ruler, Caspian X (young stage veteran Ben Barnes). But before he can take the throne, Caspian must overcome political treachery, and face the terrible truth about his family. This is a grand afternoon at the movies. Once again, Andrew Adamson and Christopher Markus meet the challenge of serving a story that needed no service. Sharp accents, neat touches, and slick dialogue abound, but the powerful script is a clear step up from the wardrobe. It's said that part of God's way of doing things is selecting the most unlikely personnel to do a task. Narnia is surely all about that. Appealing characters come to life again, well-cast, with Peter Dinklage outstanding as the disillusioned Trumpkin and voice-master Eddie Izzard stealing scenes as the cavalier Reepicheep. I rein in from saying any more, to sustain the surprise, but the wonder of Narnia is fully realized once again, in a more mature, hard-hitting adventure. The kind that leaps out at you, when you're not looking...

Bee Movie (2007)

Stung A Little...

[5/10 · 9 November 2007]

Barry B. Benson (Jerry Seinfeld), a bee fresh out of college, becomes increasingly unsure about a future enveloped wholly in making honey. He embraces a chance to examine life outside the hive and, once he seizes the chance, runs headlong into the shocking discovery that bees are being exploited, en masse, for their full-time honey creation. With help from college buddy Adam Flayman (Matthew Broderick) and human florist Vanessa Bloome (Renee Zellweger), he takes the human race to court in an attempt to win back what belongs to the bees.

A fun notion, one someone would expect from Seinfeld in truth, proves not to be quite enough, coming across as rather a children's book splashed with clever celebrity cameos. This is the sort of formula that I had hoped Dreamworks would stray from. The placement of plot points seems somewhat out of order as well, with not quite enough time spent on Vanessa's jealous boyfriend Ken (hilarious Patrick Warburton), and too much time on rushing toward a difficult-to-accept resolution. The film really asks you to entertain many stretches of logic and physics, a few more than the typical animated movie would, while attempting to be cerebral at the same time. That's a tricky order to say the least, and I'm led to think it was a little too much for this particular crew.

It's not a total downer, though. The aforementioned cameos are fun and appropriate, and the voice acting is top-notch, with a cast wisely stocked with veterans in the voice-over game. The actual court case is probably the best part of the film. The stunning visuals that come with Barry and company's flights around the city and through traffic are a sight to behold, and design and rendering are nice and tight. Even the honey itself is golden and gorgeous, although you may cut down your intake of it after seeing this one.

A fun diversion, it is, but perhaps not worth a first-run viewing.

Barnyard (2006)

Well, it ain't "Animal Farm"...

[5/10 · 6 November 2007]

This guilty pleasure could stand a little more pleasure and a little less guilt.

Ben (Sam Elliot), a male cow (hang on, I'll get to that), has devoted everything to protecting the farm he calls home from threats outside the fence, prime among them being Dag the Coyote (David Koechner). All the animals trust him, since he has proved himself repeatedly, but the only one in line to take up the mantle from Ben is Otis (Kevin James), the very image of a party animal.

This is merely one of those anarchic films of which we probably have memories that are too positive. "Animal House", "Bachelor Party", "Meatballs", "Caddyshack", the list goes on. This one just happens to be animated, and put frankly, it's no less fun. The film shines when the stunts are pulled, and while the party's on. It has the patented Steve Oedekerk look and feel, sporting the same stark colors and bouncy character design seen in "Jimmy Neutron". Everything, right down to the environments, seems to have been created for comedy. Of course, this is where the project somewhat falls in upon itself. Things rather sour when any sort of drama is attempted, damaging the execution of a capable enough script. It's hard to accept a tender moment from characters who have just engaged in hill-surfing, chicken-launching, human-taunting, or "boy tipping". The misplaced anatomy is a minor consideration compared to narrative misfire, albeit well-cast, comical misfire. Bottom line, it's not about story or heart, and you won't receive any spiritual or intellectual advancement, but that didn't stop you from watching the like of the aforementioned films. It's mindless fun, and that's all there is to be expected.

Paprika (2006)

Anime for Film Lovers

[7/10 · 20 July 2007]

Paprika (Megumi Hayashibara, "Cowboy Bebop", "Evangelion") is what you might call a "dream investigator". Her job, and adventure in life, is helping her clients decipher their sub-conscious musings by experiencing their dreams right along with them. Psyche researcher Chiba Atsuko and portly genius Tokita Kohsaku are responsible for the "DC Mini", a revolutionary device that allows her to do this. When one of the units, not yet programmed and without any restrictions, is stolen, havoc ensues. The dreams of several employees are invaded, threatening to bring mass hysteria to the real world. Paprika must solve the theft and thereby end the madness, with the help of a client, Detective Kogawa Toshimi (Akio Ôtsuka, "Ghost in the Shell", the "Metal Gear Solid" games), who is busy trying to solve a homicide case of his own. Director Satoshi Kon has truly outdone himself by taking an entirely new direction once again. It's a rather welcome trend in film-making, both in animation and live action, for directors and writers to give us fascinating characters and allow us to explore them as they themselves deliver the plot. This is an excellent example of the trend, which owes less to Satoshi's earlier great "Perfect Blue", and more to Hitchcock or Kubrick. The roller-coaster ride of the mind shares the stage with animation that is right on the level with so many other big-screen anime, with stunning visual effect that clearly and brilliantly divides the Technicolor graphics of the dream world from the dreary, semi-muted real world. Voice acting is excellent as always--Megumi Hayashibara is particularly effective in what is, essentially, a dual role, and the nods to classic films are a nice treat. Don't expect a "Perfect Blue" level of blurring reality--this isn't about that. This one's more about people, what motivates them, and how far they're willing to go to get something or somewhere. If you're any sort of movie buff, and even if you're new to anime, Paprika may be just your spice.

Transformers (2007)

Absurd. Ridiculous. Insane. Utterly Outrageous. DON'T MISS IT.

[7/10 · 3 July 2007]

A special military outpost detects an aircraft that's way off course. Two leaders on the team, Sergeant Lennox (Josh Duhamel) and Tech Sergeant Epps (Tyrese Gibson) are present with the troops to greet the aircraft, which by military record, crashed and burned some time ago. All havoc breaks loose when this aircraft reveals itself not to be what it appears. When most of their unit is wiped out in the resulting assault, the sergeants are less concerned about making a report to superiors and more concerned with making it home with the other survivors in one piece. Meanwhile, on the other side of the planet, fast-talking high-schooler Sam Witwicky (Shia LeBouf--in just about every movie this year) is prepared for an important rite of passage. His dad Ron (Kevin Dunn) has agreed to buy Sam his first car. However, Sam somehow settles on a beat-up yellow Camaro, not realizing that there's--ahem, "more than meets the eye" to this car.

Okay, let me start by saying that this is very much a Michael Bay film--and as such, we know what to expect. (See the title) Grand doses of horrendous dialogue. Extreme twists in logic. Editing that would make most of us run screaming to the nearest kung-fu flick. That's all here, but it's far from the point. THIS is a summer movie in the way we've come to expect! High action, incredible pacing, and way cool music played very loudly. Bay channels a little David Zucker as well--there's some dead-on, rapid-fire humor that's actually funny! Note Lennox's frustration as he runs across tech support in India in his attempt to contact Washington. The one-liners we'd expect from him are also accounted for, but he has wisely stocked the cast with a who's-who of expert one-liner delivery personnel. (LeBouf, Gibson, Anthony Anderson, and John Tuturro to name a few.) Of course, the center piece of the film is the Transformers themselves, who are a sight to behold. I grew up on every incarnation, from TMS to Sunbow to Mainframe and beyond; and while I'd often say "That's cool", I knew in my brain of brains there was no way to make me believe cars and planes were capable of such transformations. Now Digital Domain has shaken hands with Industrial Light and Magic and...well...let's just say I'm now in the market for a car, and I'm going to scrutinize those puppies VERY closely. You needn't be a fan, you just need a desire for solid summer diversion. If that's what you want, roll on out.

Ratatouille (2007)

"It is about ze food, and zat is really enough to zell it to ze Americans..."

[6/10 · 29 June 2007]

Remy (Patton Oswalt) was born with the unique gift of deciphering smells and tastes, and marrying the two effectively--a gift any chef would give their apron for. Unfortunately, Remy was also born a rat. When it becomes apparent that his family cannot really appreciate his gift outside of its use in avoiding rat poison, Remy attempts to refine his talents in human kitchens. He even has the guidance of the late, great master chef Gusteau (Brad Garrett) to influence his endeavors. A series of unfortunate events unfolds, and the little rat finds himself in the big city, namely Paris, attempting to prove his talent with the help of hapless kitchen boy Tony Linguini (Lou Romano, Bernie Kropp in "The Incredibles") to the most discriminating of palates, including that of tough-as-nails critic Anton Ego (Peter "The Great" O'Toole). This is actually a nice piece of storytelling and an even better piece of animation. The environments of Paris and the French countryside are represented in grand scale--Bird's capable team and Pixar's diligent artists even manage to make a sewer look amazing! Meanwhile, you truly get the desperation and inspiration driving some well-designed characters, who are sure to remain memorable. Bird's fans might be a pinch disappointed in this one, though--it doesn't have that breakthrough stance employed so boldly with "The Iron Giant" or "The Incredibles", although it is nice to see him take on something a little lighter. A few lulls in the pacing make it feel a bit long, and technically, it's probably a little TOO good. It's evident that the Pixar crew did their usual in-depth study on the subjects, and while the rats are designed cute, the sight of millions of them gushing out of kitchens and houses made my skin crawl and took me right back to cult head-turners like "Ben" and "Willard" (brush up on your film history if you're unfamiliar with those). While far from Bird's or Pixar's finest, it's still a good time, and really a must for those of you (You know who you are!) who truly appreciate food. NOTE: Also dig Oscar-nominated Pixar short "Lifted" before the main event, and stay for the credits!!

Creature Comforts America (2007)

Finally, reality TV worth watching

[8/10 · 23 June 2007]

I was privileged to have seen some snippets from Aardman's original run of this show in the UK. It was always fun and always funny. None of the charm has been lost in translation--it's as fresh as the people interviewed--whether some of it is scripted or not, as has been rumored, is beside the point. It's always entertaining.

Aardman Animations shows great imagination in the characters used for each voice, the single aspect that I probably love most about the show and its concept (the hostility between the pandas, the porcupines discussing fear of needles, the painting ape). Regulars really grow on you as well, such as the horse and donkey teens from Maryland, most every married couple (the parrots, the insects, and the cats to name a few) and child-voiced character, and I've really come to dig the ferret! Monday's finally become a day to which to look forward.

Jingle All the Way (1996)

Holiday Hijinks

[6/10 · 20 June 2007]

Howard Langston (Arnold Schwarzenegger) is in deep holiday dreg. His son (Jake Lloyd) wants the year's hottest toy: a "Turbo Man" action figure. His wife (Mara Wilson) has planned ahead for him to get it. When Howard fails to stick to the plan, he must fight the entire world to make up for it--a world in the midst of the classic Christmas rush.

It's imperative to note that this isn't any sort of deep, introspective cinema, any further than it's statement on the warped world-view of Christmas, but you've probably gathered that. What it is is a kind of unrestrained fun that rarely works on screen. Everyone is funny, including Arnold, but Sinbad far and away steals the piece. Live-action-Disney level silliness threatens to capsize things a few times, but that simple fun manages to shine through. It's probably more effective if you DON'T watch around the holidays, since it gets us to laugh at a simple truth--Christmas may come only once a year, but greed is always around. Don't bother with too much introspection, though, just prepare to giggle.

Surf's Up (2007)

"...and you're sittin' on top of the world..."

[8/10 · 8 June 2007]

Cody Maverick(Shia LeBouf), a rock-hopper penguin and native of Shiverpool, Antarctica, truly lives up to his surname, unlike his highly domestic mother and brother. He seems quite talented as far as finding his own way--he surfs when others fish, surfs when others sit on eggs, he surfs because that's who he is. The legend of Big Z, the emperor penguin who changed surfing forever, helped to make Maverick a maverick. So when neurotic event liaison bird Mikey Abromowitz (Mario Cantone) appears with a chance to compete in the annual "Big Z Memorial" competition, Cody literally jumps into the chance. Along the way, he meets characters such as Joe (Jon Heder, well-cast once again), a surfing chicken from Michigan, and Lani Aliikai (Zooey Deschanel), a lifeguard penguin who also knows a thing or two about Big Z. Like most other heroes of animated film, Cody learns something about what really matters, but don't let that put you off. This is some true summer fun, kept low-key, which, hopefully, will make this the sleeper hit of summer. Everyone is nicely cast, and the characters are easy to care about (that's saying a lot for modern cinema right there). The film looks wonderful as well--nice character design almost gets dwarfed by the environments, as the folks at Sony Animation show that they have successfully taught computers the difference between freezing, harsh Antarctic Ocean and beautiful, blue, tropical ocean. Truly stunning.

I feel I should also mention the soundtrack; no Beach Boys, but still appropriate. If you've been waiting to hear Incubus, Green Day, or Lauryn Hill in more film soundtracks, now's your chance. The mockumentary approach makes it even more engaging while amping the laughs. Christopher Guest would be proud. All in all, if you're looking for a break from all the holler and hoopla that summer movies bring, and as Big Z says, you're ready to just have some fun, catch a wave...

Shrek the Third (2007)

Third Time's the Charming

[7/10 · 18 May 2007]

Shrek (Mike Myers) and Fiona (Cameron Diaz) have truly settled into married life, although for Shrek, the solitude of wedded bliss is somewhat hampered by the duties of a royal, having Donkey (Eddie Murphy) and Puss (Antonio Banderas) as captains, and worst of all, the truly scary prospect of being trapped in all of the above by the passing of King Harold (John Cleese). The ailing royal frog does leave his son-in-law with a timely loophole--the existence of a truly distant relative. While Fiona, Queen Mom Lillian (Julie Andrews), and the rest of the female court attempt to ward off the ambitious yet juvenile Prince Charming (Rupert Everett), who has recruited the greatest fairy-tale villainy to his cause, the guys' latest "whirlwind adventure" brings them into contact with the proposed heir apparent-- classic high school loser Artie (Justin Timberlake).

If you fell in love with the mock product-placement rampant in the second film, or suffer from a short attention span, it's probably best you wait on this one. The essence of the Shrek universe is there for the fans to enjoy, however, with the true star of the film being how the characters have advanced--both technically and dramatically. A higher level of detail is noticeable, from the fluctuating real estate of Far Far Away to the hair of the chinny-chin-chins on the Three Pigs (look well, it's actually there!). The in-jokes are rather clever, but the filmmakers have taken a bold step by showing enough faith in the characters to actually explore them, as they did in the first movie. Although this is technically the longest of the three films, it seems somewhat short--since everyone has to travel a long way in a short time, and admittedly, the subplot of Charming devising a takeover by an alliance of fairy-tale villains harks back to earlier Shrek wannabe "Happily N'ever After"--if something appears in your film that reminds us of another film, that other film should at least be...well, good. However, there are more good points: Timberlake doesn't ruin things--the character actually suits him, and rejoice concerned fans: he doesn't sing! Eric Idle provides his typical offbeat diversion as a Merlin whose robe is embarrassingly too short. All in all, things are kept enticingly light, eschewing wild stunts and nutty gags for the sake of a story. A move that deserves kudos on it's own. Bottom line, Shrek's about comedy more than anything else. Did I laugh? Yup, and quite a bit, so that made it worthwhile. If there's a single audience for the film, it's probably new parents--if you love these characters, check out their kids!!

Spider-Man 3 (2007)

Forgiveness, what a concept...

[8/10 · 11 May 2007]

By now, I've heard my share of conflicting reports on this movie. I made a promise to myself long ago not to go into films I haven't seen with unrealistic or unfair expectations. It's served me well, and it was no less of a learning experience this time, having heard most every critic and wannabe critic's take on it, several of them negative.

I submit to them all, negative and positive, that they're missing the point. Spider-Man 3 successfully does what few films will even ATTEMPT nowadays. More on that later.

Peter Parker (Tobey Maguire) is on cloud nine. Things are finally looking up. As Spider-Man, he is the greatest thing since...well, the internet. A bona-fide celebrity. Mary Jane Watson (Kirsten Dunst) isn't doing too shabbily, either, having debuted in a Broadway show. Peter sees the perfect timing in finally proposing to MJ, for which Aunt May (Rosemary Harris) entrusts him with a precious family heirloom ring. Harry Osborn (James Franco) attempts the direct approach to exorcising his own demons in a confrontation with Peter, and as a result, becomes friends with him again. But not all is well in New York. Escaped convict Flint Marko (Thomas Haden Church) has the heat breathing down his neck as he desperately looks for a way to reconnect with a repressed wife and a critically ill daughter. Meanwhile, upstart photo jock Edward Brock Jr. (Topher Grace) is looking to become Spider-Man's new unofficial PR for the Daily Bugle. Things get more and more complicated as protagonists and antagonists alike cross paths, and wind up learning something about themselves.

I'll admit, it won't win any awards, save maybe an Oscar or two for the effects and editing, and some MTV awards for the fights. You've heard it all, I'm sure, by now, so I'll mention in passing that the special effects and animation in this film are truly eye popping. Cinematography is grand, which it ought to be, 'cause this one wasn't cheap. On a basic level, and considering the source material, the story is well-handled; Sam Raimi remains the most capable director as far as taking a comic-book plot, virtually sticking to it verbatim, and making it work in a film format. Everyone earns their paycheck in portrayals--and additions and deviations, where damaging in other franchises, are welcome here. Haden Church gives classic brute Sandman a firm measure of humanity, James Franco must be applauded for his stalwart handling of a highly conflicted character in Harry Osborn, and despite limited screen-time, Topher Grace, yes, I have to admit, did gleeful justice to the wall-crawler's most fascinating adversary.

So what's different, you ask? What does Spider-Man 3 do that's so rare and great? The moral. Forgiveness, sadly, is a concept that's rarely broached in either fantasy OR real life. Particularly, at this most cynical time, and in our eye-for-an-eye, litigant-rich society, this is a lesson that kids from 3 to 133 could stand to learn and re-learn. If the cast and crew of Spider-Man 3 would take any pride in anything they've done here, it should be mostly for that. While I felt that the first two films were nicely done, this is the first Spider-Man that I actually wanted to buy.

Here's hoping the world's most popular comic book hero has started a long-overdue new trend in storytelling.

Meet the Robinsons (2007)

Before the Robinsons, crossing "Back To The Future" with "The Terminator" meant a migraine...

[8/10 · 6 April 2007]

...but this revamped effort from "Disney 4.0" proves that a good time-travel adventure need not induce dementia! Lewis (Daniel Hansen/Jordan Fry) is a brilliant mind in a young orphan's body. The only thing he wants to do, more than invent, is have a family all his own. He can't seem to get either one right, much to the chagrin of his roommate, Michael "Goob" Yagoobian (Matthew Josten) who just wants his baseball team to win a game, and orphanage mistress Mildred (Angela Bassett), one of the few adults who appreciates Lewis' potential. At a science fair, he crosses paths with the hyper-kinetic Wilbur Robinson (Wesley Singerman), who warns him to look out for a "Bowler Hat Guy" (Stephen J. Anderson) and stresses that it's important for him to complete his project and win the fair. When things go awry, Lewis is ready to give up hope on his dreams and himself, only to have Wilbur reappear, promising to show him the future. He proceeds to whisk Lewis away for a glimpse of things to come--and some enlightenment on their true bond and what it means to "keep moving forward".

This is not a new message, certainly not in animation, but it's certainly told in a fresh way. Quite a lot is borrowed in this film, but it's the execution and the way it's put together that really puts things over. One complaint that may exist, if any, is that there are too many characters, but it's easily overlooked when you realize that they're ALL interesting, and each one could have their own movie. I was particularly taken with little Goob almost as soon as I saw him, laughing at almost every one of his lines. That brings me to another virtue of the film--usually in time travel films, there are mind-bending concepts presented in quick-fire fashion (see my title), but not here. The truly kid-friendly folks at Disney's revamped animation wing have managed to put together a plot that doesn't tip the cards too early (even though you may make a few early connections), saving the surprises for the last half, where they belong. A sort of "Back to the Future" in reverse(Wrap your head around that one)? With paradox and mottoes akin to "The Terminator"? Sold. This is one family I'm sure you won't mind visiting, even though truly meeting them will take some...time.

NOTE--It is DEFINITELY worth your trouble to schedule yourself for a 3-D showing--the digital-based effect must be seen to be believed; it even looks good on the classic 'toon that precedes the film. Oh, and hang on to those shades--chances are we'll be using them again!

TMNT (2007)

DON'T bring your kids--it's too good for that.

[7/10 · 23 March 2007]

Many say that the Teenage Mutant Ninja Turtles' franchise has been reinvented for our time; those in the know realize that this is half the truth--what we're seeing now, with the television series and now the first of, hopefully, more films of this kind, is not so much reinvention as it is return to form--the form of the comic created by Peter Laird and Kevin Eastman many moons ago. Gone are the days of mutagen, foam rubber suits, Channel 6 and Corey Feldman. Some things are borrowed, and a few more overdone, but it's all in good fun, particularly for those with a soft spot for the green guys.

We rejoin the fab four sometime after the Shredder's--apparent demise, in true "Ghostbusters 2" style. The gang have all gone their separate ways, in an attempt by each to find their own paths; Leo to the Aztec jungle, Don (Mitchell Whitfield) to tech support(heh), Mike to, well, party clown--what else, and Raphael (Nolan North) to brooding vigilante, no stretch there. Casey (Chris Evans) and April (Sarah Michelle Gellar) are attempting to make good in the courier business, and Karai (Ziyi Zhang), Shredder's sole heir, has also taken the Foot Clan into entrepreneurial dealings, of late, with business magnate Max Winters (Patrick Stewart). They all have the feeling that something's missing.

In reality, there's too much going on. Crime is on the rise, and new threats from another world are as commonplace as the taxis. Winters appears to be at the center of things, but is he friend or foe? What's really happening? Before our heroes can find out, they have to learn to be a family again.

The film is technically brilliant. It's easily beyond Pixar in the animation department--you feel your seat move as the turtles make their rooftop rounds, and the environments, from jungle to city, to under the city, are nicely rendered. A duel in the rain looks particularly fantastic, and don't be concerned with cartooned designs, they don't get in the way of the drama. Voice performances are nice and tight--note James Arnold Taylor as Leonardo and Mikey Kelley as Michelangelo (that's right), both former Ratchets from "Ratchet and Clank", and the final performance of late veteran actor Mako (Splinter).

The story is rather easy to predict, and they went a little overboard with the one-liners, but even casual fans won't care. Those new to the franchise might be a little put off--but if you pride yourself on an open mind, give it a shot. Note to parents--just because it's animated, don't make the mistake of thinking it's the finest family fare out right now. The film has some heavy moments that may sail over the young ones' heads. If you want family fare, go to "The Last Mimzy" or "Bridge to Terabithia", unless your kids are just begging for a taste of "turtle power". If you like a good action flick, and don't need a lot of thought to go with it, you'll have a good time.

Blind Date (1987)

Perhaps it was made in the wrong decade...

[7/10 · 15 March 2007]

Blake Edwards once again turned to his bread-and-butter genre, and kept things nice and simple. However, for whatever reason, this downplayed treat was and is often panned by critics left and right. I submit to you that this is because most of us just don't get it.

I'll use the plot portent to tell you what this movie isn't, first of all. Despite appearances, it's not about up-and-coming, wannabe yuppie Walter Davis (Bruce Willis), not really about his blind date of the title with the beautiful and potentially deadly Nadia Gates (Kim Basinger), not about psychotic defense lawyer and jealous ex David Bedford's (John Laroquette) attempts to break the two up and steal back his first love, and not about the punches and rolls with which these people, along with their families and acquaintances, must deal.

It's just my theory, but I think most of us didn't get this movie because it was a humorous commentary on the time during which it was made. This movie is all about the '80s; the yuppie culture, the self-absorption, the repeated attempts of folks to find solace in getting and having things, and our near-tragic couple's struggle to be who they are, even if it doesn't fit with '80s yuppie culture, and embrace what's important. Consider it--during her drunken binge, Nadia assaults everything that could make Walter a yuppie as if it were a well-organized plan. Walter, in turn, tries his hand at the same thing, mostly upon David and car salesman brother Ted (late, great Phil Hartman). Sure the details give a chuckle or two, but there's an almost cerebral humor going on under the surface of the film, right at the core, which pokes fun at a cornerstone of life in the '80s.

This led to the movie's downfall in favor, since the very people at which the movie so heavily pokes fun were probably among the first ones to see it premiere in the '80s. Even if they got it, they probably didn't appreciate the joke. Essemtially, Edwards had spoofed the '80s DURING the '80s. A gutsy move, and witting or unwitting, this gave it a kind of staying power. It really is about more than you think.

So, if you're one of the lonely soldiers who likes the movie, try to view it in this context and see what you think of it. If you hated it, please try to observe this point of view, and again, see what you think. Blind Date is one of the most different comedies to emerge from this decade. No matter where you sit on the quality issue, perhaps it deserves a second look.

300 (2006)

Testosteronicus Maximus Anno Domini

[6/10 · 9 March 2007]

In about 480 B.C., the actual Battle of Thermopylae was fought in the narrow pass of the same name, which inspired many persons to come after, from military strategists to artisans. In our time, one such person, provocative graphic novelist Frank Miller, was also inspired by the tale, and has in turn inspired director Zack Snyder to produce what must be hailed as two parts art, one part history, and a full seven parts wild, unbridled anarchy.

The classic historical event is played out with a good measure of drama; as King Leonidas (Gerard Butler) and his force of 300 of the legendary Spartan army join with the rest of the Greek forces to hold the pass from the vast forces of Persia, his queen Gorgo (Lena Headey) fights her own battle on the home front, attempting to sanction reinforcements for her noble husband. Both heroes face incredible odds. Butler's Leonidas was not done justice by the film's trailers, which painted a bloodthirsty maniac--the actual portrayal shows a wise and cunning leader, as capable of understanding and forgiveness as he is patriotic and defiant to the enemies of honor and decency who rise against Greece. This of course makes for a fascinating character. Additionally interesting are the characters of the veteran Captain (Vincent Regan), proud to rise to the challenge alongside his son, and Queen Gorgo, willing to do anything to uphold the ideals of her husband, and of all Sparta. There are, of course, wild liberties taken with the account--although debauchery indeed ruled in Persia, and animals may have been larger, they were perhaps not so heavily armored, and King Xerxes, while intimidating, was not twenty feet tall. But, hey, it's art, right? It's a sure thing all of this takes a back seat to the stunning visuals, and the tremendous carnage of the battle scenes. Unless your clan views evisceration as a virtue, consider leaving the kiddies at home. Prepare yourself for a wild ride, with, mind you, the HINT of a history lesson.

Howl's Moving Castle (2004)

An Anti-War statement without propaganda...Amazing

[7/10 · 17 February 2007]

Diana Wynne Jones novel is adopted by film-making legend Hayao Miyazaki to create a subtle classic.

It tells the story of Sophie, a simple city girl with low self esteem, who works in a hat shop in a Eurasian-fantasy country plagued by war. The local celebrity, Howl, is a mysterious magician about whom rumors fly like flocks of pigeons. After a chance meeting with the sorcerer, and an unfortunate encounter with a more infamous personality, the Witch of the Waste, Sophie is transformed into an elderly version of herself. In seeking a way to avert the curse, Sophie finds herself caught up in the twisted politics of the conflict, but more importantly, she discovers that it truly is love, in this case, the love of a family, that is the cure for war.

What makes this story so brilliant is that the environment is removed from our earth completely, so that no racial structure or borders can be identified. This reveals the true madness of conflict, which is used as the background for the kind of enchanting story that one might curl up with on a rainy day--or even a sunny one. Studio Ghibli's textbook superior visions are on display once again to push forward the technical quality of the film, and the capable U.S. production team and cast have presented the story in a way that does justice to the visuals. For those who are thrown by the message, think nothing of it--it took me a few viewings as well. But I did come to realize that this is actually a rather powerful allegory for our own war-torn world, and the things that really matter within--the desire to love, be loved, and shun yourself for others based on that love. Perhaps, like a fine wine, it will gain appreciation with the passage of time.

Roach Approach: The Mane Event (2005)

Keep The Faith!

[8/10 · 13 January 2007]

Bruce Barry and the team at Wacky World Studios easily improve upon their freshman effort, "Don't Miss The Boat", with this newer parable.

When Roach Rangers Squiggz and Cosmo are ready to reject Flutter for an addition to the troop, Grandpa Lou takes the opportunity to teach her about faith, in God and oneself, by recalling the event of Daniel in the lion's den as only he can recall it. He remembers how he and Nana made friends with Fang (Toby Mac), a bling-coated bat, and Miesha (Nicole C. Mullen) a lion cub also struggling to fit in with her den-dwelling pride. She must make the choice of whether or not to stand up for right, or simply devour new prisoner Daniel (Michael Kinsey) wrongly condemned by King Darius (Bishop T.D. Jakes).

As in the first video, the lesson comes across with some clever writing, and without being too preachy. Unlike the first video, however, the mood is much lighter, With hip-hop magnate Mac and songstress Mullen playing effective roles. Jakes cameo is a lot of fun, and Wacky World's animation team scores a quality hit visually, with comical and appealing character designs and all kinds of engaging environments. Hard to believe it's just above a half hour, until of course, it ends! Watch with your kids. Peace, out.

Happily N'Ever After (2006)

Great plan, just wasn't quite carried out...

[5/10 · 5 January 2007]

I looked forward to this movie, having been pleasantly surprised by other fractured fairy tales such as "Shrek" and even "Hoodwinked", and I really wanted to like this one a lot, but as it was, I only like it a little.

Here's the lowdown: Cinderella, or Ella, as friends call her (Sarah Michelle Gellar) is taken with the charming but clueless Prince Humperdink (Patrick Warburton), but in the classic fashion of the fairy tale we all know, stepmother Frieda (Sigourney Weaver) has other ideas--when she stumbles upon the lab of a powerful wizard (George Carlin) and runs afoul of his hapless assistants, Mambo and Munk (Andy Dick and Wallace Shawn, respectively) she learns that everyone's fate in Fairy Tale Land is pre-written, can be manipulated, and proceeds to do so. She garners the support of just about every fairy tale villain in a regular coup, Forcing Ella, Mambo, Munk, and cynical palace dishwasher Rick (Freddie Prinze Jr.) to search for the Prince, or some way out of the mess.

This film looks terrific--the visuals of Fairy Tale land are quite stunning, and the character design, along with capable voicing, makes the characters memorable. Even the idea is juicy, and leads to other interesting notions, such as the view of Rumplestiltskin (Michael McShane channeling Gilbert Gottfried) as a concerned guardian. The problem--and it's a big one--is that they all deserve a better executed, better timed story. The plot, while intriguing in concept, drags in too many places, and there just feels like a few too many holes are left here and there. The disjointed use of the talent is somewhat evident as well; I'm somewhat used to guys like Warburton, Shawn, and Andy Dick getting the great lines, and Dick does get some good ones, but most of the good lines are divided between Prinze and Weaver. Oh, they handle them effectively enough, but the uneven feel loses punch for the whole production. So technically, it's excellent, but overall, it's mediocre. You should really wait for DVD on this one...