Transformers: Revenge of the Fallen - 1 1/2 smiles

What irritates or confuses me about the movie:

• The story doesn’t always make sense. Cancel that. It doesn’t make sense at all. There’s a matrix that’s buried somewhere that unlocks a sun-killing machine and the location is locked in Sam’s brain because he touched a piece of the All-Spark. Got it?
  
• Along with his hot girlfriend Mikaela (Megan Fox), Sam (Shia LaBeouf) gains an annoying college roommate (Ramon Rodriguez) who then accompanies them for the rest of the movie.
  
• Sam’s mother (Julie White) is too cartoonish (she knocks herself out on a plant hanging on her front porch and eats pot brownies) and her screechy voice is like finger nails on a blackboard.
  
• Although the good guys (Autobots) fight the bad guys (Decepticons), it’s hard to tell them apart when the action starts.
  
• The ‘twin’ robots’ dialogue is stereotypically racist as is their appearance.  They have tiny heads and big ears and one of them has two huge buck teeth, one of which is gold. They’re not close to funny even though they are supposed to provide comic relief.
  
• The explosions are fight scenes (and there are many) are LOUD!
  
• Former government alien hunter Simmons (John Turturro) shows his nearly bare rear end. What’s that about?
  
• The last 50 minute goes on and on and on and on……
  
• There’s ‘divine’ intervention at the end – if you call an Autobot Valhalla divine. You see, heaven is full of Autobot Primes.

There are lots of crashes, explosions, gunfire, fighting robots and effective CGI. As the record-breaking weekend box office proves, “Transformers: Revenge of the Fallen” remains absolutely critic-proof. But check your brain at the door and be sure to bring ear plugs if you decide to see this movie. 6/28/09

Cheri - 2 1/2 smiles

“Cheri,” a period piece starring Michelle Pfeiffer, is about loss – loss of a loved one, loss of innocence, loss of one’s youth.  And as a result of Pfeiffer’s skill as an actress, we feel her pain. The screenplay by Christopher Hampton, an adaptation of a novel by Colette, creates a melodrama about the power courtesans wielded in early 1900s Paris. Lea de Lonval (Pfeiffer) becomes involved with Cheri (Rupert Friend), the son of a fellow professional, Charlotte Perloux (Kathy Bates). The relationship turns into a six-year affair that ends only when Madame Perloux arranges for Cheri to marry the 18-year old daughter of another courtesan. Once separated, Lea and Cheri discover that their feelings for each other run deeper than they expected.

We empathize with the doomed lovers because director Stephen Frears spends equal amounts of time showing how each copes with the forced break-up. However, there is little chemistry between Pfeiffer and Friend although they do look beautiful together. Friend is not a strong enough actor to hold our interest. And Kathy Bates is so over the top that she seems to be in a different movie. With Pfeiffer’s luminous beauty, Consolata Boyle’s exquisite costumes, and gorgeous French scenery, “Cheri” is all superficial effect. 6/26/09 

The Hurt Locker - 4 smiles

“The Hurt Locker,” a taut thriller set in the midst of the Iraq war, is an intimate investigation of heroism, sacrifice, and the allure of war. The screenplay by Mark Boal focuses our attention on the adrenalin-producing work of three members in the Army’s Explosive Ordinance Disposal (EOD) elite corps and was probably based on Boal’s experiences as a journalist embedded with a bomb squad four years ago. Will James (Jeremy Renner), a fearless bomb disposal expert, is also reckless, which causes concern for his two new colleagues. Initially James wins over Sandborn (Anthony Mackie) and Eldridge (Brian Geraghty) through his acts of bravery, but his ongoing careless behavior ultimately creates too much anxiety. Sandborn and Eldridge just want to survive their tour of duty and James doesn’t seem to care.

Jeremy Renner and Anthony Mackie, relatively unknowns, give Oscar worthy performances. And director Kathryn Bigelow creates some incredibly tense bomb disposal scenes as well as a thoroughly gripping sniper shoot-out sequence. These genuine nerve-racking moments occur roughly every 20 minutes or so, keeping us on edge throughout the movie. Boal’s script also develops the characters through action. James is obviously an adrenalin junkie, addicted to the thrill of handling homemade bombs and disarming them.  Sandborn, a tough intelligence officer, is a go-by-the-book soldier, making for interesting interactions between he and James. Eldridge is obsessed with death and voluntarily taking counseling. As the movie progresses, the men develop into well-rounded characters and that is one of the reasons it’s so effective.  Superior acting, directing and script make “The Hurt Locker a highly entertaining thriller. 6/27/09

Imagine That - 2 smiles

“Imagine That” has a cute, family-oriented premise, but it’s ruined by Eddie Murphy doing too much Eddie Murphy shtick. His character, workaholic Evan, dances around, contorts his face into weird expressions, and exaggerates his reactions to what’s happening around him. When Evan discovers that his daughter (Yara Shahidi) communicates with a set of imaginary playmates that deliver accurate insider stock tips, he must play along with his daughter by pretending to visit her friends in their fairy kingdom to garner more tips. This requires him to have fun with his daughter and, surprise!, become a better father.

“Imagine That” benefits from Eddie Murphy’s manic energy, but that energy is also its weakness. It gets to be a bit much after a while. One bright note is Shahidi, who is impressive in her movie debut. While “Imagine That” is better than last year’s “Meet Dave,” it’s only mildly entertaining. 6/14/09

Away We Go - 3 smiles

“Away We Go,” directed by Sam Mendes, is a heart-felt road movie that investigates what to do (or not) when raising a family and delineates the meaning of home. An expectant couple, Burt Farlander (John Krasinski) and Verona De Tessant (Maya Rudolph), travel the US in search of the perfect place to raise their family after Burt’s parents (Jeff Daniels and Catherine O’Hara) announce that they are moving to Antwerp for two years. Their trip takes them to various places across the country where they encounter some odd people. There’s Verona’s ex-boss (Allison Janney) in Phoenix, Verona’s sister (Carmen Ejogo) in Tucson, Burt’s new-age cousin (Maggie Gyllenhaal) in Madison, married friends from college (Chris Messina and Melanie Lynskey) in Montreal, and Burt’s brother (Paul Schneider), whose wife has just left him in Miami.  In a few short weeks, Burt and Verona see the good, the bad and the ugly and understand more about themselves. Ultimately, their journey leads them home.

Mendes’ pairing of John Krasinski and Maya Rudolph is what makes this movie work. They exhibit a subtle, but genuine chemistry and we believe that they love each other. The supporting cast is mostly believable although we don’t get to see much of Jeff Daniels and Catherine O’Hara and Maggie Gyllenhaal’s character is just plain creepy. Mendes, whose dark ‘Revolutionary Road’ was so hard to watch, has created a delicate balance between drama and comedy, making “Away We Go” an enjoyable moving-going experience. 6/18/09

The Proposal - 3 smiles

Although “The Proposal” is derivative and predictable, it is also an immensely enjoyable romantic comedy. Sandra Bullock and Ryan Reynolds are evenly matched and their on-screen chemistry is fresh and appealing, making “The Proposal” the best rom-com of the summer.  Pete Chiarelli’s script takes the ogre male boss/put-upon female assistant and reverses the roles. Bullock plays Margaret Tate, a pitiless, high-powered New York book editor, who discovers she’s about to be deported because her Canadian visa has expired. In desperation, Margaret decides to marry her assistant, Andrew (Reynolds), to get a green card and remain in the US. She makes it clear to Andrew that if he wants to have any kind of career in the publishing industry, he must go along with her plan. Complications arise when they visit Andrew’s family in Alaska.

Bullock relishes playing the tyrant and the way she slowly reveals her character’s softer side is effective. And she’s a good enough actress that she is able to take a stereotypical role and create a character with depth. Plus she has a knack for understated physical comedy: struggling to climb down a ladder wearing ridiculously high heels, teetering nearly nude against a bathtub as she battles the barking family dog, tentatively slapping the butt of an ‘exotic’ dancer. Reynolds’ Andrew adds zip to the mix; he’s thrilled to finally have the upper hand with his boss, who he calls ‘The Devil’s Mistress.’ And there’s fun in the barely spoken venom they spit while pretending to be the happy couple. Reynolds matches Bullock quip for quip. But the meatiest role goes to scene-stealer Betty White as Andrew’s grandmother, who, in one of the funniest scenes, has difficulty locating Margaret’s breasts while fitting her for a wedding dress.  At the heart of this film is the importance of family, something Margaret discovers as she gets to know Andrew’s family. “The Proposal’ is a good old-fashioned romantic comedy with two charming stars that make a typical genre movie seem like something new. 6/20/09

Year One - 1 frown

I can’t begin to tell you how truly awful “Year One” is.  It has a plot that makes absolutely no sense and it’s filled with unlikeable characters and crude humor. Some of the story is loosely based on the book of Genesis, but the screenplay by Harold Ramis & Gene Stupnitsky & Lee Eisenberg treats Genesis as a roadmap. Our inept hunter Zed (Jack Black) and his equally inept gatherer friend Oh (Michael Cera) are kicked out of their tribe and they set off on their own. They first encounter the quarreling brothers Cain (David Cross) and Abel (Paul Rudd) and then stop Abraham (Hank Azaria) from sacrificing his son, Isaac. Next Zed and Oh head for Sodom, where the women they like are being held as slaves. Zed hatches a rescue plan, but by this time, everything is so silly that you really don’t care what happens.

Casting Jack Black and Michael Cera as mismatched buddies was ill conceived. Black becomes tiresome after the first ten minutes and he just isn’t funny. Cera can be effective as an insecure teenager, but he seems out of his depth here. And talk about gross-out humor. You’ve got Zed munching on human excrement, Oh urinating on himself and phallic symbols all over the place. This is tasteless, cringe-inducing material. I can’t imagine why anyone would want to see this movie. I’m sorry I did. 6/21/09

The Hangover - 2 smiles

Everyone who knows me knows I don’t often see comedies – or what masquerades as comedies in today’s movie theaters. That’s because comedies often fall into one of two categories: stupid (pratfalls) or raunchy. And neither, to me, is funny. The reason “The Hangover” gets 2 smiles instead of 1 or 1 ½ is director Todd Phillips’ creative approach to telling a story and his likable cast.

Waking up in the morning with no idea of what happened the night before is not that inventive, but when you add a trashed penthouse with blowup dolls in the Jacuzzi, a makeshift trapeze hanging from the chandelier, a tiger in the bathroom and a chicken roaming around the living room, you know you’re in for something different. Throw in a missing groom, a mysterious visit to the hospital, and a stolen police car with a very small man in the trunk and you’re wondering what’s going to happen next.  And although the lead actors (Bradley Cooper, Ed Helms, and Justin Bartha) play familiar types, their onscreen charisma carries them through this outrageous plot. Only the bearded Alan (Zach Galifianakis) is weird in ways that are often uncomfortable. So see this if you must; a lot of people already have. 6/2/09

Up, revisited

Although I haven’t seen “Up” a dozen times, I’ve seen it more than six and each time only reinforces what a masterpiece “Up” really is. This movie, an inspiring adventure about an old guy, a kid and a house held up by thousands of helium-filled balloons, is thoroughly grounded in real emotions and ideas of substance. Pixar’s 10^th feature-length film clearly demonstrates that the most inventive and moving stories in movies today are being told via animation.

The brief montage that introduces the narrative, spanning Carl and Ellie Fredrickson’s life together from childhood through childless marriage through old age, is a heartfelt work of genius. And the visualization of the Kevin bird and the dogs Carl and Russell encounter in South America are worth cheering. Did you notice that Kevin reacts to Russell, Carl and Dug differently? And if you’ve ever had a dog as a pet, you know that Dug’s actions are based on pure doggie behavior.

Pixar had to be taking a chance in developing a story about a senior citizen and a young boy so the voice casting had to be perfect. Ed Asner has just the right amount of gruffness and bite that makes Carl a thoroughly believable grumpy old man. Newcomer Jordan Nagai brings energy, spirit and naïveté to Russell.  And co-director and writer Bob Peterson is perfect as the voice of Dug.

“Up” takes us on a satisfying journey and provides us with any number of meaningful themes (that’s the English teacher in me). Life’s biggest adventure can be found in your own back yard with people you love. Friends not only enrich your life, but help you through difficult times. And as Russell would say: You have a responsibility to be a friend to all nature.

“Up” is worth seeing at least once. And then again – and maybe again. J 6/17/09

The Taking of Pelham 123 - 3 smiles

“The Taking of Pelham 123” does what a good remake should: it holds true to the spirit of the 1974 original while bringing something new to the mix.  Director Tony Scott, working from a Brian Helgeland script, wisely keeps the focus on the psychological interactions between the two central characters although he does manage to throw in two adrenalin-pumping action sequences. A sociopath who calls himself Ryder (John Travolta), aided by three cohorts (Luis Guzman, Victor Gojcaj, and Robert Vataj) has commandeered subway train Pelham 123 and taken 18 passengers hostage. He makes his ransom demands to Walter Garber (Denzel Washington), the dispatcher unlucky enough to answer his call. Garber is facing suspension for suspicion of taking a bribe. Ryder’s demand: he wants $10 million in 60 minutes or he will start killing hostages. When a hostage negotiator (John Turturro) tries to take over for Walter, Ryder’s reaction turns violent. Meanwhile, the Mayor (James Gandolfini), nearing the end of his term, joins the increasingly difficult negotiations with Ryder in the metro control room.

To his credit, Washington plays the paunchy Walter as a normal Everyman, with a 9-5 job, a family, and financial troubles, and totally disappears into his role. He demonstrates how an average person, when placed in a dangerous situation, can do something heroic. And Travolta, an extremely effective villain, creates the looks and mannerisms of a man who has tipped to the other side of sane. The chess match between these two, which does not exist in the original, is definitely the highlight and the main reason to see “the Taking of Pelham 123.” 6/10/09

My Life in Ruins - 2 1/2 smiles

If you can ignore the rather blatant stereotypes, the obvious plot and the predictable conclusion, you’ll enjoy “My Life in Ruins,” a pleasant romantic comedy. And Nia Vardalos of “My Big Fat Greek Wedding” fame has enough on-screen charisma that you root for her character’s plight in life to improve. Georgia (Vardalos) is an unhappy tour guide who is stuck shepherding annoying tourists around Athens. She would prefer a job teaching ancient history, but leading tours pays the bills.  Georgia’s problem is that she is prone to giving history lectures to charges who want to shop for souvenirs and eat ice cream. Naturally, the point of the movie is for Georgia to discover her joy for life, to be like Zorba, who can dance even when things fall apart. She accomplishes this transformation with the help of a hunky bus driver (Alexis Georgoulis), a wiseguy tourist (Richard Dreyfuss) and various stereotypes who sign up for her tour: snooty Brits, obnoxious Americans, man-hunting divorcees, beer-drinking Australians.

Vardalos is charming and by the end of the movie, she makes Georgia’s conversion to happiness seem genuine despite being hampered by some lame gags (getting chocolate ice cream on her blue blazer being one of them).  “My Life in Ruins” is fluffy rom-com silliness, but Vardalos manages to infuse it with warmth and appeal. And movie that has the beauty of Greece as a backdrop can only enhance your movie-watching pleasure. 6/5/09

Easy Virtue - 3 smiles

Based on a 1924 Noel Coward play, “Easy Virtue,” starring Jessica Biel, Kristin Scott-Thomas and Colin Firth, is an affecting look at British upper crust hypocrisy. As with most of Coward’s plays, the enjoyable aspect of this movie is the dialogue and nearly every line is crackling with wit. The story opens in 1920s England where the favored son John (Ben Barnes) has returned to the family home to show off his older American wife, Larita (Biel). Needless to say, John’s mother, Veronica (Scott-Thomas), is not pleased. John’s two sisters have mixed reactions, with Marion (Katherine Parkinson) turning up her nose and Hilda (Kimberly Nixon) seemingly fascinated. Only John’s father, Colonel Jim (Firth) offers a genuine welcome.

By clothing Larita in white, black and silver with special lighting, director Stephan Elliott gives her the appearance of being a bright light among dreary and uninteresting people.  Jim, too, is a compelling character, a man so affected by his losses during World War I that he’s broken and lost. Scott-Thomas is effective as the antagonist of the piece. Firth and Scott-Thomas are at home with this sort of material and are especially adept at delivering Coward’s biting words. But Biel holds her own and does as well in this period piece as she did in “The Illusionist.” The laughter found in “Easy Virtue” requires the audience to pay attention, but if you appreciate this, you’ll enjoy this movie. 5/6/09

Departures - 3 1/2 smiles

The strength of “Departures,” directed by Yôjirô Takita and winner of the 2008 Academy Award for Best Foreign Language Film, is its depictions of the preparation of a body for cremation. The work of wiping down the body and clothing it in silk, carried out with grace and exactitude, carries a deeper meaning. ‘One grown cold, restored to beauty for all eternity….Everything done peacefully and beautifully.’ This will resonate with anyone who has had to deal with the loss of a loved one. If “Departures” has a weakness, it’s the film’s overly sentimental, at times manipulative, tone. Be sure to have plenty of tissue nearby.

Daigo (Masahiro Motoki) is a cellist with a failing Tokyo orchestra. Newly unemployed, he returns to his hometown in northern Japan with his wife, Mika (Ryoko Hirosue). Applying for a job he assumes is for a travel agency, he is surprised to learn that ‘departures’ refers to the business of ‘encoffinment.’ He is immediately hired and begins his tutelage under the company’s owner, Sasaki ( a droll Tsutumo Yamazaki). And he learns that the ritual preparation of the body is conducted in front of the deceased’s family and friends. When Miko discovers what Daigo’s job entails, she demands he get a ‘normal’ job. But the work has become meaningful to Daigo as he realizes the comfort it brings to the bereaved. “Departures” is a moving experience filled with affection and wisdom and sprinkled with just enough humor to balance the heavy emotion. This is a must see. Subtitles. 5/31/09

Terminator: Salvation - 2 smiles

I saw “Terminator: Salvation” a week ago while on a trip to Atlanta, visiting Turner Field and watching the Braves play the Toronto Blue Jays. As an action movie fan in general and a fan of the Terminator series specifically, you’d think I’d remember this movie. But when I started to write about it, I could only remember bits and pieces. Obviously, I had to see it again. But what does that say about “Terminator: Salvation”?

“Terminator: Salvation” is a combination of “Road Warrior” and “Transformers” with plenty of CGI effects, adrenalin-pumping action and explosions everywhere. As a stand-alone action flick, this would be okay if there weren’t references to the Terminator back-story. In addition, you’re supposed to identify with the protagonist and root for him to win as you follow him through the narrative. That was easy to do with the other Terminator movies because there was a clear hero. Unfortunately, John Brancato & Michael Ferris’s script introduces another character that shifts your focus – the hybrid Marcus Wright (Sam Worthington).  So a movie that’s supposed to be about John Connor (Christian Bale) as he leads the Resistance in its fight against Skynet is really about Marcus Wright. And Aussie Sam Worthington definitely steals the movie. So, for action addicts, I’d say go for it and expect the usual plot holes that typically occur in this genre. 5/22/09, 6/2/09

Up - 4 smiles

It’s hard not to gush about a movie when it does everything right and while “Up” is not quite as good as “Wall*E,” it’s a wonderfully magical movie that’s destined to be the best animated feature for 2009. It’s certainly better than “Monsters vs. Aliens,” the next “Ice Age” sequel and any number of other animated movies due out this summer. “Up,” full of real emotion and substantive ideas, is an uplifting adventure about an old guy, a kid, and a house that sails through the air. Through a wonderful opening montage, we learn that Carl and his wife Ellie, who met as children, were soul mates and that the two had always planned a trip-of-a-lifetime to a magical place in South America. Now that Ellie is gone, a lonely Carl (voiced by Ed Asner) decides to take this trip by attaching thousands of balloons to his house and floating to South America. A few days before take-off, Carl is visited by young Russell (a perfect Jordan Nagai), an overly enthusiastic scouting type who needs one more merit badge to complete his collection. In his zeal to get this badge, Russell becomes an unwitting stowaway on Carl’s great adventure and soon proves himself an invaluable companion.

Under the careful direction of Pete Docter, every detail of the movie is inspired from the brilliant colors of the rare bird that Russell names Kevin to the talking dogs that greet Carl and Russell. Anyone who loves dogs will enjoy the clever way their dialog is handled.  And if you’re looking for a deeper meaning, you’ll find more than one. From the trademark Pixar animation to the colors, the humor and emotion – all are outstanding. If you haven’t seen “Up” yet, you’re missing out on a wonderful experience. 5/30/09

Night at the Museum: Battle of the Smithsonian - 1 1/2 smiles

“Night at the Museum: Battle of the Smithsonian,” a sequel with an absurdly long title, exists because its predecessor made a lot of money. And while the original was imaginative and fairly entertaining (excluding the silly slapstick), this one is pointless and stupid. There’s nothing there – no plot, no characters, nothing except special effects. This time around, the magic tablet that brings museum exhibits to life ends up at the Smithsonian and in the hands of Pharaoh Kahmunrah (Hank Azaria), who has allied with Napoleon, a black and white Al Capone and Ivan the Terrible, to take over the world. Larry Daley (Ben Stiller) also has allies, including the miniature Jedediah (Owen Wilson), who spends most of the movie trapped in an hour glass; Amelia Earhart (Amy Adams); Honest Abe (voice of Hank Azaria) from the Lincoln Memorial; and Teddy Roosevelt (Robin Williams), among others.

The only actor that doesn’t seem to be going through the motions is Amy Adams, who manages to imbue her character with effervescence and life. Hank Azaria appears to be having fun, but he’s so over the top that he becomes tiresome after 10 minutes. Kids will probably like this movie because the filmmakers have been careful not to change the formula. And that’s the problem with “Night at the Museum 2”  - it’s more of the same.  5/26/09