THIS WEEK IN MOVIES: (APRIL 20th)

April 20, 2012 by Keith Garlington

One of the more interesting bits of news from the world of movies came in the form of an advertisement for “The David 8“. Released as a promotion for Ridley Scott’s upcoming sci-fi film “Prometheus”, “The David 8” clip introduces us to the artificial life form played in the movie by Michael Fassbender. It’s a quirky and at times eerie clip in the form of a television commercial that promotes this next generation model of synthetics. “The David 8” clip is very well made and hopefully this is just the first in a series of cool promotions that we can expect from this still mysterious film.

Another really cool clip that came out this week was from Marvel’s “The Avengers”. Simply called “The Avengers/Clip #5“, it may be the coolest yet. In it we see Thor (Chris Hemsworth) squaring off against Iron Man (Robert Downey, Jr). Why are these two heroes fighting? My guess is the clip is showing the initial dysfunction of the team before the obvious team-up to save the world. Or it could be a simple training exercise. Whatever it is, all I know is that “The Avengers/Clip #5” is really, really cool.

NEW IN THEATERS (APRIL 20th)

“CHIMPANZEE” (G) – Family/Documentary
“THE LUCKY ONE” (PG-13) – Romance (allegedly)
“THINK LIKE A MAN” (PG-13) – Comedy

*Sounds like a good weekend to catch up on my DVD/Blu-Ray watching

“GROWN UPS” – 1 STAR

April 19, 2012 by Keith Garlington

I kinda knew what I was getting into when I decided to watch Adam Sandler’s “Grown Ups”. Sandler is on a streak of pretty dreadful yet profitable movies, most of which have become cheap, lazy, and formulaic. Unfortunately, “Grown Ups” is no different. It’s a tedious and unfunny film that provides more moans and head-shakes than laughs. It’s a lame and juvenile exercise in banality that makes you question where Sandler’s loyalties lie – in making good movies or making money.

Sandler teams up with Kevin James, David Spade, Chris Rock, and Rob Schneider to play five childhood friends who are reunited after the death of their old junior high basketball coach. After attending the funeral, the five take their families to a lake house for the 4th of July weekend in hopes of catching up. Of course none are completely forthcoming about their lives and instead choose to impress their friends by making things seem better than they really are. Each bring along their own quirky baggage including a nagging mother-in-law, maladjusted children, and a 70-year old wife. Each are played for laughs but none are even remotely funny. Of course families come together, friendships are rekindled, and audiences are bludgeoned to death with one stupid, rehashed gag after another.

Sandler co-wrote and co-produced this mess and he doesn’t seem to know what kind of movie he wants to make here. The movie jumps back-and-forth between family friendly and filthy bathroom comedy with neither being effective. He employs so many of the same overused gags that have become commonplace in Adam Sandler movies. We get fart jokes. We get urine jokes. We even get lowbrow breast milk jokes. “Grown Ups” pulls out all the stops to try to cover up its appallingly poor writing. You name the gimmick and you’ll probably find it here.

I was also taken back by Sandler’s sometimes shameless uses of the children in the film. In the movie, one boy is 4-years-old but still breast feeds. Several of his scenes go well beyond good taster as do the numerous lines of dialogue that calls for the boy to say all sorts of crude things about it. I’m not trying to say I’m the expert when it comes to determining what’s proper for a child or even what passes as funny. But this really felt wrong and it certainly wasn’t funny. Sandler doesn’t show much more respect for the other child actors but at least they are older and don’t feel quit as exploited.

There is absolutely nothing genuine about “Grown Ups”. The characters feel fake. The relationships feel fake. The attempts at humor certainly feel fake. Even when the movie tries to drum up some emotion and sentiment it feels completely forced and fabricated. None of the actors really sell their character. Kevin James comes the closest but even he is a mixture of numerous characters we have seen before. Even the wives are shallow and one-dimensional and contribute their fair share of cringe-worthy scenes. The material is so bad that it’s impossible to invest in anyone or believe in anything you’re seeing on-screen.

When it comes down to it, “Grown Ups” is yet another sloppy, adolescent “comedy” and another red mark on Adam Sandler’s resume. There’s absolutely nothing to take away from the movie and sitting through it quickly becomes excruciating. This begs the question, how on earth did this monstrosity gross over $270 million worldwide? Is this really the best Hollywood can do? Do people really find this stuff funny? Who knows, maybe I’m the one who is out of the loop on this one.

HOLLYWOOD WRITER’S BLOCK? SEQUELS, REBOOTS, & REMAKES

April 18, 2012 by Keith Garlington

If there is one constant in the modern-day movie industry, it’s the steady barrage of motion picture sequels, reboots, and remakes that bombard theaters each year. For a while now it’s seemed as if the sheer number of sequels, reboots, and remakes has steadily grown from year to year. Just look at 2011. The year featured reboots such as “Rise of the Planet of the Apes” and “X-Men: First Class”. We also got several pointless remakes like “Footloose”, “Fright Night”, “The Smurfs”, and “Arthur”. And of course, the year was loaded with sequels from popular “franchises” such as Harry Potter, The Transformers, Twilight, and Pirates of the Caribbean; animated films like “Cars 2”, “Kung Fu Panda 2”, and “Happy Feet Two”; and a host of other stuff ranging from “Spy Kids” to “Scream 4” to “Hangover 2”.

That was last year. Just take a look at what we have already seen and what we can expect for the rest of 2012. It’s still early in the movie year and we’ve already seen remakes like “21 Jump Street” and “The Three Stooges” and a host of sequels such as “Journey 2”, “Wrath of the Titans”, “Underworld Awakening”, and “Ghost Rider”. To add to it, this year we have already seen 3-D re-releases of three movies: “Star Wars: Episode 1”, “Beauty and the Beast”, and “Titanic”. Here’s just a sample of what’s still coming out this year:

“Men in Black III” (sequel)
“Piranha 3DD” (sequel – I guess)
“Madagascar 3” (sequel)
“G.I. Joe: Retaliation (sequel/reboot)
“The Amazing Spider-Man” (reboot)
“Ice Age: Continental Drift” (sequel)
“The Dark Knight Rises” (sequel)
“Step Up: Revolution” (…….sigh…..)
“The Bourne Legacy” (sequel)
“Total Recall” (remake)
“The Expendables 2” (sequel)
“Twilight Saga: Breaking Dawn Part 2” (sequel)
“Resident Evil: Retribution (sequel)
“Paranormal Activity 4” (sequel…kinda)
“Red Dawn” (remake)
“Skyfall” (sequel)

There are several more that you can expect to see in 2012 but you get the point. It seems that sequels and remakes aren’t a big thing these days. They’ve become commonplace. Now let it be known that there are some movies on the list that I am really excited about seeing. It’s also true that some sequels are incredible movies. It’s also worth noting that THE TOP 9 GROSSING MOVIES of 2011 were sequels which shows that there is an audience for them. So it certainly isn’t a question of bad financial decisions and it’s certainly not unreasonable to make movies that will sell tickets. But it begs the question, is there a shortage of originality and creativity in Hollywood?

I can remember when a movie sequel was a pretty big deal. You didn’t see many of them and when you did it usually drew a lot of attention. That’s certainly not the case today. And Hollywood’s sudden affection for remaking 80’s movies and TV shows has led to more head-scratching results than memorable films. I guess in a way that’s my biggest concern. Just how many of today’s sequels, reboots, and remakes are really good, memorable films? How many will stay with us for the rest of our lives. How many are just easy money grabs that have little to no lasting impact? I tend to think more of them are utterly forgettable than true movie treasures.

But as I mentioned, not every sequel, reboot, or remake is bad. Christopher Nolan’s “The Dark Knight” not only rose above the superhero genre but it was an incredible movie. This year’s “The Dark Knight Rises” is my most anticipated movie of the year. And there are still many good quality filmmakers that are making great original movies for us to enjoy each year. Add in independent films and foreign cinema and there are several outlets to discover good movies. But so much of Hollywood’s efforts and resources are going into treading the same water that I can’t help but wonder, is the struggling industry desperate for dollars at the theater or does Hollywood have a bad case of writer’s block that only seems to be getting worse?

“IN DARKNESS” – 3 1/2 STARS

April 17, 2012 by Keith Garlington

“In Darkness” is a Polish historical drama from director Agnieszka Holland and one of last year’s Oscar nominees for Best Foreign Language Film. It’s based on the novel “In the Sewers of Lvov” by Robert Marshall which tells the true story of Leopold Socha and his efforts to shelter Jews from the Nazis and Nazi sympathizers in occupied Poland. It’s a foreign film that looks at the war from a unique perspective and at times truly conveys the horrors of the Nazi occupation. It’s can be tense and heart-wrenching and you can’t help but be effected by what you’re seeing. But it’s also a movie that spins its wheels in a some places and features a few crude and jarring scenes that seem disconnected and pointless.

Robert Wieckiewicz plays Leopold Socha, a sewer worker in the city of Lvov. We first see Leopold as a gruff and self-serving individual who will even resort to stealing to make money. He’s a husband and father and we see early that he has no use for the Jews, even though he understands the horrors being inflicted by the Nazi occupiers. While in the sewers one day, Socha comes across three Jews who have dug a hole through the floor of their home to provide an escape route should they need it. A short time later the Nazi’s sweep through the Jewish ghetto killing and capturing the entire Jewish community. A small group escapes through the floor and into the sewers where Socha agrees to hide them for a fee.

Initially Socha’s service is all about money. The Jews pay him each day and even a local market owner notices his sudden increase in income. But Socha begins to see the Jews in a different light and his gradual transformation becomes the centerpiece of the story. The Jews don’t exactly trust him either and watching the relationship between them evolve in the midst of such a harsh and dangerous set of circumstances is enthralling. Add the pull of this being based on a true story and it makes it all the more effective. Socha can’t help but sympathize with the Jew’s especially after witnessing acts of Nazi brutality and helping them through several near-miss encounters in the sewers.

Holland also does a fine job creating a visual representation of a war-torn Polland. From the ravaged neighborhoods and amazing wardrobe design to the savage and often times disturbing depictions of Nazi violence. But most of the film takes place in the dark and dirty sewers. These scenes are filled with shadows and almost no light other than from candles and quick-moving beams from flashlights. It’s effective in creating a grimy and claustrophobic environment but at times it makes it hard to decipher what is going on. The movie contrasts the darkness with some bright daytime scenes outside the sewers that sometimes show a world darker that what’s under the streets.

“In Darkness” should be commended for it’s incredible acting. Wieckiewicz’s performance is grounded and believable and his ability to portray a conflicted man who watches his perspective change is easy to buy into. The film also does a pretty good job of developing an assortment of interesting people among the Jews in hiding. Each performance is well executed and even though several of the characters seem underwritten, the performances are nonetheless good.

David Shamoon’s script moves along pretty well but there were some bumps in the road. There are a handful of rather crude scenes that really felt completely out-of-the-blue. I couldn’t understand their purposes other than adding a different level of adult content to the film. They didn’t add anything to the bigger story and in fact pulled me out of the movie on each occasion. The scenes were pointless and that time could have been much better spent elsewhere.

While “In Darkness” does trip over itself in a couple of places and the lighting in the sewer scenes sometimes makes things hard to see, it still captures the notion that human goodness can persevere. It’s real-life groundwork grants the movie a genuine emotional pull that I was caught up in. “In Darkness” isn’t the best World War 2 period movie or the best movie dealing with the holocaust. But it does offer many tense scenes filled with suspense. It also celebrates the will to live even in the face of the worst adversities and reminds us that even a simple sewer worker can have a monumental effect on the lives of others.

“LOCKOUT” – 3 STARS

April 14, 2012 by Keith Garlington

I grew up watching those 1980’s and early 90’s tough guy action movies. During that time, the action genre was immensely popular. For years those movies made one-man-armies and cheesy one-liners commonplace. But that doesn’t mean they weren’t fun and I wouldn’t hesitate calling some of them personal favorites. “Lockout” takes a lot of its inspiration from those 80’s action flicks and it unashamedly tries to recreate the tone and feel of those films. Because of that, the movie could be an immediate turn-off for those who didn’t care for the genre or a disappointment for those who don’t get what the film is aiming for. I found it to be a fun piece of popcorn entertainment despite its few noticable shortcomings.

“Lockout” doesn’t pretend to be earth-shattering or ground-breaking by any means. It’s very straightforward in its presentation and even the trailer seemed patterned after those from the 80’s. Several elements of the story are fairly familiar but with a futuristic, sci-fi angle. Guy Pearce bulks up to play a government operative named Snow. He’s an irreverent, wise-cracking loose cannon who finds himself framed for a crime he didn’t commit (stop me if you’ve heard this before). Meanwhile Emilie Warnock (Maggie Grace), the U.S. President’s daughter, is visiting an orbital space prison known as MS ONE on a humanitarian fact-finding mission. But while there, the prisoners revolt and take charge of the space station. Snow is asked to go in and rescue the President’s daughter in exchange for his freedom. Of course he agrees but with his own ulterior motives.

The story moves at a pretty fluid pace and at 95 minutes it’s pretty compact and doesn’t drag things out. In many ways Snow is your prototypical tough-guy. He’s tough as nails, has a bad attitude, and fires off more one-liners than bullets. Clearly he’s written to take wise-cracking to the extreme but it’s a little overdone. In fact, it’s almost as if Snow is completely incapable of carrying on a normal conversation. One the flip side, this isn’t a movie centered around stimulating conversation and several of Snow’s quips are quite funny. But it also makes him an incredibly one-dimensional character.

The movie is chock full of CGI and special effects. Some of the effects are well done and they do a lot to create a believable sci-fi environment. But there are also several examples where they look more like a video game than a movie. Before the movie started, the trailer for Ridley Scott’s “Prometheus” was shown and the difference in the special effects between the two is staggering. But to be fair, “Prometheus” has about five times the budget and “Lockout” just tried to make due with what it had. The action scenes are pretty well done even though so much of it happens off-screen. This was clearly done in order to obtain a PG-13 rating. But in a way it subverts the tough and gritty look of the film and takes away an edge that would have made the movie better in my opinion.

I’m a big fan of Guy Pearce. When it comes to movie roles he has a pretty diverse resume, but I haven’t seen him play a character quite like this. It doesn’t take long to figure out his approach to Snow. Pearce is clearly having fun with the role and his performance is quite good. I never felt Pearce let’s Snow become just a caricature and in several instances he elevates the material. Maggie Grace does a decent job although she’s not quite on Pearce’s level. The movie is helped by some really good smaller supporting performances. It’s funny to say about this type of movie, but the acting really rises above the story in many places.

“Lockout” is getting hammered by critics and I find that to be no surprise. This is another example of some critics not measuring the film by what its trying to be. Now I’m not saying “Lockout” is incredible filmmaking or a new classic. It clearly has it’s issues that do drag it down a bit. The special effects aren’t the best and the action is sometimes pruned to the point of being ineffective. But I still found it to be an entertaining sci-fi B movie led by a really, really fun performance from Pearce. “Lockout” won’t win any awards but for the most part it accomplishes what it intends to.

“THIS WEEK IN MOVIES” (APRIL 13th)

April 13, 2012 by Keith Garlington

The Weinstein Company has released what’s being called the first “teaser poster” for Quentin Tarantino’s upcoming western film “Django Unchained”. Other than a brief and vague synopsis, little is known about the film and we’ve yet to see the first trailer. As you can see below, the “teaser” poster doesn’t offer much more information but it does looks pretty cool. “Django Unchained” stars Jamie Foxx, Leonardo DiCaprio, Samuel L. Jackson, Christoph Waltz, and Kurt Russell and, of course, it’s directed by Quentin Tarantino. Look for it in theaters this December.

Director Christopher Nolan and Warner Brothers have released several new images from July’s almost guaranteed blockbuster “The Dark Knight Rises”. Nolan’s final installment in his brilliant Batman trilogy has a lot of promise but also a lot of questions. In one of the images we get to see Bane seemingly in control of a stock exchange and in another Selina Kyle in full Catwoman garb checking out an empty safe. “The Dark Knight” will be a tough act to follow but with Nolan leading the way, it’s bound to be good.

Tom Hardy as Bane in “The Dark Knight Rises“

Anne Hathaway as Selina Kyle (Catwoman) in “The Dark Knight Rises”

What are you thoughts on “Django Unchained” and “The Dark Knight Rises”? Both are attention getters in movie circles and both promise to have a lot of people talking about them.

NEW IN THEATERS (April 13th):