So says Hannibal Smith (Liam Neeson) near the end of “The A-Team,” Joe Carnahan’s ridiculously entertaining update of the popular 1980s television action show. By the time he says this, the characters have already barrel-rolled a helicopter, broken out of three maximum security prisons and flown a tank (you read that correctly)-- and the bazookas, machine guns and firecrackers are still moments away.
At least “The A-Team” practices what it preaches.
Then again, “The A-Team” never shied away from excess. The program, best known for capitalizing on Mr. T’s post-“Rocky III” career, was a testosterone-laden action-comedy centered on four Vietnam vets who, after wrongful imprisonment, went underground as mercenaries. Today it’s best-known for its over-the-top stunts and action sequences—which featured little bloodshed and hardly any death--and a cast of characters who spent just as much time wisecracking as they did solving missions.
It’s no surprise that Carnahan, last seen helming “Smokin’ Aces,” would amp up the stunts and action sequences in this update. What is refreshing, however, is how Carnahan keeps the franchise’s daffy soul intact by spending just as much time letting his actors wisecrack and play around.
Neeson suitably takes over for George Peppard as the calm, stogie-loving team leader Hannibal; he’s first seen freeing himself from the clutches of a Mexican drug cartel and dispatching two guard dogs by handcuffing them together. Neeson’s made a career playing strong, wise mentors and he’s not really doing any heavy lifting here. But the relish with which he declares “I love it when a plan comes together” shows that he’s clearly having fun in what would be an otherwise throwaway role.
Bradley Cooper seems born to place Face, the group’s smooth-talking ladies’ man. Cooper brings the same swagger and sense of humor that served him so well in last year’s “The Hangover,” and replicates Dirk Benedict’s smarm with surprising accuracy; there’s really no one else who could play this part so well. Mixed-martial arts star Quinton “Rampage” Jackson has the unenviable task of taking over for Mr. T as tough guy B.A. Baracus, but shows the requisite blend of intimidation and teddy bear likability to earn the Mohawk. Jackson is even able to bring a touch more character to the role, with a corny but entertaining subplot about B.A. renouncing violence. And yes, he’s still afraid to fly.
Perhaps the biggest surprise is “District 9’s” Sharlto Copley as Murdock, the group’s insane pilot. Switching accents for no apparent reason, speaking through hand puppets and amused by every near-death experience, Copley makes Murdock the film’s most refreshing and entertaining character. He’s so fun to watch that it’s easy to forget that he’s basically just doing the same shtick Dwight Schultz did 30 years ago. Jessica Biel is easy on the eyes, but light on the interest, as a government official hunting down the team, but Patrick Wilson (“Watchmen”) is a hoot as the quirky villain who seems more amused than perturbed at the way the team frustrates his plans.
Carnahan may have let his love for extreme editing and absurd action get away from him with “Aces,” a film I was not particularly fond of, but he finds the right balance for action and comedy here. Rather than turn it dark and edgy, as others may have been tempted to do, he honors the show’s legacy by winking at the audience and letting them know that it’s okay to laugh: it’s meant to be silly. That’s helpful to know when an entire sequence hinges on parachuting a tank to the ground while dodging missiles. The film rushes headlong from one action sequence to the next without giving the audience time to register how over-the-top everything is; in many ways, the film is one exquisitely staged climax after another, each delivered with a flair for the absurd that would make Jerry Bruckheimer proud.
Carnahan makes sure to honor the hallmarks of nearly every “A-Team” episode. The black van makes an appearance and, yes, there are numerous escapes from prisons and mental institutions. New ways are found to trick B.A. into getting onto a plane and even the show’s iconic theme song is incorporated several times. The film’s final sequence, which both sets up a sequel and calls back to the show’s opening credits, is pure nostalgia for ‘80s geeks.
Yet even the uninitiated should have a good time with “The A-Team.” It’s the type of wispy, light-hearted fun that is rarely seen in this age of gritty franchises and reality-laced action dramas. Is it absurd, silly and ridiculous? Sure. But that’s all part of the plan. And I don’t know about you, but I love it when a plan comes together.
Originally published in the June 20 edition of The Source.
Ever since "Jurassic Park" gave me goosebumps at age 13, I've loved the summer movie season. While my friends were out playing baseball, enjoying the beach or (ahem) going on dates, I was finding my way to an air-conditioned movie theater to check out the latest, loudest and biggest releases of the year. "Independence Day," "The Rock," "Men In Black," "Gladiator"...these have been the films that have made summer one of my favorite times of the year.
I'm older and I'd hope my cinematic pallate has grown a bit more refined. I no longer salivate over the summer blockbusters...instead, my interest begins to pique around October, when studios start to send out their award fare. But I will always have a soft spot in my heart for loud, big, special-effects driven extravaganzas.
This year has found me more tied up with my day job and personal developments, with less time to hit a theater. Sure, I've seen "Iron Man 2" and "Shrek 4," but I still am not hitting the theaters with the furvor I was over the past years (much of that is due to the fact that my job makes me it harder to hit press screenings for freelance work). And so, there's been a lack of reviews that I hope to get back into the swing of doing in the next few weeks (after a business trip to Texas).
But, what better way to fill the void of reviews than by gathering my thoughts and updating a list of my 20 favorite films? I try to do this every year because, to be honest, my thoughts on what I love change from year to year as I see faults with old favorites ("The Matrix" no longer has a place on this list) and films grow on me after repeated viewings (there are a few films on this list that I hated upon seeing the first time). So, here are my top 20 films. There's really no particular order...save for the first one. :-)
A few caveats: Yes, there are more than 20 films on this list...I eliminated a lot but, in some cases, I grouped where a trilogy or series might be appropriate. I know the list skews heavily to films made within the last 20-30 years. Part of that is, based on my background, I'm just starting to catch up with older films. But most of that is that this is a list of my 20 favorite films, not the 20 best films I've seen. There are cases to be made for including "Casablanca," "Citizen Kane," or others...but these are the films that warm my heart, challenge me and cause me to return time and again to find their secrets out. A list of the best films I've seen would, well, be nearly impossible to compile. And in the end, it's not about what's best but about the films that have touched me, made me smile and made my life a bit better. Some of these are masterpieces. Some are guilty pleasures. Some are incredibly flawed but put a smile on my face anyway. That's the movies, for ya...
1. The Shawshank Redemption:Ever since I saw this movie early in my college years, it has merited the top spot on my list. Frank Darabont's debut--and still his finest film--is a powerful meditation on hope and friendship, wrapped up in a dark, funny, adventurous and spiritual story. Technically, the film earns its top spot: the acting--particularly Tim Robbins and Morgan Freeman--contains career-best performances and Darabont is a masterful writer-director, combining witty, smart dialogue with some beautifully composed shots. But emotionally, this is a deep, spiritual film told with earnestness and optimism, encouraging us that while people and circumstances may be at their worst, hope is still the best thing we have. It's the film I turn to when I feel despair coming on, and the beautiful passage where Andy plays opera for the inmates is my favorite film scene ever.
2. Eternal Sunshine of the Spotless Mind:Michel Gondry's sci-fi romantic comedy is a wonderful mind-bender of a film. I love Charlie Kauffman's script and the way it weaves in and out of time and through the realities of the mind, always weird but never confusing. It's a brilliant concept--what if we could erase the memories of the person who broke our heart--and yet for all its intelligence, the film never feels cold or detached. This is an examination of the nature of memory, the power of love and the human tendency to go for easy fixes rather than growing through our pain. I love Jim Carrey, in a quiet and internalized performance, and Kate Winslet is perfection as the unpredictable and fragile Clementine. I love the film's ending and the arguments that can be had as to whether it is a happy or tragic finale.
3. Close Encounters of the Third Kind: I guess that on any given day you could substitute this film with "Jaws" or "Raiders of the Lost Ark." I love early Spielberg--the sense of wonder, fun and awe. "Close Encounters" always comes back as my favorite of his early works, though. I love the way he balances familiar, "real-life" suburbia with the awe of his otherworldly visitors. I love the final 30 minutes, and that Spielberg maintains a sense of innocence and awe--he doesn't turn it into a standard thriller, but allows us to imagine a harmonious meeting between two species. This is such a wonderful look at obsession and passion, and I love that Spielberg doesn't hold Roy Neary back from abandoning all to follow his heart at the end. It's a film that is told with a startling intelligence and skill and balanced with a childlike sense of wonderment.
4. Before Sunrise/Before Sunset:Yes, it's technically two films. But Richaard Linklater's minor masterpieces compose my favorite cinematic love story. "Before Sunrise," which chronicles the meeting of two young people over one night in Vienna, is one of the first films I watched with my now-fiancee. I love the look of Vienna, the rhythm of the dialogue and the feeling that I am eavesdropping on a first date. It's a plotless film, but it's mezmerizing to watch Ethan Hawke and Julie Delpy's characters fall in love. Even more, I love the 2004 follow up, where we catch up with the characters in Paris. It's a tougher film--Jesse and Celine both have scars from their night in Vienna and Linklater spends 3/4 of the film sidestepping the relationship issues, only to hit us with an emotional sledgehammer at the end. I love these characters and revisit this story once a year. "Before Sunset" has one of the most perfect final shots I've seen, but if Linklater wants to pick up the story again later this decade, I don't know that I'd mind.
5. WALL-E:I probably could fill this list only with Pixar movies if I wanted. No other studio is as consistent at turning out masterpieces as this one. And I debated about whether this slot should go to "Up" or "The Incredibles," both of which I love just as dearly. But "WALL-E" is such a brilliantly-conceived film, that it edges them out. I love this mixture of Charlie Chaplin, 2001 and Johnny 5. It's a funny, near-silent comedy that takes right turns into romance and hard science fiction, with a dash of sermonizing to boot. WALL-E and EVE have a beautiful love story, which is odd since they are two robots with limited vocabularies. But it doesn't matter; their waltz in space is one of my most beloved cinematic moments.
6. The Muppet Movie: For whatever reason, this movie was therapeutic for me as I turned 30. Perhaps it was just a nostalgia factor; I was a Muppet fan growing up and I don't know that I've ever stopped loving Kermit & Co. But really, I think it was the pure joy in this silly road trip comedy. I love the corny jokes, the silly songs and the general anarchy that permeates every frame. But deeper still is the pure earnestness in Kermit, probably no more autobiographical for Jim Henson than here. His desire to entertain, make people happy and help his friends achieve their dreams reminded me of my most innocent moments. It's a beautiful, joyful movie for the lovers and dreamers in all of us.
7. Almost Famous:Cameron Crowe is a favorite director of mine and the one film per director rule is the only thing keeping "Say Anything" off this list. "Almost Famous" is Crowe's masterpiece, a lovingly autobiographical love letter to 1970s rock and life on the road. Patrick Fugit is fittingly innocent as William Miller, the uncool witness to rock and roll debauchery and the one man who can reveal everyone's secrets. I love every character and every actor in this film, be it Billy Crudup as Stillwater's pretty boy or Kate Hudson as the mysterious Penny Lane. It's a movie that, when I put it on, just makes me grin from ear-to-ear, loving every minute I spend with this disfunctional family.
8. Taxi Driver:Probably the obvious choice for Scorsese movie, but I'm not going to apologize for that. I love this unnerving, dark odyssey. Robert Deniro's Travis Bickle is a haunting character. He's not a hero and not a villain...just a lonely man wanting to impress a girl and clean up the world. I know Travis Bickles, have heard them cry out for loneliness and vent their despair in howls of anger and promises of retribution. And yet, Travis is not a fearsome character. We sympathize with him and pity him. And only Deniro and Scorsese, with Paul Schraeder's bleak script, could pull that off.
9. Ghostbusters: A perfect comedy. This is a film that shouldn't work--big budget comedies are, as a rule, bloated and clunky. And yet, "Ghostbusters" makes me laugh each time. Dan Aykroyd, Harold Ramis and Bill Murray created such a great concept--blue-collared supernatural exterminators, and the dialogue is intelligent, hilarious and absurd. Murray is, of course, the key...Peter Venkeman is the scientist who doesn't really believe all this supernatural stuff until it's staring him in the face. And even then, he's above it all, ready to crack a joke. The chemistry among the actors and director Ivan Reitman's ability to make the deadpan humor work among extravagant effects makes this one of the films I could put on any time and watch from beginning to end.
10. Anchorman: The Legend of Ron Burgundy: The go-to crazy comedy for this list was always "The Naked Gun." And while I still love Frank Drebin's adventure, I have to admit that "Anchorman" is probably the most infinitely quotable and aggressively funny films I've ever seen. Will Ferrell comedies are easy sells for me, and I've loved "Talladega Nights" and "Step Brothers," his other collaborations with director Adam McKay. But Ron Burgundy, with his deep voice, fine suits and love for scotch, it Ferrell's greatest creation. The supporting cast is just as hilarious, particularly Steve Carrell as the dim-witted weatherman ("I love lamp.") And the absurdity of the film, from the juvenile antics of the anchors to a no-holds-barred news reporter war (including horses and a trident), is so purely silly that it makes me giggle just remembering it. Parmount reportedly turned down a sequel. That is so not classy.
11. Hell House:I love a good documentary. And I wrestled with whether to put this, "Hoop Dreams," "Murderball" or "Young @ Heart" on this list. I settled with this--a look at a Texas church's efforts to construct and Evangelical haunted house--because no documentary has caused me to reflect on my faith, my efforts to share that faith and the motives for doing so. I love that the film is objective: it's fair to the teens putting on Hell House and also allows that they may be crossing a line. You don't question the church's devotion, but you do question their actions. The film looks at the attraction believers still have to sin and the danger of dressing up the Gospel. But it also is a celebration of passion and the desire to share Good News. An endlessly fascinating film.
12. A Simple Plan: I showed this to my fiancee a few months back and she couldn't get to the end. Sam Raimi's adaptation of Scott Smith's novel is dark, twisty noir. It's an examination of the depths greed will take us to and the evil that we are capable of. It's an intriguing question: if you found $3 million in the woods, would you keep it? And then Raimi lets fate run its course, drawing three men into an ever-tightening web of lies, mistrust and murder. If ever a film illustrated the theme "the love of money is the root of all evil," it is this film. And yet, Raimi pulls it off with flawless showmanship--the tragedy has an ironic comedy to it, the suspense is unbearably and the film is punctuated by career-high performances from Bill Paxton, Bridget Fonda and Billy Bob Thornton. A heartbreaking, gut-clenching thriller whose plausibility makes it all the more chilling and tragic.
13. Ikiru: I've seen this film once and it devastated me. Akira Kurosawa's look at a lonely Tokyo government worker facing his death is both joyful and sobering. This isn't a movie about a man deciding that he's going to live it up once he learns of his cancer--it's about a man who learns he is going to die, only to find he's never lived. It exposes the folly of "living it up" and tells about a man determined to live for something...and then contains a final act in which his life is celebrated and our own hypocrisy and timidity exposed.
14. Punch-Drunk Love: Pure poetry. I've told the tale often enough about how I hated this film upon first viewing, finding it confusing and frustrating. And yet, over time, it's won me over. I love this ode to love's ability to heal us. Paul Thomas Anderson isn't subtle with his symbolism or emotions...and he shouldn't be. This isn't a subtle movie but a loud, beautiful sonnet to love and how it can make us better when we find it. Adam Sandler is fantastic as an angry, lonely man. And I particularly love Phillip Seymour Hoffman as the sleazy mattress man trying to scam Sandler. A film that makes me feel warm inside
15. Lost in Translation: Another film in which I feel like I'm revisiting old friends. I don't know that Bill Murray has ever been better than he is here, as a beaten-down actor whose passions are fading. Scarlett Johanssen may have gone the movie star route, but here she's adorable as a young newlywed discovering that she doesn't know what she wants from life. The friendship she and Bob form in a Tokyo hotel is beautiful, touching and healing to both of them. I love that this isn't a romance but simply a story of two people forming a deep, healing bond. And I never want to know the words Bob whispers at the end.
16. Back to the Future: Possibly the most tightly-written, finely-tuned examples of high concept comedy. This film is pure joy, with a script that is intelligent and funny and performances by Michael J. Fox and Christopher Lloyd that created characters we loved throughout the entire trilogy.
17. Shaun of the Dead: We've had zombie comedies before "Shaun" and after "Shaun." Some have been bad. Some have been good. But none have been as memorable or hilarious as Edgar Wright's slacker-saves-the-day opus, which celebrates Romero's formula while spoofing it. Simon Pegg and Nick Frost are the new millenium's great buddy team and, on any given day, I can't tell whether I like this or "Hot Fuzz" more. But Shaun's slacker sensibility gives it a slight edge.
18. Kill Bill: I love the epic of the Bride. I love the exploitation-cinema-on-crack insanity of the bullet-paced, blood-soaked first part and the epic feel of the dialogue-heavy, Western-and-kung-fu-themed concluding volume. Uma Thurman's work as the blood spattered Bride is the best female action work since Ripley escaped the Nostromo. Tarantino holds it all together with giddy glee...if a film projector allowed us to see what was in his brain, this is the film that would emerge. And David Carradine steals the entire affair with his brilliantly-delivered Superman monologue at the end.
19. Groundhog Day: Bill Murray again. And this film grows on me each time I watch it. Funny, brilliantly scripted and acted, it's a comedic musing on the book of Ecclesiasties. It's hilarious and quotable and yet filled with a goodness and joy that make comparisons to "It's a Wonderful Life" surprisingly apt.
20. The Truman Show: I love Peter Weir's film. It's another great Jim Carrey performance in a profound film that asks the deepest questions about how we become the people we are, what effect our settings and environments have on us and whether the human spirit can be stifled and contained. The final 20 minutes of this movie are some of my favorite big screen moments.
In "Shrek: Forever After," the fourth installment in the popular animated series, the titular ogre (voiced by Mike Myers) finds himself burned out by the monotony of family life, wondering where the edge has gone that once made him such a ferocious creature.
The film's creators might be projecting their own concerns. A franchise that emerged in 2000 as a fresh, witty and irreverent antidote to Disney's fairy tales, and followed up with a sequel just as inspired and uproarious, the series has now succumbed to the very formula it once chastised its competitors for. "Shrek" has spawned an amusement park attraction, a line of toys and direct-to-television Christmas specials.
To keep the franchise alive, endless sequels are produced with a weary regularity. While "Shrek the Third" may have retained some of the original's charms, it was obvious the not-so-jolly green giant was running on fumes. Now comes the fourth go-around, which has a few chuckles but otherwise feels too familiar, predictable and tame. It's not so much that we dislike Shrek, Donkey (Eddie Murphy), Puss-in-Boots (Antonio Banderas) and Fiona (Cameron Diaz); it's just that, by now, they feel like the cut-up who used to make you laugh, but by repetition has grown less humorous and more tiring as his routine goes on.
Shrek, at least, has the option to go back to the beginning, when things were a bit edgier and free. The film finds him weary of changing diapers and performing for star-struck fairy tale inhabitants, ready to make a deal with Rumplestiltskin (Walt Dohrn) to have just one day back as an unfriendly ogre. Of course, Shrek should know better than to sign a contract with the mischievous troll, who has his eyes on the kingdom of Far Far Away. As soon as Shrek puts his signature on Rumplestiltskin's contract, he finds himself in a world where he's not only a feared ogre, but has never been born at all.
That's right, the "Shrek" franchise is doing its riff on "It's a Wonderful Life." Shrek learns that not only has he never been born, but that Fiona was never rescued from the Dragon's Keep. Instead, she has escaped on her own and is now a freedom fighter determined to save the ogres from Rumplestiltskin's evil plans. Donkey is reduced to carrying witches' carriages. Puss, having grown fat from too much milk, doesn't even have the energy to chase a mouse. And, in the film's cleverest sight gag, the poor Gingerbread Man is reduced to gladiator matches against animal crackers.
Myers and company have inhabited these characters for a decade and easily slip back into the fractured fairy tale world helmed by director Mike Mitchell ("Deuce Bigelow"). It's admirable that the cartoon characters have actually grown and matured over four films - the whole film hinges on Shrek's change from an evil ogre to a lovable ... ogre. It's pleasant to revisit them and, even if there weren't belly laughs galore, it's nice and familiar to see Shrek settle down with an "eyeball-tini" at the end of a hard day. It's like revisiting a beloved sitcom in its aging years: You find that the characters still put a smile on your face, but it's about time to bring things to a close before they wear out their welcome.
"Shrek" and "Shrek 2" broke the mold in computer-generated films not by being pleasant, but by being edgy. There was an anarchic, deconstructive wit about the series as it poked fun at Disney's tropes and created characters who would send Snow White huffing away in offense. In doing so, it also set the tone for Dreamworks' other animated entries, from "Shark Tale" to "Monsters vs. Aliens," all of which aped "Shrek's" blend of pop culture parody and postmodernism. Instead of continuing at the forefront, "Shrek" succumbed to formula and its happily-ever-after mentality feels a bit untrue to the spirit of the original. And as "Shrek" settles for "pleasant," the animation studio it helped found is now in the classic-making business it once lampooned, with "Kung Fu Panda" and this year's "How to Train a Dragon," proving you can have heart and wit without succumbing to a fart joke or over-the-top dance sequence.
That's not to say that the fourth adventure is without merit. As always, Murphy and Banderas steal the show as Shrek's bickering sidekicks. There are a few cute pop culture gags, such as the Crone's Nest Carriage Park. But it's clear the franchise is running out of clever ideas. Rumplestiltskin comes off as an annoying character instead of a witty, well-thought-out villain. The film also brings out the Pied Piper, but his special way of dealing with victims comes off as uninspired and doesn't capture the laughs Mitchell must have thought it would. A coven of witches that help Rumplestiltskin is a missed opportunity, save for a "Wizard of Oz" call-out that made me chuckle.
And Shrek and Fiona may not be funny characters, but Myers and Diaz have instilled them with enough heart that there's still a surprising sweetness to watching two young ogres in love. The film's twist allows Shrek to woo Fiona all over again and there's gentleness to the romance between the two. The film floats along amiably, never really doing anything wrong but never really giving a reason for its existence or proving that the sharp wit behind the first two is still at work.
I should also note that the film is in 3D although, aside from a fun little broomstick chase, nothing really remarkable is done with the technology. I think "Shrek 4" is 3D simply because the mandate these days is that every family film needs 3D; the better to overcharge Mom and Dad with.
I'm a bit confused as to whom the film is aimed. Adults will likely appreciate the seriousness given to Shrek and Fiona's marital woes, but they also may come away bored by the film's more child-centric brand of humor. Kids will like the pratfalls, but will probably be a bit confused by all the alternative-universe mumbo-jumbo and even a bit scared by some of the story's darker elements. Whereas "Shrek" subverted the genre and made a snarky fairy tale for adults, the last two entries seem to be aimed at pleasing everyone, which, ironically, only alienates audiences. And when the humor is that broad, the edge that made the original and its first sequel so much fun necessarily dulls.
The film literally closes the book on "Shrek" (it is, after all, billed as "The Final Chapter.") And while the story has been largely enjoyable and the characters worth revisiting, I'm thinking the story of "Shrek" could have used an editor to peel off a final chapter or two.
Originally published in the May 23, 2010 edition of The Source.
It may be hard to remember right now, but when "Iron Man" blasted onto the screen in 2008, its success was a bit of a surprise.
Comic book movies were popular, but "Hulk," "Fantastic Four," and "Spider-man 3" had recently proven that the formula was vulnerable. Tony Stark may be a big player in the Marvel comic world and a geek icon, but there was question as to whether the hero had a fan base outside of the comic book stores. Besides, the brooding "Dark Knight," just a month away from release, seemed to be saying that audiences wanted their heroics with a bit of angst and soul-searching.
But, we know the story. Robert Downey Jr. and director Jon Favreau's funny, exciting and witty take on the Marvel hero not only was a critical and commercial smash, but it also paved the way for Marvel Studios to begin laying the groundwork for future superhero adventures and crossovers between characters...just a few months after "Iron Man's" release, Tony Stark would show up in "The Incredible Hulk." It wasn't that "Iron Man" did anything we hadn't seen before...it's that it did everything so well and with such confidence that it was impossible not to have a great time.
"Iron Man 2" bursts out of the gate with the confidence still in check, with Robert Downey Jr. crash landing at the Stark Expo and emerging from his metal suit to proclaim "It's good to be back" before launching into a monologue full of Stark's egotistical ramblings and boasts. Once again, it's the superhero as rock star, and while Stark may have quit the arm's race and taken up the mantel of world protector, Downey is quick to remind us that the character is a flawed, overly-cocky narcissist, someone who would be annoying if he wasn't so darn charming.
Of course, much like Christian Bale's portrayal of Bruce Wayne, Stark's reckless public persona masks deeper concerns. The material used to power Stark's heart and Iron Man's metal getup is quickly poisoning the billionaire. He's trying to find a replacement, but it's hard to find time with a Senator (Gary Shandling) breathing down his back, demanding the Iron Man suit be turned over to the U.S. military. Even his friends are turning on him, with trusted sidekick Rhodes (Don Cheadle, stepping in for Terrence Howard this time around) testifying against him at the Senate Hearings and able assistant Pepper Potts (Gwyneth Paltrow) trying to acclimate to her new role as Stark Industries CEO.
Things are about to get worse. A Russian baddie (Mickey Rourke) who blames Stark's father for stealing credit from the work done by his own dad is developing a suit much like Tony's, but with strange electric whips on the side. A competitor named Justin Hammer (Sam Rockwell) hopes to utilize the new villain to make a name for himself--something he's never been able to do from under Stark's shadow. Meanwhile, SHIELD agent Nick Fury (Samuel L. Jackson) has amped up his screen time to include more than just the film's end credits this time, and he's keeping an eye on Tony to talk about his secret "Avengers Initiative." And then there's the quiet, sexy little assistant to Stark (Scarlett Johansson), who has a few secrets of her own.
Yes, there are a lot of characters and plot threads to keep in line in this second go-around. And at times you can feel the joints bending and rivets stressing to keep everything in place with the right balance of humor, adventure and romance. But for the most part, "Iron Man 2" manages to be just as exciting, witty and fun as its predecessor, even if it never really takes the story to the levels of other comic book sequels, like "Dark Knight" or "Spider-man 2."
In a genre most known for incredible special effects and set pieces, it's still refreshing to see a comic book movie that gains so much of strength for its cast. Downey doesn't reveal much new depth about Stark this time around, but he's clearly having a great time playing the wisecracking, womanizing hero for a second time. I love the looseness he brings to the performance, the live-wire energy that makes us belief Stark would vacation in Monaco and then, on a whim, race his own car down the city streets. Any actor could handle the melodramatic moments of Stark contemplating his own mortality or discovering the truth about his father; Downey makes those cliched moments work because he's brought so much life and humor to the role in the throwaway moments. It's hard to believe that with the first "Iron Man," Downey was seen as a major risk---with this and "Sherlock Holmes," he's commandeering two franchises, and it's obvious he has a blast with both of them.
Of course, a hero is only as good as his villain. Rourke, not wasting the cache brought to him by his "Wrestler" rebound is solid as the Russian bad guy out to kill Stark. He plays the heavily-tattooed, snarling heavy not as a monster, but as a man out to avenge his father. He may be trying to kill our hero, but he's doing so to avenge what he sees as wrongdoing. Rourke makes him both fearsome and surprisingly sympathetic, a combination that often makes for delicious villains.
Stealing the show is Rockwell as Hammer, the darker side of Tony Stark. Rockwell was one of the original actors in contention to play Stark in the first "Iron Man," and I love how he plays Hammer as just as quirky and weird as Stark, the same confidence through a creepy sheen. Rockwell's work in "Moon" was my favorite performance of 2009 and he's quickly becoming one of my absolute favorite actors to watch.
Everyone else is reliably solid, but given the packed roster, there's little for them to do. Potts' and Starks' screwball chemistry was the highlight of the first film and when they're together here, that spark comes through again. But with the busy plot, their would-be romance seems shoehorned in and best left to be resolved in a third film. Favreau gives himself a bit more screentime as bodyguard Happy Hogan, although he's little more than comic relief. Cheadle is fine as always, although he seems to be a bit stiff when delivering his one-liners; Howard had a looseness about him that I liked. Jackson acts like the coolest cat in the room (as always) and Johansson stands (and kicks) around looking pretty, but it strongly feels like the actors are biding their time until the "Avengers" movie comes around in 2012.
In one sense, there are certain moments where "Iron Man 2" feels like an "Avengers" prequel, existing to set up another movie. There are blatant references to Captain America and Thor, both of whom have movies that will be released next year to further set the stage for "The Avengers." Were the principle cast not so engaging and Favreau unable to keep the action moving fast and furious, this would easily feel like a placeholder.
Instead, we're so captivated by Stark and Co. that even when the sequences feel like trailers for an upcoming movie, we quickly forget them once we're on to the next scene. I liked the feeling of a larger world beyond this film, and it's set up so that comic book novices can enjoy it just as much as die hard geeks.
Favreau, criticized by some for not packing "Iron Man" with a ton of action, ladles on the set pieces with skill here, from a brutal fight in Monaco to a bone-crushing brawl at Stark's pad to a fantastically choreographed climax featuring to Iron Men against an Army of robots. The action sequences, while using large amounts of CGI, feel thoroughly rough and brutal, sometimes ending a bit quickly, but still leaving the audience rightfully walloped. The action is fun to watch, but never detracts from the bigger story.
In the end, "Iron Man 2" may not achieve the scope-widening triumphs of its comic book brethren. But Downey is still fun to watch, Favreau can craft a thrilling action sequence and there's a sense of joy and humor about the enterprise that keeps everything enjoyable and exciting.
It's a machine that gets the job done, even if the joints start to show some wear. Let's hope "Iron Man 3" puts some oil on and avoids getting rusty.
To discuss "Kick Ass" properly, I'm going to need to venture into heavy spoiler territory at times. Consider yourself warned.
When I was growing up, superheroes were worth looking up to.
Superman was the iconic boyscout, helping the downtrodden and protecting the vulnerable. Spiderman was the geek kid in all of us, suddenly blessed with amazing powers and able to overcome his insecurities. Batman pursued justice by going to where the police couldn't.
All the heroes had a code. Stand up for truth, justice and the American way. With great power comes great responsibility. Even the Dark Knight had a code of conduct, refusing to brandish a firearm or kill a villain.
In "Kick Ass," the titular hero gives lip service to Spidey's admirable mantra. He then dons a jet pack, graphically mows down dozens of bad guys with a Gatling gun and fires a bazooka straight into a mobster's belly. This is after an 11-year-old girl has shot, stabbed, sliced and diced dozens of thugs and had her face beaten to a bloody pulp by the aforementioned mobster. Don't even ask what her parents think about this...after all, her dad trained her to fight. He also doesn't seem that phased when she uses language that puts sailors to shame, including uttering the two verboten "c-words."
"Kick Ass," from director Matthew Vaughn ("Layer Cake," "Stardust") is like someone put "Superbad," "Kill Bill" and "Spiderman" in a blender. It's a rather frustrating film to write about. From a technical level, there are some wonderfully fun and visceral action sequences. The film's earliest scenes have a real sense of wit and personality, it's populated with actors doing some truly fine performances and the premise itself is loaded with potential. But the film, based on a comic book by Mark Millar ("Wanted") is so obsessed with being extreme and edgy that it sabotages itself, drawing us out of the film with its vulgarity and carnage just when we're starting to enjoy ourselves.
Like I said, the premise is a lot of fun. High school geek Dave Lizewski (Aaron Johnson) is tired of being ignored by girls, mugged by crooks and suffering through his dreary existence. Sitting at a comic book shop with his friends, Dave wonders why no one has ever dressed up in tights and stood up for the oppressed. So he orders a hideous green scuba suit over the Internet and heads out to stop evil-doers as Kick Ass. His first time out, he's stabbed in the stomach and hit by a car. But a trip to the hospital, some metal plating and nerve damage that renders him impervious to pain, and Dave hits the streets again. One of these run-ins finds Dave facing down three thugs. Filmed on a cell phone and posted on Youtube, Kick Ass becomes a cultural icon.
But while Dave is playing superhero, others are training to be the real thing. Particularly Damon Macready (Nicolas Cage) and his 11-year-old daughter Mindy (Chloe Grace Moretz). Out to avenge his wife's death, caused by a vicious mob boss (Mark Strong), Damon dons a Batman-like outfit, calls himself Big Daddy and gets deadly vengeance. As purple-haired Hit Girl, Mindy has moves that would make Tony Jaa feel like an invalid, is a crack-shot with a pistol and has wisecracks that would make John McClane take notes. When we meet them, they are having some bonding time, as Big Daddy prepares Hit Girl to take a bullet in the chest. It's okay; after two more rounds, he promises bowling and ice cream.
It's a twisted subplot, but it's played for dry, absurdist humor. Ebert noted in his review that Cage is probably the only person who can make shooting a child funny and he's right. Riffing on the whole kids-as-vigilantes subtext that has existed in comic books since Robin donned his mask and cape, Cage and Moretz's scenes hit a smarter level of satire than the rest of the movie operates on. Cage plays Big Daddy as a nerdy, Ned Flanders-meets-Dirty Harry father figure and Moretz has a wit and timing that are past her age.
The scenes with Dave and Kick Ass are fun, particularly as he draws closer to the girl of his dreams (Lyndsy Fonseca), but only because she thinks he's her gay best friend. Dave eventually crosses paths with Big Daddy and Hit Girl and learns that he's out of his league alongside real-life heroes. But he finds a hopeful ally in Red Mist (Christopher Mintz Plasse), the son of the villain who's out to discover Kick Ass's secret identity. While a few bumbling McLovin' moments still come through, Plasse delivers some of his strongest work here, giving his character a tragic dimension as he seeks to earn his father's approval. Avid comic book readers will know where his arc is going.
The film tweaks not only comic books but superhero movies in particular, with the outlandish and uncomfortable costumes, physically-impossible stunts and breakneck, energetic action pieces. There are moments where the humor and excitement come together brilliantly and, in those moments, the film has an energetic fun and charge to it that fully realize the premise's potential. When Hit Girl dispatches a room of thugs, set to "Sesame Street"-style music, it's a vervy, visceral moment that carries a giddy thrill.
But when the action stops, Vaughn can't seem to settle on a tone for the movie. On the one hand, he seems attracted to the premise of "real-life superheroes" and loves showing Dave being pummeled by thugs and bleeding when he's cut. But the next moment, the mob villains are cartoonish thugs and Kick Ass and Red Miss are mugging for the cameras as they cruise the town. The tonal shifts didn't really bother me until a brutal sequence later in the film, when the movie turns surprisingly dark and grim, at odds with the film's earlier fun, satirical tone.
And I know, tonal shifts are not bad things. After all, "Kill Bill" shifted from giddy exploitation fest to dark Western, and I regard that as one of my favorite movies. And "Kill Bill" is likely going to be one of the films that this is compared to, based on its blood-letting and devil-may-care swagger.
But the difference is that Quentin Tarantino never set "Kill Bill" in anything resembling the "real world." Everything took place in some weird place in the director's brain, a mixture of movie reels and genres that resulted in a stylish, energetic romp where nothing was to be taken extremely seriously. "Kick Ass" posits the idea of "super heroes in the real world" and then becomes just as over-the-top as the movies it lovingly parodies.
And like I said, despite the tonal shifts, the film is well-filmed and acted. It can't be described as "style over substance," because there is a deeper mindset at work here.
Unfortunately, that substance is all-too-often revealed to be vile, as "Kick Ass" peppers its action with vulgarity and gratuitous gore. It has attitude to spare, that's for sure, but it's attitude and desire to be edgy end up sabotaging the film.
"Kick Ass" owes a lot visually and thematically to Sam Raimi's first "Spiderman" film. The color palette, the narration and the humor are all reminiscent of that movie. And as Dave considers being a superhero, we get the same sense of naivety and innocence that Peter Parker had. And then we get riffs on masturbation and constant use of the f-word. Hit Girl shows up and spouts the two aforementioned "c-words." It's as if Kevin Smith finally got his wish to write a superhero movie.
And yes, I'm mentioning that the obscenity offended me. I'm usually not offended by language in a film--heck, "Goodfellas" is one of my favorite movies. But I've always maintained that obscenity should be used if it showcases the reality or is true to the characters. Here, it's a stunt. It's the filmmakers, so intent on being "ironic," that they say "hey, remember how awesome Spiderman was? What if he said the f-word? Or masturbated to thoughts of his teacher?". When Hit Girl uses the vilest of the c-words, it's not because it underscores anything or adds anything to the character or world that Vaughn has created. Rather, it's just that the filmmakers think it's going to be edgy and talked about to have an 11-year-old girl say a word that most adults cringe at.
And yes, I've heard the criticism that people are spending too much time worried about the language and aren't as worried about the violence Hit Girl commits. But I understand the joke here--nothing she's doing is physically possible; Vaughn is having fun with the idea of a young girl outplaying violent thugs at their own game. Like the House of Blue Leaves fight in "Kill Bill" the carnage isn't too disturbing because it's so stylized that we realize much of it is not to be taken seriously. However, Vaughn never seems to know when the line has been crossed and often tiptoes too far over. It's all in good fun to see Hit Girl go hand-to-hand with the mob boss as an equal; it stops being entertaining when he starts pummeling her in the face.
And yet, the graphic nature of the violence also bothered me. In my mind, the appeal of being a superhero is to do impossible feats, save lives and be...well...heroic. Being a murderer never crosses my mind. There's always a chuckle when Spider-man ties up the bad guys in a web; there's something honorable about Batman keeping the Joker from falling to his death, allowing him to stay in a cell rather than lowering himself to his level.
In "Kick Ass," the heroes are not too bad with their fists. But when the third act pulls out the guns and knives, it becomes a bit less joyful and fun. I don't think gore is necessarily a detriment to action but here it's gratuitous and present for shock value. I'm sure some would argue that Vaughn is showing that "when you get hit in real life, you bleed"...but watch the carnage unfold and tell me if you really are seeing reality here.
Of course, when I was a kid my friends and I would pretend to be ninjas. And we'd pretend to slice and dice our foes. "Kick Ass" has that same juvenile quality to it. Rather than appeal to adults who can understand the joy in the initial idea and sort through the satire, it tosses in vulgarity and over-the-top violence to satiate teenage boys who think killing is fun and blowing people away is sweet. And don't try and tell me that the film is R-rated and those kids won't see it; this film's marketing--which portrays it as a fun, light comedy--has been squarely targeted at teens and even kids. Only its title gives the slightest hint that only older folk are prepared for what's in store.
And maybe I'm in the minority. After all, there was a very vocal group in the theater with me that broke into spontaneous applause on four separate occasions. Maybe I'm just old, or maybe I'm becoming more of a prude than I was in my early twenties.
Those things are all possible, but I think there's another reason. I recognized the glimmer of a story that could be told with fun, wit and energy. And on several occasions, "Kick Ass" achieves that promise. But then it succumbs to a desire to please the lowest common denominator, get cheap laughs from the "Superbad" crowd and toss gratuitous gore in to keep its "edge." The seeds are there for a great story; I'm sad to see it settle for this.
But hey, I'll keep my hopes up. After all, established heroes like Iron Man are still on the horizon for this summer. I look forward to them proving that heroes don't need to curse or kill to capture our attention. Till then, I'll remain a prude...I feel less guilty that way.
"Date Night" is proof that smart casting can make the difference between an enjoyable evening at the movies and a wasted $20.
It's not like the premise is that novel. The suburbanites'-crazy-night-in-the-big-bad-city comedy may not be a staple, but it's definitely familiar to anyone who's seen "Adventures in Babysitting," "After Hours," "Blind Date," or "The Out of Towners." And director Shawn Levy doesn't do too much to inspire confidence, either. I may have defended the first "Night at the Museum," but the man is also responsible for the Steve Martin "Pink Panther" debacle.
It would have been so easy--and may have been tempting--to take this exact same script, with the exact same director, and plug in Matthew McCounaghey and Kate Winslet or Vince Vaugh and Reese Witherspoon and wind up with a trite, vapid and lifeless comedy. But by putting two very smart, very funny actors at the helm and then peppering supporting roles with equally talented castmates, "Date Night" actually overcomes a mediocre script to become a consistently funny and enjoyable night out.
Steve Carrell and Tina Fey star as Phil and Claire Foster, a New Jersey couple trying to balance careers and parenting. The kids wake them up at the crack of dawn, starting a cycle of chores, routines and obligations. By the time the couple gets some quiet time to themselves, Phil's snore strip is already applied and Claire's retainer is in place, not that they have the energy to do anything. They're not an unhappy couple, just busy. Their one weekly reprieve is a book club, where they look at their divorcing friends (Mark Ruffalo and Kirsten Wiig) and wonder if it's ever possible that they could find themselves drifting apart and being just "really excellent roommates."
To keep the spark alive, Phil impulsively decides that on their upcoming date night they should skip their standard local steak-and-potatoes establishment and head out to a fancy Manhattan restaurant. They arrive to find the place booked and, when Phil hears a reservation going unclaimed, they pretend to be the missing couple. After a few glasses of wine, they're surprised to find themselves threatened in the alley by two thugs looking for the real couple, who are in possession of a flash drive (or, as Claire identifies it, "a computer sticky thing") being used to blackmail a gangster (Ray Liotta). If you're following me thus far, you've probably guessed that the Fosters spend their date night trying to evade the mob and find the missing flash drive. You probably don't even have to ask that whether or not their marriage will be strengthened as a result of this insanity.
It's always tricky when two talented and highly successful comedians team up. One usually ends up out-shining the other and the fight for laughs often derails any potential chemistry. So it's refreshing to see that Carrell and Fey have a fun rapport together, matching each other's wit without ever hogging the spotlight. Fey can find the humor in the most typical life moments--I particularly liked it when Claire frantically searches a computer for information, only to get stalled by the "rainbow wheel." Carrell plays Phil not as a buffoon, but as a smart, capable accountant terrified by facing things he only sees in movies ("He pointed the gun sideways! It's a kill shot!" he cries at one point) or emasculated by the ever-shirtless contact his wife goes to for help (Mark Wahlberg, whose few scenes are priceless).
As I pointed out before, this could have easily been another trite romantic comedy featuring good-looking movie stars giving reaction shots and otherwise sleepwalking through the plot. Carrell and Fey, however, are two very smart and funny individuals who excel and milking the humor out of ordinary life. I rarely felt that they were on autopilot; you can almost see their gears turning as they look for comic opportunities in every situation. Even a throwaway line like Claire's exclamation of "look, it's Will.i.am, from...Fergie" gets a big laugh because it's the perfect way a suburban mother would probably remember it. The two even get a few quiet moments together to discuss their marital stresses and manage to elicit some real tenderness and chemistry without grounding the movie to a halt. It's almost enough to make you wish the gunplay and car chases would disappear and we'd see the two in a smart, low-key comedy.
Thankfully, the leads aren't the only areas in which "Date Night's" casting director was thinking smart. Several supporting roles are also given to very funny, able comedians, which keeps the pace fast and funny. I've already mentioned Wahlberg as the always-shirtless stud Claire drools over, but James Franco and Mila Kunis actually steal the spotlight from Carrell and Fey as the couple Phil and Claire are mistaken for. They portray kind of a scuzzy, white-trash version of the Fosters, and watching Carrell and Franco bicker back and forth is good fun, and it made me remember just how great Franco is in comedic roles; I'm surprised he hasn't been cast in more since "Pineapple Express." Liotta and William Fichtner also make the most of their small roles. I was even happy to see J.B. Smoove--the best thing about the last two seasons of "Curb Your Enthusiasm"--show up as a terrified cabbie whose car ends up welded to the Fosters'.
The few action sequences are clearly filler and, honestly, drag the film a bit...it's funnier when Fey and Carrell are allowed to banter. I don't know if it's a compliment to say that Levy does his best when he simply stands back and lets the stars do what they need to, but that's what seems to work here. The film doesn't really break new ground or try to reach "Hangover"-levels of hilarity.
But that's actually kind of refreshing, particularly three weeks after "Hot Tub Time Machine" continued to try and out-raunch other movies. "Date Night" plays to the mainstream and its kind of nice to see a film getting some smart laughs instead of cheap guffaws. Is it a great movie? No, and I'd argue that both Carrell and Fey have been involved with better material (the best of "30 Rock" and "The Office" are often funnier than most movie comedies).
But sometimes you don't need greatness. Sometimes you just want to sit in the theater and have an enjoyable time that doesn't require your buttons being pushed or your sensibilities being offended. If the mark of a successful comedy is that it actually makes you laugh and recommend it to your friends, "Date Night" succeeds. Fey and Carrell will both go on to do much better work, but for now, you can enjoy this night with them without feeling guilty walking home.
Moviegoers who skipped Greek mythology in school can get something of a crash course at their local theater this year.
Just last month, kids were treated to an adventure of modern day demigods with "Percy Jackson and the Lightning Thief." This week, slightly older audiences will flock to see the loud, special-effects-driven "Clash of the Titans." Even though both films take crucial liberties with the myths, they probably provide a reasonable excuse to avoid reading the texts on which they're based.
Of course, as wise adults know, the books are always better than the movies.
"Clash of the Titans" is no exception. A remake of the 1981 fantasy featuring Harry Hamlin, Laurence Olivier and a robot owl, director Louis Leterrier mixes and matches the most familiar Greek legends, throws in a dash of "300" and "Transformers"-esque action sequences, and combines them with a whole host of daddy issues to make a curiously mundane action flick. Subtracting the robot owl, save for a sight gag that lands with a thud, doesn't help.
It seems that in Ancient Greece, men have begun to rebel against the gods, toppling their statues and refusing to pray - in a prologue, we're reminded that it is the prayers of men that fuel the gods' immortality. Hades (Ralph Fiennes), god of the Underworld, convinces his brother Zeus (Liam Neeson) to unleash his wrath and tell the men and women of Argos that unless the young Andromeda (Alexa Davalos) is sacrificed, he will set the beastly Kraken upon them. Zeus, quite vexed that his creation isn't responding positively to his vengeful wrath, agrees.
The only hope to stop the gods is Perseus (Sam Worthington), the half-son of Zeus. Perseus was fished out of the ocean as a child and watched his parents and sister be killed by Hades. Rejecting his position as a son of the gods, Perseus agrees to confront the Kraken, taking a motley crew of Argonauts across the countryside, where they encounter witches, scorpions, Medusa and the Kraken itself.Typing that description up, I realize there's an idea for a fun movie in there. Greek mythology is something that has not been successfully done in Hollywood, and I'd love to see a film that takes the myths and has some fun with them. Unfortunately, "Clash of the Titans" is content only to tell the standard reluctant hero story and, despite its special effects and energetic action sequences, never really feels epic or spectacular.
Leterrier, who injected life and energy into "The Incredible Hulk" after Ang Lee's turgid take on the comic book, knows how to stage an action sequence. A protracted battle with giant scorpions has a few great beats and the final battle with the Kraken is suitably well-staged. The problem is that everything feels like it's been done better before. The scorpions might be cool, but my mind kept going back to the insanity of "Starship Troopers'" giant bugs. A sequence in a volcanic temple is fun to look at, but its staging is derivative of a much better, similar sequence in "Lord of the Rings." Medusa is a largely CGI creation, a snake without any of the sensuality or horror that make her such a memorable part of Greek mythology - it's harder still to enjoy when remembering how much fun Uma Thurman had with the same role just weeks earlier in "Percy Jackson." Even the Kraken fight, while fun to watch, will leave some viewers remembering when Johnny Depp and Kiera Knightley fought the same beast in one of the "Pirates of the Caribbean" films.
I understand that many of our big screen epics owe a debt to Greek mythology and that these creations have been around for years. But for a movie about gods and goddesses and epic battles, "Clash" feels a bit standard and tedious. The action sequences are fun, to a degree, but there is no image or scene that makes our jaws drop, or moment where it feels our heroes are in real danger. There's no sense of wonder or awe; instead, it feels like Leterrier is content to remake "300," but with giant bugs and bloodless battles. When Optimus Prime is a more awe-inspiring creation than Medusa or the Kraken, you know the material just isn't working.
Much of that comes from the few non-action interludes, which never seem to capture consistent tones. Neeson and Fiennes chew the scenery up in Mount Olympus, but the characters are so poorly conceived that it's all for naught. Hades is a sniveling conspirator, and Zeus alternates between petty anger and unexplained compassion. The two do what they can with the roles, but there's not much to them, other than to sit in the throne room, debate and pontificate. And with today's special effects, no one wants to see a god pontificate.The human characters are a hodge-podge of faceless, underwritten mercenaries. There's some minor comic relief among the Argonauts, but none of them really have a character to play. Davalos mainly has to stand around looking pretty and endangered as Andromeda. Gemma Arterton ("Quantum of Solace") does what she can with the role of Io, Perseus' protector and - in this version - love interest. However, the role is so under-cooked that she is basically reduced to randomly appearing to provide exposition at crucial moments ... then again, maybe she's just the Greek chorus.
As for Worthington, I've yet to be convinced he can carry a film. I don't blame him for the fault of "Terminator: Salvation," but neither do I commend him for the success of "Avatar." Here, he plays the largely the same gruff, reluctant warrior as in the other films, alternating between looks of annoyance and befuddlement. He has a certain quality about him that hints at a true action star waiting to come out, but he's not given that moment here. Instead, we're treated to repetitive scenes where Perseus states over and again that "I'm going to do this as a god, not a man" or "I'm going to kill the gods," never thinking that, as a god, he probably has a better shot at killing Hades. He denies his demigod-ness so many times that I wanted Ernie Hudson from "Ghostbusters" to jump in the scene and remind him, "If someone asks you if you're a god, you say yes."
The result is a film that looks good and has some solid action sequences, but never achieves the scale it's aiming for. Leterrier can't convince his actors whether they should be over the top and chewing the scenery or play it as brooding, vengeful heroes. The film is not necessarily a mess, but just another mediocre, forgettable action film. Which is a shame, given the acting talents and the materials they had to work with.
One final note: "Clash of the Titans" is being heavily marketed as a 3D movie following "Avatar's" massive success. Don't believe the hype. The film was shot in 2D and given a 3D changeover in the last few weeks. The result is an awkward use of the technology, proving that without proper composition and editing that anticipates the process, it can look cheap, like watching a film through a View-Master. Leterrier intended for the film to be seen in 2D, and composed and edited the movie that way; the conversion makes 3D more of a distraction than with films like "Avatar," which were shot and composed with the technology in mind. If you have a choice, I'd probably suggest going to see "How to Train Your Dragon" instead of "Clash of the Titans." But if you must see "Clash," I recommend saving the money and going for the standard format. It might seem a mediocre way to see the film, but then again, consider the film.
Originally published in the April 4 edition of The Source, www.advisorsource.com
