Movie Review: The Proposal

We got there early for the sneak peak at the insistence of the Goose. The theatre was filling fast and I said in mild surprise, "I am surprised this many people want to see this train wreck."

"Train wreck? What do you mean? It looks good!"

I smiled. "Well, yeah, it is a rom-com, but it breaks too many rules. Ryan Reynolds and Sandra Bullock don't get to play their normal characters, it is the girl who gets rid of the guy only to realize he was what she wanted....it is a tough sell."

Time to eat my words.

Andrew Paxton (Ryan Reynolds) is the same character Reynolds pretty much always plays. He is the suave, sophisticated, egotistical jackass who has just enough charm to get the girls to swoon.

Margaret Tate (Sandra Bullock), on the other hand, is a different character for recent vintage Sandra Bullock. Gone is the clumsy, sweet, slightly overwhelmed charm girl and in its place is the Ice Princess, a callback to Meryl Streep's wench in The Devil Wears Prada.

The story line is one you have seen before a bunch of times; dominating personality and talented but soul-crushed partner are forced into close proximity, think they hate each other, end up falling in love and getting married.

The contrived plot is unfortunate, because there are several elements in the background that, if explored more deeply, would add depth and texture to what ultimately becomes a mildly touching romp through the normal points a rom-com genre movie should hit.

I would love to see more time spent on the tension between Andrew and his dad Joe, ably played by Joe T. Nelson. They have great chemistry and you definitely believe there is a story and history there. Sometimes those "we have history" scenes are brutal and transparent and can ruin what might otherwise be a watchable movie (for example, the "fireman prank" and "stories of past events together" scenes in the execrable Ladder 49 combined with the horrific acting of Joaquin Phoenix combined to make it a movie that hopefully you don't recognize). In this case, the scenes felt very real and drew you in.

The movie is very well placed, has several hysterically awesome scenes that had people laughing loud enough that you could not catch all the dialogue. That is an excellent sign.

It also shows that Anne Fletcher is an excellent director. She is obviously well versed in the uses of the Kuleshov effect, and her excellent reaction shots bring the movie from predictable and serviceable to extremely enjoyable and worth seeing again should opportunity arise.

Overall, this movie delivered with gorgeous scenery, plentiful laughs, a fun story, and a satisfying conclusion. If you enjoy romantic comedies, go see it.

Movie Review:Up

Up has been heavily marketed for quite some time. The early pictures of a house flying on balloons coupled with more recent commercials showing some funny moments from the movie made it quite clear what this was; a light-hearted, fun, funny movie mostly targeted at the younger demographic.

And so it starts out to be. The sequences of young Carl Fredricksen (Jeremy Leary) worshipping his adventuresome idol Charles Muntz (Christopher Plummer) and meeting the equally star-struck and hysterical Ellie (Elie Docter) are everything you were expecting.

You are quickly drawn into the story. The plot is fast-moving, the jokes plentiful, and the classic Disney heart/charm fully in place.

Spoiler Alert

Then, something funny happens. There is a sequence that is quite heart-breaking. With schmaltzy music, they do a montage of Carl and Ellie growing up, getting married, getting ready to have a baby...and then the baby dying, probably a miscarriage. Then Ellie dies.

What? Seriously? It is not that death has not entered feel-good animation before...in Finding Nemo the mother fish and all but one egg are killed. But that was off-screen and by implication. 

Okay, so technically it is off-screen and by implication here, too, but it is much more heavy-handed and with tremendous impact. Not a few snuffles were heard in the theatre, and rightfully so.

On the one hand, that is a very good thing. It means you care about the lead characters. On the other hand...it just did not feel right for a movie targeted at the younger set.

End of Spoiler

Now in his retirement years, Carl (Edward Asner) is ready to move on. He decides to complete his childhood promise to Ellie to go to Paradise Falls where Muntz disappeared. This is where the famous house on balloons scenes come in.

Along with young do-gooder Russell (Jordan Nagai) who stows away unintentionally, he flies to South America. The rest of the movie is primarily his struggle to get the house to the dream location.

Problems crop up when a mysterious bird and several dogs get involved, leading Carl to get involved in the fight to protect the bird, Kevin, from a mysterious pack of dogs with collars that allow them to talk.

Eventually he meets the villain, changes his mind, helps Russell and Kevin battle the villains and brings it all home to a satisfying conclusion.

This movie works on many levels. It has a solid message about realizing that the dream you thought you had may not be the one you get, but that does not mean you should be disappointed. It also carried a nice message about not being so caught up in your own wants that you forget to care for and help others.

It also provided plenty of humor and had a nice story line that was quite entertaining while also being full of heart. The animation was well done, the characters fun and engaging and, most importantly, likable.

If you like good animation and/or soft comedy, this movie is an excellent choice and I highly recommend it.

Movie Review:Night at the Museum:Battle of the Smithsonian

This movie was marketed as a comedy. That was the highlight of all the trailers, with things like the critique of Darth Vader (...simplify. You have too much going on. Your evil, your asthmatic, your a robot. And what's with the cape. Are we going to the opera? I don't think so..") and The Thinker being a self-absorbed body builder.

Unfortunately, if you have seen the trailer you have seen all the funny parts. You have seen all the screen time Vader gets. You have seen  the Custer/Pocahontas scene. The laughs are over.

Left behind are 105 torturous minutes of call-backs to the original that add nothing to the story and are not funny...they seem to be there simply because a call-back is a means to an end in and of itself..., action sequences that end up being silly, and waiting for the villains to do something vaguely villainous. 

For example, the villains pursuing the heroes have spears, lances, tommy guns, and other weapons yet continually allow themselves to get into hissy-fit pushing and shoving fights. What? That makes no sense at all!

Instead they repeatedly capture Larry Daley (Ben Stiller) and then let him wander off whenever he chooses. He and Amelia Earhart (Amy Adams) tour the Smithsonian trying to find the code to the tablet. 

If you like seeing famous bits of art interact with people you might enjoy this movie. If you like laughs, good action scenes, intelligent dialogue, a plot that makes sense, or good movies then you probably won't.

Movie Review:Terminator Salvation

If you like sharp, well crafted dialogue with thoughtful, well developed plots, internal consistency, and movies with something deep and meaningful to say about the human condition....this movie may not be the right choice for you.

 On the other hand, if you like action-packed flicks with a surface-deep story and a lot of fun, punch your ticket it is time to go for a ride.

Terminator:Salvation is more about Marcus Wright (Sam Worthington) than it is John Connor (Christian Bale) even if the screen time slants slightly towards Bale. 

The movie is set in 2018. In keeping with the dark nature we have seen of the future in the other Terminator movies, it is a bleak world indeed. Standing buildings are a thing of the past, technology other than war machines has seriously regressed, and the humans are at war with the machines.

Somewhere in the ocean the leadership of the human resistance is on a submarine planning a technological attack on Skynet while John Connor is among the ground forces. Up pops Wright, a man who has no knowledge of Judgment Day or what happened to L.A., yet this causes no questions for people such as, "Where were you for the past 18 year?"

This highlights the intrinsic stupidity of the movie. That is a pretty basic question, yet it gets blown off. Another fine example of the lack of attention to detail would be the sequence where Wright hot-wires a car, Kyle Reese (Anton Yelchin) says he doesn't know how to drive...then manages to steer the vehicle off-road down a ravine, through a complicated set-piece chase scene and ends with a perfect Rockford Files e-brake slide. Not bad for someone who "doesn't know how to drive".

Once you get past the internal logic holes, however, this movie is a lot of fun. It has the elements that made the first couple movies so enjoyable; out-gunned humans being chased by implacable, nigh-indestructible machines and having to find ways to stay alive long enough to figure out how to destroy the machine.

Along the way Wright has to figure out if he is human or machine. This journey is marked by key moments differentiating how other people perceive him.

The movie has some fantastic call-backs to some of the most memorable moments in the first couple movies and some nice cameos that should bring a smile to the face of anyone who likes the franchise.

Overall, it is an action-packed, enjoyable flick that moves the franchise forward and is worth the price of admission for those who are fans of the series. Oh, and if you liked Bale in the Batman series, check out his return to that voice during his "don't bomb Skynet" communique. That laugh alone is worth the price of admission.

Movie Review: X-Men Origins:Wolverine

To say I was not a fan of the X-Men movies is to make a major understatement. I essentially class them in the same way I class the 2003 abomination The Hulk by Ang Lee or The Fantastic Four:Rise of the Silver Surfer or Superman Returns.

All of these may very well be good movies but it is hard to say; they are horrible SUPER-HERO movies. There is a time and place for cerebral movies and they can be very good. But when you ignore what a franchise is about, you kind of shoot yourself in the foot. Or higher.

To be sure the X-men franchise has much to say about discrimination, tolerance, and so forth. The problem is, they forgot to appeal to much of their fan-base. A Super-Hero movie requires super action. 

For example, The Dark Knight had a lot to say about what happens when good people do nothing, about testing boundaries, and about the value of reality versus perception. However, it did what a movie should do; it first entertained in ways that appealed to its fan base, then allowed the message to develop naturally out of that instead of the message coming first and entertainment being left behind.

As a result, I had very low expectations for X-Men Origins:Wolverine. There were certain signs the movie might not disappoint. Throughout the franchise he was consistently the most entertaining character and his popularity among comic book fanboys cannot be overstated. Therefore, there was at least a passing chance the movie might be more super-hero oriented and less cerebral.

The movie starts in the 1800s with the event where Logan (Hugh Jackman) first reveals his powers and learns his friend Victor (Liev Schreiber) is actually his brother.

We then run through a montage of the brothers fighting in war after war until they are made part of a secret organization doing undercover work. Certain incidents finally cause Logan to have enough and he breaks away from the group after they commit an act reminiscent of My Lai, though this one is in Africa.

We then see Logan living a happy life with Kayla Silverfox (Lynn Collins). This life is soon shattered when one of the former group shows up killing former members of the team and team lead William Stryker (Danny Huston) comes looking for Logan to help.

When he proves incapable of defeating the menace he undergoes the surgery that replaces his bone claws with adamantium, making him all but invincible. However, he then has to face Weapon XI, a mutant with all the abilities of every mutant the villain has been able to get his hands on.

I tried not to reveal too much of the twists, though to be fair I saw every one of them coming. My movie-going partners did not see one of the twists, and you might not either but you very well may.

Wolverine has everything you look for in a super-hero genre flick. There is plenty of action, a good story that moves along at a good clip, a solid resolution and it makes sense within its own universe.

For those familiar with either the X-Men comic books or even the recent movies, there are plenty of Easter Eggs to find much like the fabled Captain America references in Iron Man. The movie has a wry sense of humor and a good sense of how to appeal to action fans without dumbing down the story past the level of cave-man intelligence.

For action fans, comic book fans, and super hero fans, this movie is a must-see.

Movie Review:Fast and Furious

Every so often a franchise goes off the rails. It happened to Batman when Batman Returns, Batman Forever, and Batman and Robin combined to drive hammer blow after hammer blow into the once-entertaining franchise as all the good elements were removed in favor of horrific, cartoonish plots, pathetic villains, and who can forget the infamous nippled Batsuit? Fortunately, it was reinvigorated with Batman Begins and we all know how the sequel to that one went.

It happened to Superman in Superman III and, unfortunately, went much further into the depths of forgettableness with that awful reset Superman Returns. 

Well, somewhere along the line, Fast and Furious lost its cachet. When The Fast and the Furious (itself a remake, by the way...) first hit in 2001, it was very exciting. Featured star Paul Walker was upstaged by newcomer Vin Diesel, the cars were stars, the story entertaining, and the entire package worked really well. 

In 2 Fast 2 Furious it started going off the rails. They tried to replicate the brooding good guy/bad guy coolness of Dom (Vin Diesel) in the first movie with Roman Pearce (Tyrese Gibson). Unfortunately, the situation was a bit too contrived. Instead of the gritty underground  street racing crowd with a working camaraderie that was believable, it went with the glitz of Miami and focusing the camera on Eva Mendes not to further the story but just because she looks good. Which, of course, she does...but it was gratuitous instead of for a point.

By Tokyo Drift the franchise had lost both primary stars, all the secondary stars, and the "feel" that made the first one so fun and such a pleasant surprise.

In Fast and Furious (2009) the franchise returns to its roots. Once again Dom is the brooding leader of a law-breaking band of pseudo-Robin Hoods. 

There are nice subtle touches such as the Iguana belonging to the truck driver they rob. There is precision driving, a car-load of hot cars, hot driving, fun chases, just enough story to tie it all together, and loads of action.

If there is a quibble with this movie it is that much of the action is filmed in what has been all the rage lately...replacing genuine action scenes, particularly car chases, with hyper-active cuts of such rapidity that you can not always tell who is doing what to whom. That is unfortunate, because what you could see of the car chases, particularly the two that went through the tunnels, was spectacular.

This is a fun movie that somehow, despite the overtly maudlin nature of Dom's motivation, skirts the edge of getting too brooding and corny to deliver an entertaining hour and forty minutes that is well worth seeing if you enjoyed any of the other movies in the franchise.

In bringing back Walker and Diesel they brought back the heart of the franchise and it worked.

Movie Review:The Spirit

Frank Miller is infatuated with color schemes of black and white with splashes of red. In The Spirit he uses these to great effect. As a director he has a great eye for stunning visuals and iconic moments. As a writer he has a wry, twisted sense of humor that translates well to the stylized movies he likes to put out.

The Spirit (Gabriel Macht) is a super-hero whose primary super-power is his ability to repeatedly come back from death. He acts as a sort of detective/spy for the police force while battling his arch-nemesis the Octopus (Samuel L. Jackson), a villain who has the same ability and a wicked sense of humor.

For example, the Octopus has a bizarre preoccupation with eggs. He also has a never-ending series of cloned minions (Louis Lombardi) that die with regularity only to come back with new names ending in -os; Pathos, ethos, Adios (the last one we see) and, after one long monologue about not getting egg on his face, he names his next minion Huevos...Spanish for egg.

The Octopus is trying to attain the blood of Heracles to make himself immortal. Silken Floss (Scarlett Johannsen) is is assistant trying to pay her way through college. Sand Saref (Eva Mendes) is tyring to attain Jason's Golden Fleece because it is shiny. The Spirit is trying to end crime in his city.

That is about it as far as story, which is fine. This is a pretty action-filled romp with occasional spots of humor and some outstanding visuals. If you like those sorts of movies, you will love The Spirit.