Month: June 2008

(In theaters, June 2008) Spy/Comedy hybrids usually have more potential than success and this film is no exception to the rule. While several of the conceits from the “Get Smart” TV series are still ingenious, their incarnation here never seems to be exploited to its fullest extent. Steve Carrel is irreproachable as Maxwell Smart, presenting an endearing mixture of competence and inexperience. Anne Hathaway, surprisingly enough, isn’t as charming: her character is quicker to become abusive than exasperated, and despite the in-story justification for her false youthfulness, there’s seldom a sense that she’s got the maturity required for that type of character. The rest of the plot isn’t much better than adequate. The nonsense about weapons of mass destruction is too pedestrian to fit in the humorous premise, and indeed the film struggles to find comedy in situations that should be ripe for it. The most disappointing aspect of this big-budget movie remake is the pedestrian dialog, which rarely rises above the strictly perfunctory. As you may expect, the action sequences play better than anything else (well, except Alan Alda, who’s a riot no matter what he does) but the problem here is that action sequences are cheap and plentiful, while Get Smart most definitely isn’t. While the film is not a disaster, it is a disappointment in how it suggests intriguing possibilities and then fails to follow them up.

(On DVD, June 2008) I may not know or care much about football, but this adaptation of the now-classic Buzz Bissinger book is a solid hit even if it glosses over much of what made the original so interesting. Forget about the sociology of football-mad Odessa, Texas and focus on the raw energy of this tale of high-school players being raised to demigod status: Director Peter Berg delivers a film that sizzles with pseudo-documentary energy, using hand-held camera and terrific editing to deliver an experience that keeps us engrossed throughout. Some of the material created to suit the dramatic needs of the film can feel overdone, but fans of the book will recognize little details, characters and incidents that would have been excised had the book been adapted by less-passionate hands. The performances from the ensemble cast are all remarkably good, from Derek Luke’s overconfident athlete to Billy Bob Thornton’s pivotal coach, steady under terrible pressure. The sheer cinematographic density of the first half-hour is mesmerizing, daring us to follow along or sink in the process. And even football morons like me will be swept along by the film’s final act. I’m not even interested in picking apart the film for what it doesn’t include from the book: this is as good as adaptations ever get, leveraging the strengths of a medium against the things it cannot faithfully represent. On the DVD, don’t miss the informative (if occasionally defensive) director’s commentary, or the where-are-they-now featurettes.

(On DVD, June 2008) I missed this in theaters, and shame on me: There is some really clever stuff in this modern retelling of the usual Disney fare. It starts in classic Disney-fairlytale flat 2-D animation, where a princess is exiled to real-world New York. Then things get more interesting as the fairytale idealism of the princess (a perfect, and I do meant perfect, Amy Adams) clashes with the grim (but not-too-grim) practicalities of the big city. The tension here is made even more interesting by the idea that this is a Disney film commenting upon an entire in-house tradition. Nobody will be surprised to find out that idealism ultimately wins over even the lead skeptic (a rather good Patrick Dempsey) by way of sheer cuteness, dragon-fighting and a number of snappy musical numbers (two of which, “Happy Working Song” and “That’s How You Know”, stick in mind well after the end credits). As a family film it sometimes loses itself in cute-animals shenanigans, obvious plot-points, overacting and some idiot-plotting. But there are enough clever sequences, smarts details and genre-aware commentary to make it seem interesting even to those who fall outside the “family” audience. Better yet: if wouldn’t have been as good had it come from another studio than Disney.

(In theaters, June 2008) Pure exploitation film featuring a young woman facing off against one vapid playboy and four disturbed low-lives. It starts promisingly enough, with a surprisingly well-edited racing duel through Ontario dirt roads. It sets up its characters efficiently enough despite the limits of its budget, and provides an intriguing (if well-worn) situation as the hoodlums track down playboy and woman for a weekend of home invasion violence. But the film soon loses control over its own pacing shortly thereafter, as the menace of the invaders is either played for laughs, or never taken seriously by the so-called heroes. Anyone with half a brain would have made attempts to escape: our protagonists stay inert, up to a point where the playboy loses whatever lingering sympathy he might have deserved. It’s a very long second act, and very little happens during the build-up. After that, well, it’s pure familiar stuff: physical assault, followed by utter retribution by the heroine. It ends with a nauseating bit of Stockholm-syndrome flashback. Not much to see here, even by the standards of exploitation cinema.

(On DVD, June 2008) In the venerable genre of “horror movies when seemingly-innocuous things kill people”, this isn’t one of the bad ones: The idea of sheep turning into carnivorous monsters has a kick to it, and the New Zealand team putting it all together has enough cleverness to use the concept to its fullest extent. It’s not revolutionary, particularly funny or scary, but it goes through all of the right motions at a decent rhythm. The leads are sympathetic enough, the gore is suitably over-the-top and the fun just keeps on piling up. It could have been funnier or slicker (we’re still far away from Shaun Of The Dead or Tremors) but there really isn’t much more to say about it: Killer sheep, decent production values and enough fun for any gore-hound.

(On DVD, June 2008) Penelope Cruz and Salma Hayek as late-19th-century Mexican outlaws: Can this film get any better? More importantly: does it even matter? This isn’t high art: as a Zorro-like feature, this film is equally underwhelming when it comes to comedy and action: There is a lot of both, but it rarely rises above the most obvious material. Luc Besson’s hand in the script is instantly recognizable whenever the two lead heroines quarrel over how to kiss the nearest unavailable guy, severely undercutting whatever pro-feminist message the films might have wanted to carry. The action is brief and ordinary (save for a bravura shot late in the film that tries to show a complicated sequence of events in one-take slow motion), though it may not matter as much as you think given then film’s reliance on silly capers rather than gun-slinging action. Fortunately, Bandidas itself is generally enjoyable: although practically released straight-to-video in North America, the film is more enjoyable than many blockbusters, and often prettier. Leaving aside the hotness of the lead actresses, there is some fantastic cinematography here, with wide sweeping shots of the Mexican countryside and a crisp, fun-filled feel to the images captured by the camera. Though some scenes could have been tightened (especially during the generic, imposed first act), the film moves in high gear once the protagonists go naughty and the rest is decent, reasonably enjoyable entertainment. As far as B-movies go, this is a solid rental choice… especially if the very thought of Cruz and Hayek tussling around in frilly underthings is enough to perk your, er, interest.