James Marsden

  • Sonic the Hedgehog (2020)

    Sonic the Hedgehog (2020)

    ByChristian Sauvé Movie Review

    (Amazon Streaming, February 2021) The usual level of quality for videogame movies is so low that you can still wow people simply by sticking to a basic formula and executing it with some competence. At least that’s how I feel about Sonic the Hedgehog, a film that clearly leans on a buddy-comedy plot template assorted with some road-movie shenanigans and a spirited antagonist performance. It works rather well, but it does show that the way to adapt videogames is to focus on the character rather than spend too much time trying to replicate gameplay mechanics. James Marsden is a good choice as the lead human protagonist playing against the Sonic character — his ability to do comedy is well-known, and he’s got the leading-man look to make it credible. Opposite him and Sonic is Jim Carrey in one of his most exuberant roles in years as the ultra-smart, ultra-arrogant Dr. Robotnik, wild moustache included. Of course, this is a special effects film, and it’s simply remarkable that Sonic the Hedgehog was able to redo its character within months, based on negative audience feedback to the trailer. The film’s best moments are in a few action/comedy scenes showcasing Sonic’s ultra-fast reflexes (à la X-Men’s Quicksilver), either to arrange a bar fight or running away from missiles in mid-air. The film is clearly aimed at kids, but the family-friendly execution will ensure that the adults aren’t bored by the results. Sonic the Hedgehog’s success is not entirely due to a relief at what could have been — there are some honestly amusing sequences here, whether it’s Carrey hamming it up in a dance montage, or a car chase that gets increasingly ludicrous as it goes on. All told, I’m really not annoyed that it ends on a note promising a sequel — it’s good enough to deserve one.

  • Shock and Awe (2017)

    Shock and Awe (2017)

    ByChristian Sauvé Movie Review

    (On Cable TV, May 2019) As someone who stood by aghast as the United States rushed into the invasion of Iraq back in 2002–2003, I’m naturally predisposed to like Shock and Awe, a dramatization of how the Knight Ridder staff consistently reported accurate information about the rush to war … only to be ignored by much of the mainstream press which, at the time, was uncritically relaying the Bush administration’s message. There are a few great messages here about an independent press, skepticism of government, analysis-based decision-making (rather than the other way around) and perseverance in the face of mass delusions. Director Rob Reiner features stirring speeches, confrontation scenes with deceivers, hints of conspiracy in journalists meeting sober-minded sources and characters trading J-school best practices. This is good stuff, and the film does act as a reminder (for people my age) or primer (for younger viewers) on the events of the time. The relevance of such a film won’t be lost, as today’s headlines have to do with another administration mounting another war in the Middle East under a steady drum of impeachment talk. But as much as Shock and Awe acts as catnip for a political junkie, there’s a clear difference between its blunt approach and the more subtle machinations of something on the level of, say, The Post: it’s overstuffed with inelegant exposition, rushing through facts while not always giving characters the breathing room to live. Even a dating scene, meant to humanize the characters, ends up being a blatant as-you-know vehicle. It’s not enough to make me dislike the film (in fact, I do like it a lot), but a bit more attention to characters could have made it stronger, and one that doesn’t necessarily play to a sympathetic crowd such as myself. The issues with the screenplay are so fundamental that they obscure really good work done by capable actors—one day, we will have to talk about Woody Harrelson and his choice of roles as one of the most progressive actors of his generation. Other names such as James Marsden, Tommy Lee Jones and Jessica Biel show that they can be counted upon to deliver a serviceable performance no matter the circumstance. But even if having the right intentions is crucial, having the right methods is essential.

  • Sex Drive (2008)

    Sex Drive (2008)

    ByChristian Sauvé Movie Review

    (On DVD, January 2017) Teenage sex comedies are a dime a dozen, but there’s something better than average in Sex Drive’s execution that makes it float above most of its genre. The idea to combine a road movie with a more typical sex comedy isn’t new, but it makes for a clever way to structure the film, culminating in a ridiculous ending in which a bunch of characters converge on a single location. Josh Zuckerman is the likable anchor of the film, but he’s not nearly as interesting as secondary or tertiary characters such as Clark Duke’s improbable teenage Casanova, Seth Green’s trolling Amish or James Marsden’s confused older brother. The gags hit or miss, but there’s a forward rhythm to the road movie as it gets its protagonist closer and closer to his stated goals. Parents should rest easy in knowing that like most other sex comedies, Sex Drive ends up promoting good old solid American values after all. Watchable without being exceptional, it’s nonetheless is better than much of its genre. Note: The “unrated” DVD contains an extended edition that features blatantly gratuitous nudity (green-screened in existing footage), alternate takes and bloopers inserted within the film. None of it is essential, and the filmmakers are quite right to feature a PSA before the movie telling newcomers to watch the “rated” version of the film first.

  • 27 Dresses (2008)

    27 Dresses (2008)

    ByChristian Sauvé Movie Review

    (On DVD, October 2016) Katherine Heigl as a neurotic shrew whose personal anxieties prevent her from finding true love? Well, that actually works—especially given that it describes maybe half of Heigl filmography so far. I’m not sure she got the screen persona that she wanted, but it doesn’t matter: It’s consistent and even a gnawing feeling that we’re supposed to dislike her works in 27 Dresses’ favour most of the time. As a freelance wedding planner who can’t manage to tie the knot, Heigl gets to go through the usual romantic comedy gamut of emotions regarding the male lead of the story, from exasperation to love. A rom-com in the classical mould, 27 Dresses can be confounding in its plot logic, lazy on its reliance on idiot plotting and not quite smooth in the way it lines up its set pieces, but it’s a generally harmless piece of fluff that can be watched easily and forgotten almost immediately. Judy Greer gets a few laughs as a deliberately promiscuous friend of the heroine, while James Marsden makes for a serviceable male protagonist. Some of the cynical commentary about the wedding industry is amusing, but would have been deployed to better effect in a darker kind of film. Much like the use that the film makes of the titular 27 dresses, this is a film that aims for the average rom-com and achieves it … leaving the full reactions to the viewers.

  • Hop (2011)

    Hop (2011)

    ByChristian Sauvé Movie Review

    (On Cable TV, May 2013) One of the unsung tragedies of parenthood is the cold realisation that tales of teenage rebellion don’t quite seem as cool as they once were.  But, of course, this isn’t the main problem with Hop –a bad script is.  As the story is intent on uniting two teenage losers (a human slacker, and the runaway son of the Easter Rabbit) who seem determined to waste every advantage given to them, Hop forgets to give us a reason to care for them and focuses on various idiot-plotting pratfalls.  At least there is something worth watching in the film’s more fantasy-driven sequences: The film’s introduction answer questions nobody ever thought about asking about the mechanics of Easter Egg distribution, while Peter de Seve’s creature design is almost too cute for words.  Otherwise, there isn’t much to say about the film’s straightforward plotting, short duration or routine direction.  The CGI-bunny/live-action integration is well done, but the human actors are so bland (with James Marsden apparently taking up roles that Seann William Scott is now too old to play) that it’s enough to make us wish for more CGI.  Oh well; More special effects wouldn’t have softened the grating feeling left by Hop’s unpleasant characters.  If nothing else, there are pretty bunnies everywhere in this film –might as well focus on the positive.

  • Tomorrow, When the War Began (2010)

    Tomorrow, When the War Began (2010)

    ByChristian Sauvé Movie Review

    (In theaters, September 2010) Chances are good that you will never see Tomorrow, When the War Began in North-American theaters: Despite its generous production values and good action sequences, this is an Australian production based on a series of young-adult books largely published for Australian audiences.  (I was lucky enough to be in Australia when it was released, with a strong marketing push that included public transit buses plastered with the film’s promotional art.)  A quick summary of the film would probably be something like “Red Dawn for Australian teenagers”, as a group of plucky teen protagonists comes back from a quick bush holiday to discover that their country has been taken over by a foreign invader.  Stuck behind, they strike back… with the expected action sequences and fast-paced growing-up that active resistance involves.  As such, it’s really not bad: Some of the writing feels forced and everyone keeps making stupid decisions to advance the plot, but the entire film is entertaining, and many sequences pack some punch.  The characters are sympathetic, and the development of the links between the six protagonists is fascinating to watch.  A few details feel different from the Hollywood standard: The emerging leader of the group is female, she gets involved in a romance with a male of Asian origins, and the ending isn’t a triumph as much as it’s a victory with potentially dramatic consequences.  As a piece of slick blockbuster entertainment, Tomorrow, When the War Began is ripe for worldwide success… pending distribution deal and favourable word-of-mouth.  As for the rest of the series, there are five more books in James Marsden’s “Tomorrow” cycle and three more in the “Ellie Chronicles”: even if the rest of the series isn’t adapted, the story as written will always be there.  Will the film ever make it to North America, even as a straight-to-DVD film?  I’d bet on it.  There’s certainly many worse home-grown movies out there.

  • X2 [X-Men 2: X-Men United] (2003)

    X2 [X-Men 2: X-Men United] (2003)

    ByChristian Sauvé Movie Review

    (In theaters, May 2003) Faster, meaner and, yep, better than the often-tepid original, this is one sequel that assumes everyone’s seen the original and so dispenses with the usual load of dull exposition. The motif of bigotry is still present -and so is the unsettling political subtext-, giving weight to the film. Despite sometimes-unconvincing special effects, those action sequences are indeed spectacular, with particular props going to the opening sequence and a very cool sequence involving iron-enriched blood. The most spectacular part of X2, however, is how it can juggle a cast of a dozen (including three Oscar winners) without too many lapses. Hugh Jackman once again steals the show, endowing Wolverine with the most steadily engrossing presence. Others deliver mixed performances: Halle Berry is better than in the original, but she, like Famke Janssen, looks bored with what she’s given to work with. (And the least said about James Marsden’s Cyclops, the most appropriate.) As summer entertainment, X-Men 2 is a strong entry, even with the rather overlong third act which degenerates in a “sacrifice” that feels contrived. But by the time the credits roll, everyone’s had enough entertainment for their money. Until the third instalment, then…