K. Smith surfs a disturbing trend in cinema toward R-Rated hybrid sneaking in from the catagory above, mixing porn/regular entertainment with none of the redeeming qualities of either. Example Choke. Zack and Mira raises the ante, going straight for defecation. In this case, an actress dumps onto a camera man. A similar scene is only alluded to in Sexdrive. Although this movie has no redeeming social qualities, it does feature a trash can fire, which I feel is underrated by the general public. I recommend putting the can outside and drilling some holes in the side to improve airflow and let the light dance out. It's a good way to destroy documents if you don't have access to a mil-spec shredder. If you find THIS useful please vote "yes."
Disney presents a collage of superficial dance and song set in mythical East High, where none of the "Wildcats" have tattoos, body piercings, smoke, drink, or swear, or my favorite, sag their pants. Kissing is allowed, closed mouth, on the cheek only. Vanessa Hudgens, as the Annette Funicello look alike has more important things to do than star in the musical, attend Senior Prom or Graduation? This forces boyfriend Zac Efron to drive two thousand miles in a full size pickup truck, (estimated 9 MPG) to convince her otherwise. Wouldn't it have been greener to send her a 1st class ticket? Musical numbers are sparse and unmemorable. However, it provided work for a lot of shiny young artist, and an escape from reality, which can't be all bad.
Director Sean Anders presents a humorous, creative teen road trip with strong performances from Clark Duke and especially Seth Green as Ezekial the sarcastic leader of the seven dwarfs of Amish auto repair. I took a star off because he allows reality to intrude on suspended disbelief. Example, I don't think chipping an actresses tooth is funny, nor having actors punch each other in the face. Sean also cuts too deep at hetero-men for my taste. He debases one of the more interesting characters by turning him gay, concidentally dismissing love of muscle cars and motorcross bikes as overcompensation of the sexually insecure. Like a coward, he waits until the last scene to deliver this hypocritical kick in the sack.
Director Gavin O'Connor answers the question: How do you convert a crummy PG-13 movie into a crummy R-Rated movie? Simple, have the cast and extras spew the F word and Sh_t word at every improbable opportunity. My ears were offended some 231 times by my (admittedly late to start) count. The real number is likely closer to 300.
Ed Norton as the bi-lingual Detective/9th grade Spanish Teacher further insults our intellect by spanglishing then translating for us, as though we couldn't have read sub-titles.
Gavin does employ some academic use of mirrors and reflected images that film students might benefit seeing, but unless you are a fan of mouth diarrhea, I can't recommend this movie.
Dave Atell's Insomniac meets Priscilla, Queen of the Desert. This out all night teen love story/comedy is starred in by Michael Cera the soulful heir apparent to Steve McQueen's hang dog, understated acting style. Recommended for teen dates, or if you have no date, go by yourself.
Oliver Stone's even handed treatment of the current president provides a shallow overview of his adult history and administration, and seems calculated to appeal to a broad audience without being offensive. Any moderate student of the political news will see this as re-hash of common perceptions with few new insights offered. One bright spot; the Cabinet is populated by a deep pool of acting talent which allows Stone to capture some of their dynamics and interplay. Dreyfus makes a good Cheney, and I think he could also portray John McCain if a future need developed. Overall, I'm not a big fan of political/legal drama, and can only recommend this to policy wonks, or aging boomers that voted for W.
Mark Wahlberg has great on screen presence as man of action Max Payne. The first half of the movie is very solid with interesting dialogue and progression, with a dark Blade Runner look. The movie marks its self destructive spiral by killing off the only interesting female character, and introducing mundane new characters like the CEO, and Chief of Security of the evil drug company. Ultimately it unravels into an overblown Hollywood shoot fest led by Max who rallies like Popeye after he discovers his can of spinach. The unexplained devil imagery/side effect of the subject drug is never explored, and the ending is anti-climactic, and leaves to many loose ends for my taste.
Young/young at heart might enjoy this fantasy story. Bill Murray is well cast as the duplicitous mayor of Ember, an underground Noah's ark with failing infrastructure. The undiverse group of inhabitants having lost ther own creativity: survive by adhering to the rituals and dogma of their ancestors. The movie dispenses with plot cohesion in the last third devolving into a children's chase and escape saga, with a ridiculous log flume ride sequence that shills for a future theme park concession. Inspite of this it is an entertaining family movie.
Leonardo, impressive in the action scenes, seems immature and unbelievable as a power broker. Crow's talent is squandered playing a paunchy , half-focused CIA manager comfortable pulling strings from his private boat slip, or sideline of his daughter's soccer game. Scott seems to have deliberately wasted this expensive resource to punctuate his own message of government waste. I.e. Our war chest is frittered away perpetuating a bloated impotent CIA bureaucracy. It is futile to fight the war on terror directly. Let each country deal with it on their own. In the movie the indigenous security chief of Jordan is the hero, while Leonardo's character's singular contribution as worm bait to lure the terrorist into shallow water.
The raw material is in place, but sadly never consolidates into a movie. The script lacks cohesion and is illogical. Dialogue is uninteresting and repetitive. The movie is quick to use western stereotypes and cliches, but is unfaithful to the conventions of the genre. It shamelessly steal images and characters from Clint Eastwood's Unforgiven. The autocratic Ed Harris plays Virgil a robotic, insecure bully and directs from the same perspective. Not content to suck all the joy of movie craft from the cast and crew he turns on the audience with a false ending and restart, asserting that HE gets to decide when its over. Renee Zellweger's performance is bizarre, under Ed's misanthropic directing.