In the original 1960s Stan Lee comics, Tony Stark is captured in the Vietnam War and commanded to build weapons (he’s a genius); instead, he makes a magnetic chest plate (to keep a piece of shrapnel from piercing his hear) and a suit of armour and escapes. When he returns to the United States, he becomes a superhero. With few adjustments (the war is moved to Afghanistan for modern audiences), this is what happens in “Iron Man”, the first full-length film adaptation to feature the weapons-magnate-turned-philanthropist.
But you needn’t be a fan of – or even familiar with – the character to enjoy the movie. With acting credits on dozens of unexciting movies (without explosives, intelligent gadgets, or gravity-defying anything), Jon Favreau is a surprising natural at directing all the action that goes into “Iron Man”. And as for Iron Man himself, Robert Downey Jr. couldn’t be more perfect because of, well, his imperfection; heroes are a lot more interesting when they’re human (think Johnny Depp as Captain Jack Sparrow).
There’s a bonus scene after the credits if you’re willing to stick around. It won’t spoil the surprise to say it’s a sequel teaser; “Iron Man 2” has a tentative release date of April 30, 2010.
Based on the Ian McEwan bestseller of the same name, “Atonement” should not be mistaken as a romance. It is about the writer, not the lovers (from whom we are doubly removed). In maintaining that perspective, and re-enforcing it at the end, the film wasn’t the improvement it could have been. Yet “Atonement” is an achievement in fimmaking; the screenwriter, director, cinematographer, art director, and costume designer, have together painted a beautiful, accurate portrait of both the novel and the era in which it takes place. Unfortunately, portraits aren’t anything more than visual. “Atonement” is no exception. It climaxes early, and forgoes a great deal of plot in favour of ages of extended resolution. It is layered with more with sweeping scores – and ticking clocks – than with dialogue. And while the characters seem to do a lot of contemplating during their silences (we see strong performances from all the actors), they are too introverted to share much of their thoughts; the result is an overall aloofness about the picture that can lead us, too, to become detached.
Horton (voiced by Jim Carrey) and the Mayor of Whoville (voiced by Steve Carell) have the same problem – how to make everyone believe that Whoville exists on a speck of dust in the Jungle of Nool. In the clumsy resolution that follows, directors Jimmy Hayward and Steve Martino bounce us neatly between the buoyantly CGI Jungle of Nool and the impeccably stylistic CGI Whoville. (Save for an absurd anime scene, that is.) Screenwriters Ken Daurio and Cinco Paul have retained the morals of the classic text, but have neglected half of their audience in the adaptation; “Dr Seuss’ Horton Hears a Who!” is accessible to children. No one else. Unlike recent animated movies (like “Shrek”), “Horton Hears a Who!” is void of the intelligence that so appeals to adults, teens, and older children. It is a cheap laugh.
Without prior warning (unless you’ve seen the previews), U. S. President Ashton (William Hurt) is shot moments after taking the podium at an international summit on the war on terror. In two of eight perspectives, secret service agents Thomas Barnes (Dennis Quaid) and Kent Taylor (Matthew Fox) chase down the terrorists responsible. Ironic? Perhaps. Original? Decidedly not. While the multiple “vantage point” approach is interesting, it is also tiring; the earliest switches tend to be made before anything significant can happen. Director Pete Travis handles well the organizational nightmare of filming handed to him by screenwriter Barry Levy; in maintaining a high level of adrenaline, however, the pair fails to rationalize the violence running amok in the film. “Vantage Point” is a decent thriller, with a twist or two (or none, depending on how intuitive you are), but is lacking the moral necessary to make it anything more than entertaining.
Unlike ordinary runaways, fifteen-year-old David Rice (Max Thieriot) jumped through the fabric of space to get away from home. And he hasn’t looked back. But now (grown into Hayden Christensen), he discovers that there are more jumpers, and a secret organization (led by the distasteful Samuel L. Jackson) trying to kill them all. Jamie Bell is highly entertaining as the veteran jumper who unwillingly befriends our hero, and Max Thieriot and AnnaSophia Robb are wonderful as young versions of our main characters (though we hope AnnaSophia doesn’t turn into Rachel Bilson); it’s unfortunate the best cast members are in supporting roles. Based on the novel by Steven Gould, “Jumper” is handled by a team of three screenwriters and sole director Doug Linman, who secured impressive jumping locations and great jumping graphics for this generic, anxiously fast-paced science-fiction adventure.
When an animated fairy tale princess (Amy Adams) winds up in a live-action reality, the result is destined to be entertaining. And “Enchanted” is just that. Screenwriter Bill Kelly, director Kevin Lima, and a talented comedic cast deliver this delightful tale with enthusiasm and a healthy spoonful of Disney magic. Amy Adams is the perfect princess – real or not – she has the mannerisms, the voice, the ideals, the dress; it is impossible not to fall in love with her. “Enchanted” is sometimes corny (the lyrics will make you laugh out loud), but always in good spirit; it will satisfy your craving for a good old-fashioned fairy tale (which you are bound to have once you sit down to the introduction).
Alvin, Simon, and Theodore are all present and accounted for (just like in “The Chipmunk Song”), but not as you remember them. These crude computer generations should have been scrapped in the earliest stages of the film and replaced by the chipmunks as they appeared in their 1980s television series. Or better graphics (though no one makes a good cartoon anymore). There are a few laughs, but all of them cheap; neither the plot nor the human characters salvage the fate of “Alvin and the Chipmunks”.
Jane (Katherine Heigl) doesn’t just attend weddings. She plans them. And she’s willing to plan the one between her sister (Malin Akerman) and the man she hoped to marry herself (Edward Burns) because that’s what she does. With little imagination (think “The Wedding Planner”), screenwriter Aline Brosh McKenna and director Anne Fletcher have made an agreeable romantic comedy. What makes “27 Dresses” stand out – or at least palatable – within this crowded genre is a winning performance by Katherine Heigl, who sometimes makes you forget that this sort of thing has been done before.
Like its confused teenaged hero (Anton Yelchin), “Charlie Bartlett” seems to desire popularity, but isn’t sure where its target audience lies. Screenwriter Gustin Nash and director Jon Poll have compiled an indecisive mishmash of cinematic styles and genres, from teen flick to indie film, and used them all. In its best moments – either comedic or dramatic – everything clicks, and you see the “Charlie Bartlett” that could have been. Unfortunately, they are too few and far between to sustain the movie.