Total Recall

Posted on August 2, 2012 at 6:00 pm

B+

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for intense sequences of sci-fi violence and action, some sexual content, brief nudity, and language
Profanity:	Some strong language (for example, s-words, one f-word)
Alcohol/ Drugs:	Drinking
Violence/ Scariness:	Intense and sustained sci-fi action and violence, shooting, explosions, characters injured and killed
Diversity Issues:	Diverse characters
Date Released to Theaters:	August 3, 2012
Amazon.com ASIN:	B005LAII3A

Will the 2012 version of the story inspired by Philip K. Dick’s “We Can Remember it for You Wholesale” erase the memory of the Arnold Schwarzenegger sci-fi classic from 1990? Dick’s story is about a time in the future when a company named Rekal (Rekall in the films) implants false memories to order — vacations, heroic missions, romances –and a man who tries to buy a memory only to find that his own real-life memories have been imperfectly erased and he is neither what nor who he thought he was. Both movie versions are very loose adaptations, but both, like the story, are about heroes who have no memory of their previous lives as spies and assassins until an attempt to insert a happy memory of a vacation trip inadvertently jars loose some imperfectly erased memories of another life.

The original film is fondly remembered but even its fans admit that it is cheesy, with special effects that look like cardboard compared to today’s digital enhancements. The new version has vastly better effects and a vastly better actor with Colin Farrell as Quaid (Quail in the story). He is a factory worker (jackhammer operator in the earlier film) whose dreams seem more real to him than his waking life with a beautiful, affectionate, and sympathetic wife (Kate Beckinsale as Lori, memorably played in the original by Sharon Stone).

Director Len Wiseman (the “Underworld” movies and “Life Free or Die Hard”) and production designer Patrick Tatopoulos create a dazzlingly dystopic world. If it draws heavily on the brilliant work of Syd Mead in “Blade Runner,” at least it pays homage to the best and, after all, that was also based on a Dick story about a dark future and the exploitation of imperfect memory. As in “Blade Runner,” the setting combines the decay of edifices contemporary to our time that we still think of as impressive and useful with the imposition of harshly impersonal spaces and some mind-boggling technology that is matter-of-factly ordinary for the characters who use it. The hover car and the literally hand-held phone are great fun. There are some major logical inconsistencies in the story but it works as a popcorn pleasure.

Some people have strong attachments to the original movie and embrace the cheesiness and for them this re-imagined version is unlikely to replace that memory. While it honors the earlier version, sometimes directly, sometimes with a cheeky twist, this version works just fine on its own, with well-staged chases and confrontations and even a bit of existential rumination about memory, identity, and redemption. Beckinsale’s character is more prominent than Stone’s (yes, she is married to the director, with whom she worked in the vampiric “Underworld” series as well, but it works). Bryan Cranston, Bill Nighy, and Bokeem Woodbine contribute solid performances that keep things grounded. No Mars, no turban, no “consider this a div-ausss,” but it is an entertaining, visually striking adventure with a main character you will not want to forget.

Parents should know that this film includes a great deal of intense and sometimes graphic sci-fi action, peril, and violence, with many shoot-outs and many characters injured and killed. There are some disturbing images of mutants. Characters use some strong language (mostly s-words and one f-word), drink, and get drunk. There are some sexual references and a non-explicit situation and brief nudity (a woman with three breasts).

Family discussion: How did Quaid decide who to believe? If you had a chance to buy a memory from Rekall, would you? What would it be?

If you like this, try: “Blade Runner,” also based on a story by Philip K. Dick, and the original “Total Recall” with Arnold Schwarzenegger.

The Watch

Posted on July 28, 2012 at 12:45 pm

Yet another attempt to go for the “Ghostbusters” funny-scary vibe crashes and burns in the under-written “The Watch,” originally titled “Neighborhood Watch” until the Treyvon Martin shooting created uncomfortable associations with the idea of self-appointed suburban guys with guns. But the attempt the neutralize the title does not save the idea and the can’t-believe-that-got-an-R raunch does equal comedy.

Ben Stiller plays Evan, a gung-ho guy who loves his job as a manager at Costco and his community in the quiet suburb of Glenview, Ohio. He is a one-man force for civic pride and improvement, starting up clubs and volunteer projects. One night the Costco security guard is brutally murdered, dismembered, and skinned. Even decides to start up a neighborhood watch to help find the killer and protect his community.

The only people who show up to help are Bob (Vince Vaughn), a contracter with a teenage daughter, Franklin (Jonah Hill), a guy who lives with his mother, resents failing the police academy tests, and likes to play with his knife, and Jamarcus (Richard Ayoade of the British sitcom “I.T”), who is new in town and hoping to make friends, especially the kind who is willing to provide a very specific sexual favor. That’s the basis for a cohesive crack team of operatives, right! On to the stakeout and don’t forget the special jackets and the beer!

As the Watchers poke around, they begin to turn up in places were more bad things happen. A skateboarding kid and a cranky old guy (R. Lee Ermy) are the next victims. The Watchers start to do more than watch when they discover a mysterious orb that blows things up — and then the alien who is looking for it.

And all of this is an excuse for a lot of dumb destruction and vacuous verbal riffing, though once in a while there is a funny moment. The aliens leave behind green slime. There is a dumb and overlong discussion of the relationship of its properties to a particular male bodily fluid but also a nice underplayed reference to getting slimed at the Nickelodeon’s Kids’ Choice Awards. Despite a script credited to “Pineapple Express” scribes Seth Rogen and Evan Goldberg with Jared Sten, it feels like they were making it up as it went along. It is always fun to hear Vaughn’s randomly attention-deficit commentary and Billy Crudup shows up for some nicely creepy moments, but Rosemary DeWitt is wasted in yet another example of the Our Gang (“No Girls Allowed”) school of film comedy. The unfortunate truth is that changing the title just left us with exactly what audiences should not waste time doing . They didn’t bother to write it; you shouldn’t bother to “Watch” it.

Parents should know that this film has very crude and explicit language and sexual references, comic but sometimes graphic peril and violence, drinking (including drinking while driving), smoking and drug use, explicit sexual situations (orgy) with nudity, potty humor, attempted sexual assault of a teenager, switchblade, stockpile of weapons

Family discussion: Which character was most responsible? What surprised them the most about each other?

If you like this, try: “The Burbs” and “Attack the Block”

Related Tags:

Action/Adventure Comedy Science-Fiction

The Dark Knight Rises

Posted on July 18, 2012 at 11:38 am

There’s a reason you never hear about “your friendly neighborhood Batman.” Spidey may have some angst and guilt and abandonment issues but he is downright sunny-natured compared to the brooding soul of Bruce Wayne (Christian Bale), holed up in Wayne Manor with only his loyal manservant Alfred (Michael Caine) and his tortured memories. At the end of the second chapter of director and co-writer Christopher Nolan’s Dark Knight trilogy, Wayne decided it would be better for the citizens of Gotham to believe that Harvey Dent (Aaron Eckhart) died a hero than to tell them to truth about the descent of a once-honorable man into madness and vigilantism. So everyone thinks that Batman is the villain who killed Dent instead of the hero who saved the city and Wayne is refusing to see anyone.

In Dent’s memory, legislation has been passed to keep dangerous criminals imprisoned and the crime rate is down so low that a policeman jokes they may be reduced to chasing people down for overdue library books. But everyone in this story is tortured by secrets and shame, even Commissioner Gordon (Gary Oldham), who carries in his breast pocket a speech setting the record straight but does not have the nerve to deliver it. There is the lissome but light-fingered catering assistant who turns out to be the notorious Selina Kyle (Anne Hathaway, rocking the leather catsuit). And there is Bane (Tom Hardy), a terrorist who shows his contempt for humanity by cynically couching his atrocities in the idealistic vocabulary of social justice, trashing spirits as he trashes the concrete and social structures of the community.

It is overlong at two hours and 40 minutes but the action scenes are superbly staged, from the audacious plane-to-plane maneuver at the very beginning to the literally earthshaking attack on the city. The “pod” motorcycle chases are sensational, especially with Hathaway at the helm. She is never referred to as Catwoman, by the way, but when her goggles are up on her head, they amusingly evoke cat’s ears. Joseph Gordon-Levitt is a standout as a perceptive young detective who understands Wayne too well. Hardy does his best to overcome the daunting limitations of the masked role, acting with his eyes and body language, but the weirdly disembodied voice is unconnected to the action and at times seems like a bad dub job in a cheesy karate film. Bale’s performance in this role (or, I should say, these roles) has always seemed thin to me, but fellow Oscar-winners Marion Cotillard, Morgan Freeman, and Michael Caine add some heft, especially Caine’s devoted Alfred, and it is good to see Tom Conti and Juno Temple in small but important roles.

The “Dark Knight Rises” title applies equally to both hero and villain in this story. This is like a chess game where all the pieces are black. Everyone has masks. Everyone has scars and a soul corrupted by a bitter stew of anger, fear, betrayal, abandonment, and isolation. Wayne says more than once he wears a mask to protect those he cares about, but he wears it to keep himself from getting too close to them, too. Nolan continues his exploration of duality and untrustworthy narrators (though one logical inconsistency inadvertently telegraphs a plot twist). Even the WMD at the heart of the action was originally designed for a benign, even heroic, purpose. This is a thoughtful, ambitious story that explores the metaphor and heightened reality of the superhero genre to illuminate the fears and secrets — and potential for heroism and yearning for a clean slate — we all share.

Parents should know that this film has extended comic book-style action, peril, and violence, many characters injured and killed, torture, hostages, references to sad loss of parents, brief mild language, non-explicit sexual situation

Family discussion: Almost everyone in this movie has secrets and conflicts — how many can you identify? Was Bruce Wayne right in thinking the risks of the energy technology were greater than the benefits? How are Bane and Batman alike?

If you like this, try: the Frank Miller “Dark Knight” comic books and the other “Dark Knight” movies

Ice Age: Continental Drift

Posted on July 12, 2012 at 6:00 pm

The “Ice Age” folks have the formula down very well, and this fourth entry is one of their strongest, with enough of the familiar to be satisfying and enough that is new to keep things interesting. The real expertise is the mixture of heart, humor, and adventure, in what is now one of the most reliably entertaining series for families.

It begins, as “Ice Age” must, with Scrat, the saber-toothed squirrel who is the Sisyphus of the pre-historic era. Scrat (voiced, or, I should say, squeaked and squealed, by director Chris Wedge) wants an acorn, but it is his destiny to have it always just beyond his reach or to create chaos when he tries to bury it. Both happen right off the bat as inserting the tip of the acorn into the ice has results that are literally earth-shattering. Yes, it turns out that the reason the continents separated and moved to opposite sides of the oceans was because of a squirrel.

Meanwhile, our old friends Diego the cranky saber-toothed tiger (Denis Leary), Manny the anxious Mammoth (Ray Romano), and Sid the silly sloth (John Leguizamo) are on the wrong side of the dividing tectonic plates and become separated from Manny’s mate Ellie (Queen Latifah) and his tween daughter Peaches (Keke Palmer). Just as Manny and Peaches are in conflict because she wants to hang out with her friends and he thinks she is too young, the ground buckles and cracks underneath them. Diego, Manny, and Sid are adrift on an ice floe along with Sid’s dotty grandmother (Wanda Sykes). Like Daniel Day-Lewis in “Last of the Mohicans,” Manny promises, “I will find you.” But they have no cell phones or GPS or even maps.

And then things get worse, as they run into a pirate crew on a ship made from ice led by the piratical Captain Gutt (a sensational Peter Dinklage of “Game of Thrones”). His first make is a female saber-toothed tiger named Shira (Jennifer Lopez). Our heroes must battle Gutt’s gang and find their way back home. Gutt and Sid’s granny are welcome additions to the cast, adding vitality and flavor to a cast whose conflicts have subsided in the previous chapters. The animation is exceptionally well executed, especially the roiling water and a very funny reaction to a paralyzing plant. The action scenes continue to be crisply executed and the happy ending includes lessons on loyalty for friends and family. If it merrily ignores any historical or scientific legitimacy, it shows its value with wit and heart.

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The Amazing Spider-Man

Posted on July 2, 2012 at 8:00 pm

B+

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for sequences of action and violence
Profanity:	Mild language
Alcohol/ Drugs:	Some social drinking
Violence/ Scariness:	Extended superhero fantasy peril and violence, some teen bullying, sad loss of four parents/parent figures, some disturbing mutation images
Diversity Issues:	None
Date Released to Theaters:	July 3, 2012
Date Released to DVD:	November 5, 2012
Amazon.com ASIN:	B008QZ5PY2

One thing I love about comics is that they are the only form of story-telling, with the possible exception of soap operas, where so many different people tell open-ended stories about the adventures of the same characters through a period that stretches over decades. The Wikipedia entry on Spider-Man’s “multiverse” includes more than 30 different versions, from the comic strip, cartoon, mutant, and zombie to the spectacular, amazing, noir, hulk, and kid-friendly “Spider-Man Loves Mary Jane.” So, much as I enjoyed the Tobey Maguire trilogy (well, the first two) directed by Sam Raimi, I was looking forward to this reboot.

It does not bother me that 28-year-old Andrew Garfield, who has already played a college student (“The Social Network”) and an adult (“Red Riding”) is playing a high school student. It does not bother me that we have to go through the whole origin story all over again — spider bite, having fun trying out the new powers, death of kindly Uncle Ben (Martin Sheen taking over from Cliff Robertson), though it really should not take up nearly an hour, and much as I love her, Sally Field can’t match Rosemary Harris’ iconic Aunt May. The efforts to tie Peter Parker’s parents (briefly glimpsed Campbell Scott and Embeth Davidtz) in with the shenanigans going on at Oscorp feel cluttered, and Rhys Ifans as the scientist who lost an arm in his experiments and wants to find a way for humans to regrow limbs the way some animals do does not make a strong impression either as human or as the Godzilla-like creature he becomes. The problem may be that if Sony does not keep up its schedule of Spider-Man movies, the rights revert to Disney, which bought Marvel. So at times it feels like a place-holder for the franchise.

But there are a couple of things that work very well and make this an entertaining entry in the superhero canon. First, and let’s face it, this is what we want from Spider-Man movies, it is a blast to see your friendly neighborhood Spider-Man swing his webby way through the city. In crystal clear IMAX 3D and with true mechanical effects — that is Garfield’s real weight swinging on real strings, not CGI — it is exhilaratingly vertiginous.

Garfield is less soulful and broody than Maguire, more athletic and witty. Peter Parker’s hipster signifiers include a skateboard, a hoodie, and a Mark Gonzales poster. And the heavenly Emma Stone plays beautiful science nerd Gwen Stacey, a more interesting character than would-be actress Mary Jane. There is genuine electricity between Peter and Gwen and director Marc Webb brings the same feel for young love he displayed in “(500) Days of Summer.” This unexpected tenderness gives heft to the story that in its own way is exhilaratingly vertiginous, too, and gave my Spidey sense a bit of a tingle.

Parents should know that this film has extended super-hero action-style violence, not very graphic but with some disturbing images of mutation and peril, and four sad deaths of parents or parent figures.

Family discussion: How does this compare to the Tobey Maguire Spider-Man series? Why didn’t Peter try to stop the robbery when he first got his spider-powers? What made Connors and Chief Stacy change their minds about Spider-Man?

If you like this, try: the first and second of the Tobey Maguire “Spider-Man” films and the Essential Amazing Spider-Man by Stan Lee, Steve Ditko, and Jack Kirby