Despicable Me

Posted on December 13, 2010 at 8:00 am

A-
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for rude humor and mild action
Profanity: Some crude schoolyard language
Alcohol/ Drugs: None
Violence/ Scariness: Cartoon violence including explosions, shark, crashes, peril, but no one hurt
Diversity Issues: None
Date Released to Theaters: July 9, 2010
Date Released to DVD: December 14, 2010
Amazon.com ASIN: B0042U94UQ

We usually just take it for granted that the villain wants to rule the world without worrying too much about why. But one of the many charms of this utterly delightful film is that we get a glimpse that is both funny and satisfying of what it is that makes not one but two super-villains so intent on being despicable.

We even get a flashback of our anti-hero, Gru (voice of Steve Carell with a Boris Badenov accent) as a child, confiding his dreams of being an astronaut to his mother (voice of Julie Andrews as Natasha!). She crushes his hopes with a cruel insult. So decades later, he is still trying to earn her respect, now as a super-thief. No matter how audacious his capers, however, she is still unimpressed. He has stolen the Jumbotron from Times Square and the Eiffel Tower and Statue of Liberty (okay, those last two are the replicas from Vegas). But he still needs to make that one heist that will show her he can earn her respect. He could not be an astronaut and fly to the moon. So, maybe he could steal it.

And then there’s the anti-anti-hero, who has just adopted the villain name Vector. He may have a nifty name and even niftier equipment, his lair guarded by everything from heat-seeking missiles to buzz saws and a shark, and he may have just pulled off the theft of one of the Seven Wonders of the World, but it turns out he has some trouble pleasing his parent, too.

So it’s a race between Gru and Vector to see who can steal the moon, which first involves stealing the shrink ray they need to make it small enough to carry home. And, adorably, this requires the involvement of dozens of little yellow “minions” who look like oompa-loompas made out of marshmallow peeps and three little orphan girls who live with a Miss Hannigan-style harridan as they hope someone will give them a real home. Maybe made of gummi bears.

The resilience of the three girls (the oldest voiced by Miranda Cosgrove of “iCarly” and “School of Rock”) is a sublime counterpart to the unhappiness and insecurity of Gru and his arch-rival Vector (voice of Jason Segal), showing us that even the rottenest of circumstances does not have to make you overly vulnerable or mean. When Gru brings them home as a way of getting into Vector’s compound (his security system features missiles and a shark but he can’t resist the girls’ cookies), he is so clueless he puts out candy in a dog bowl and newspapers on the floor. But as we have glimpsed in his interaction with the minions (I loved the matter-of-fact way he knows all the names of the almost-identical horde), he is susceptible to being liked and trusted. And he slowly begins to learn that it wasn’t that he didn’t want to care; he was scared to.

Brilliant production design contrasts Gru’s goth with a touch of steampunk lair in the middle of a street of identical homes with Vector’s sleek, Apple-eseque, creamsicle-colored high-tech headquarters. The expert pacing keeps things fresh, funny, and exciting. And a twist on the usual race-to-the-big-event-to-show-your-new-found-values reminds us all that the great thing about families is you can always have a second chance.

It looks like 2010 will go down in history as the year 3D animation kicked the stuffing out of all the live-action releases. Pixar opened the door and it is a thrill to see studios like Illumination showing what they have to bring to audiences ready to accept animation as art and as heart-warming family entertainment.

And here’s a special glimpse of one of the extras on the new DVD release:

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3D Animation Comedy Crime DVD/Blu-Ray Pick of the Week For the Whole Family
Jonah Hex

Jonah Hex

Posted on October 12, 2010 at 8:00 am

Josh Brolin plays Jonah Hex, a man transformed by loss in a fantasy western set just after the Civil War, based on the series of comics and graphic novels. The war is over in the United States, but it continues to haunt Hex, who rides the West as a gun for hire still wearing his Confederate Uniform.

jonah-hex-poster.jpg

Hex has no friends, at least not any who are alive. He has one enemy, Quentin Turnbull (John Malkovich), who made Hex watch as he ordered his men to make Hex suffer as he had, to watch as he loses everything he loves and has to live on, scarred inside and out. After Turnbull burns down Hex’s home with his wife and child inside, he orders his men to apply a fiery brand to Hex’s face, burning through the skin to the jawbone. “Every day that mark will remind you of the man who took everything you had.”

But that physically and psychologically searing experience gave Hex something, too. “It left me with the curse of talking to the other side,” he tells us. And so he rides, feeling nothing but vengeance, a gunman for hire, haunted by the dead and answerable to no one but himself.

Turnbull steals the most powerful weapon ever made, a sort of pre-industrial age H-bomb, And President Grant (Aidan Quinn) orders Lieutenant Grass (Will Arnett) to get Hex to find Turnbull and stop his plan to bring down the United States government as it reaches its 100th birthday.

It has a trim just-over-80 minutes running time, so I’m guessing there will be a future DVD release with a lot of deleted scenes. But the lean story-telling works well for its taciturn characters and spare settings, beautifully presented by cinematographer Mitchell Amundsen, and well scored by Marco Beltrami and John Powell with assistance from Mastodon. The blend of history and fantasy, both tweaking and saluting the conventions of both genres, works better than the clumsy references to current concerns like terrorism and tea party anti-government sentiment. Brolin is as at home in the role as he is in the saddle. As (of course) a prostitute with a mean right hook and, at least for Hex, a heart of gold, Megan Fox has to learn that a husky voice and a smoldering look are not enough to create a character. On the other hand, in that wasp-waisted corset (reportedly a Scarlett O’Hara-size 18 inches in diameter) she should get an award for staying upright.

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Action/Adventure Based on a book Comic book/Comic Strip/Graphic Novel Crime Fantasy Western
Kick-Ass

Kick-Ass

Posted on August 3, 2010 at 8:00 am

“Kick-Ass” revels in its transgressive, nasty brutishness, and its audience will, too.
Of course, it’s one thing to have a 11-year-old girl in a comic book use very strong language and kill lots of people and it is another thing in a live-action movie, when the character is played by an actual 12-year-old. So let me say up front that I object to the rules allowing a child actor to perform this kind of role. If there are words an adult could be arrested for saying to a child, a child should not be permitted to say them on screen. Director Matthew Vaughn says that it is hypocritical for people to complain about the language used by a young girl, but not the violence. Well, first, I am complaining about the violence; I do not think children should be permitted to film graphic violent scenes whether they are the perpetrator or the victim (this movie has both). And second, the violence is fake but the language is real, so it is fair to take that seriously. So, for the record, to the extent I endorse this film, I want to be clear that I object to the involvement of a then-12-year-old in making it. kick-ass-hit-girl-uk-poster.jpg
The problem is that it is getting harder and harder to find anything that is shocking or disturbing and having a child use bad language — in this case some crude sexual terms that are arguably misogynistic — and shoot bad guys in the face is one of the few remaining ways to provoke that delicious boundary-defying sensation. And — reservations aside — it works. Seeing Hit Girl, well, kick ass to the kicked-up-a-notch cartoon theme from the “Banana Splits” and then to Joan Jett’s “Bad Reputation” is a tonic. And there is something undeniably heady about seeing a vulnerable young girl mow down the bad guys — like “Home Alone” on crack.
“Kick-Ass” is a knowing tweak on the comic book genre. Dave Lizewski (Aaron Johnson) is a comics-loving high school student who dreams of being a superhero, but, as he says, “My only super-power was being invisible to girls.” Undaunted, he orders a diving suit, turns it into a uniform, and re-creates himself as Kick-Ass, defender of justice. And then he gets beat up, stabbed, and sent to the hospital. No radioactive spider-bites or gamma rays, but he does come out of the hospital with two helpful results from his injuries — nerve damage that lessens his ability to feel pain and some metal plates in his bones that make his x-ray look — at least to him — like Wolverine’s.
Meanwhile, a former cop (Nicolas Cage) is raising his young daughter to be a killing machine, a pint-sized Kill Bill he calls Hit Girl (Chloë Grace Moretz). His superhero persona is Big Daddy and his uniform is reminiscent of both Batman and Night Hawk. What they don’t have in superpowers they have in training, equipment, very, very heavy artillery, and single-minded focus.
Director Matthew Vaughn (Stardust, “Layer Cake”) has a great eye and knows how to stage stylish, striking action scenes. Moretz (500 Days of Summer and Diary of a Wimpy Kid) has a great deadpan delivery and a natural chemistry with Cage, whose witty, skewed take is slyly funny.
The superhero genre has always been about transformation — the mild-mannered loser who contains within him (if only everyone knew!) a secret source of power. Here, the power is not x-ray vision or the ability to fly; just an extra dose of the hallmarks of adolescence: an affect of ennui about everything but smashing through limits and a sense of irony about everything but sex.

(more…)

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Action/Adventure Comic book/Comic Strip/Graphic Novel Crime Fantasy

The Bounty Hunter

Posted on July 13, 2010 at 8:00 am

Jennifer Aniston is a beautiful and talented woman, but this film had me thinking some very mean thoughts about her, thoughts like, “She is too old for this kind of movie” and “Probably not a good idea to make a movie that seems like a lesser version of Mr. and Mrs. Smith, best known for documenting her real-life husband falling in love with his co-star.”

If you’ve seen the trailer, you’ve seen this movie: battling exes squabble as he (Milo the bounty hunter played by Gerard Butler) tries to take her (Nic the journalist played by Aniston) to jail while she tries to persuade him that she’s working on an important and very dangerous story. Will they get shot at? Will there be chases? Will there be a romantic interlude interrupted by a mis-communication? You don’t even have to see the trailer to have seen this movie. You already know everything that’s going to happen.

Aniston is too old for this movie. Butler looks pudgy-faced and uncomfortable. Despite rumors of an off-screen romance, there are no sparks between them and we never get any sense of what brought them together or any relationship between what we are told about their issues and any aspect of their behavior toward each other or anyone else. This is one of those films where if anyone behaved in a rational manner, the whole thing would have been over in 20 minutes.

It does have a good chase scene at the beginning and a couple of briefly interesting goons (Milo owes some gambling debts). But it lets us down repeatedly by wasting the time and talents of the fabulous Christine Baranski (as Nic’s glamorous mother), SNL’s Jason Sudeikis as Nic’s co-worker, and Carol Kane (with a new set of teeth) and Adam LeFevre as bed-and-breakfast owners. It is supposed to be heartwarming and humorous that Nic’s mother has some boundary issues when it comes to Nic’s romantic life. It’s just icky. It’s supposed to be funny that her co-worker keeps trying to persuade her to get romantic with him. It’s just icky — until he is mistaken for Milo and gets beat up by the goons, when it becomes not just icky but ooky. It’s even supposed to be funny that Nic tases Milo. Nope. This falls into that category of movie that exists to be perpetually playing on airplanes — because when the pilot interrupts to tell you to look out the window you won’t miss anything.

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Action/Adventure Comedy Crime Romance

Brooklyn’s Finest

Posted on July 6, 2010 at 8:00 am

This bloated, pretentious mess is the slowest action movie I can remember, weighted down with over-used characters, situations, and dialog. The dialog is over-used within the movie itself. It isn’t enough for a character to say, “I want my life back!” He has to repeat for emphasis, “I want my life back!” only to evoke the response, “You want your life back!” “Brooklyn’s Finest” is movie-dom’s mediocre.

Make a list of every police movie cliche and you will find them all here. The disillusioned uniformed officer a week from retirement. The dedicated cop who has been undercover for so long his loyalties are getting blurred. The detective whose money pressures overwhelm his integrity. The cop who falls for a hooker. The rookie who find that real life is more complicated — and dangerous — than the academy. The kid who gets shot and turns out to be an honor student. The charismatic drug dealer. The higher-ups who engage in cover-ups. The ambitious and ruthless politician. The even-more ambitious and ruthless crime boss. And not one single moment with any freshness or sincerity or interest.

Director Antoine Fuqua returns to the genre of his greatest success, “Training Day,” after a series of disappointing follow-ups like “King Arthur” and “Shooter.” But without Denzel Washington’s galvanizing performance in a larger-than-life role, the material feels at the same time thin and heavy-handed. It isn’t enough that the cop’s wife is pregnant. She has to be pregnant with twins and getting sick from the mold in their old, over-crowded house. Another cop has to literally wash literal blood off his hands. The cops and the bad guys both communicate primarily by grunts, insults, profanity, and meaningful stares. “There’s no such thing as right or wrong,” says a character at the beginning of the film, “Only righter and wronger.” Well, if there’s such a thing as gooder and badder, this movie falls into the second category.

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Crime Drama
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