Rated R for strong brutal violence throughout, grisly images, some graphic sexual content, nudity and pervasive language, 95 minutes
"Drive Angry 3D" energetic but trashy entertainment
I can sum up the new Nicolas Cage action film "Drive Angry 3D" quicker than you can run a stop sign: 1) it's far, far better than his most recent film "Season of the Witch", 2) it's certainly not dull, and 3) the plot is essentially "Ghost Rider" in a car instead of a motorcycle. Of course, none of this means the film is actually any good, but as my friend Edith said following a recent screening, "you won't fall asleep." A spectacular but enjoyable piece of crap designed to instill a cult following, please Cage's fans and make the rest of us cringe, it should cruise along to a hearty afterlife at the box-office.
Milton (Nicolas Cage) has broken out of Hell and along with a tough-as-nails waitress (Amber Heard) is out to prevent an evil cult leader (Billy Burke) that murdered his daughter from sacrificing his infant granddaughter. However, he is being pursued by 'The Accountant' (William Fichtner), a supernatural operative of Satan who has been sent to bring Milton back to Hell.
"Drive Angry 3D" is cheesy, low-grade guilty pleasure entertainment that's exceedingly and gratuitously violent and misogynistic but far more energetic than you might think. Directed and filmed in 3D by Patrick Lussier, the guy who did the 3D reboot of "My Bloody Valentine" a couple of years ago, this forgettable film is only worth seeing for a couple of reasons: character actor Fichtner, who almost walks away with the film, and those smokin' hot muscle cars that literally power the film: a 1969 Dodge Charger, a 1971 Chevrolet Chevelle, and a 1964 Buick Riviera.
It's hard to believe that Cage is the same guy who won an Oscar for "Leaving Las Vegas" and appeared in such films as "Moonstruck" and "Adaptation." After his Oscar win, he has seemingly made a deal with the devil to receive huge paychecks for dreck like this that somehow passes for entertainment these days in Hollywood. For what it's worth, the 3D is above-average this time and there is an extended car chase that will rank as one of the year's most memorable. Cage gives another terse performance that has him speaking softly and carrying a big gun, he's Buford T. Justice from hell.
"Drive Angry 3D" will do big business the first week and will drop off once audiences realize the film is just a big gimmick to get people to speed into the theater to see another awful 3D film. As bad as it is, it entertains in its own trashy, low-brow way, with big guns, big cars and big explosions. With a shelf life of a few weeks at most, it's as disposable as those 3D glasses you pay extra for. See it if you must, but you've been warned.
Wes's Grade: C
Tuesday, February 22, 2011
Hall Pass - C
Rated R for crude and sexual humor throughout, language, some graphic nudity and drug use, 98 minutes
More of the same Farrelly schtick in "Hall Pass"
Poor Owen Wilson, he can't seem to catch a good break as of late as his last two films have been met with wildly mixed results. "The Little Fockers" was a box-office hit trashed by critics (including this one), and the romantic comedy "How Do You Know" was an outright flop in every way.
Now Wilson headlines the new Farrelly Brothers crowd-pleasing comedy "Hall Pass," that examines what it'd be like to have one week "off" from marriage to do anything you please i.e. a hall pass. With a paper-thin premise, outrageous gags that come across as desperate and funnier cast members than Wilson, "Hall Pass" unfortunately doesn't quite cut it, but the film will probably still make money.
A married man (Wilson) is granted the opportuniy for a one-week "hall pass" by his wife (Jenna Fischer) to do anything he wants, in hopes of improving their sagging marriage. Joined in the fun by his best pal (Jason Sudeikis) and his wife (Christina Applegate), things get a little out of control when both wives start having a little fun of their own as well.
"Hall Pass" is a forgettably raunchy, mildly enjoyable comedy with some low-brow gags that will likely make it at least a modest hit. "Hall Pass" directors and writer-brothers Peter and Bobby Farrelly are the M. Night Shyamalan of movie comedies; they've been working hard to re-create the magic of a couple hits they had back in the '90s (yes, it's been that long) with "Dumb and Dumber" and "Something About Mary," much like Shyamalan has been attempting to do from "The Sixth Sense." Note to the filmmakers: it's no longer the '90s and times have certainly changed, we do not have be shocked into laughs.
There are a few reasons that "Hall Pass" doesn't work as well as it should. For one, those "shocking" Farrelly moments from earlier outings now seem desperate, with a pair of penises, some vomit and a dump their attempts to be amusing (they're not, and in the case of the vomit scene, just plain digusting). On top of that, Wilson isn't used to good effect here (i.e. he isn't as funny), and as the "other couple," "Saturday Night Live's" Sudeikis and "Samantha Who's" Applegate upstage the bland Wilson and an even blander Fischer with better lines and in Sudeikis' case, better physical comedy.
Lastly, the film's premise, widely known by now, is ultra-thin, with everything else, including a woefully contrived climax, remarkably tame filler given what actually happens. Sure, there are a few sporadic reflex laughs, which could describe the film itself: mildly funny but overall a tame effort. Don't feel too sorry for the likable Wilson, he's still paid for these things, as are the Farrelly's (I can only imagine how their upcoming Three Stooges film will turn out), and hopefully Wilson will be seen or heard to better effect later this year in Woody Allen's new rom com and in Pixar's animated "Cars 2."
"Hall Pass" isn't a great date movie, likely appealing only to young males who enjoy this type of thing. Go if you must, but you may regret it later (especially if you're on a date), this is more of a rental.
Wes's Grade: C
More of the same Farrelly schtick in "Hall Pass"
Poor Owen Wilson, he can't seem to catch a good break as of late as his last two films have been met with wildly mixed results. "The Little Fockers" was a box-office hit trashed by critics (including this one), and the romantic comedy "How Do You Know" was an outright flop in every way.
Now Wilson headlines the new Farrelly Brothers crowd-pleasing comedy "Hall Pass," that examines what it'd be like to have one week "off" from marriage to do anything you please i.e. a hall pass. With a paper-thin premise, outrageous gags that come across as desperate and funnier cast members than Wilson, "Hall Pass" unfortunately doesn't quite cut it, but the film will probably still make money.
A married man (Wilson) is granted the opportuniy for a one-week "hall pass" by his wife (Jenna Fischer) to do anything he wants, in hopes of improving their sagging marriage. Joined in the fun by his best pal (Jason Sudeikis) and his wife (Christina Applegate), things get a little out of control when both wives start having a little fun of their own as well.
"Hall Pass" is a forgettably raunchy, mildly enjoyable comedy with some low-brow gags that will likely make it at least a modest hit. "Hall Pass" directors and writer-brothers Peter and Bobby Farrelly are the M. Night Shyamalan of movie comedies; they've been working hard to re-create the magic of a couple hits they had back in the '90s (yes, it's been that long) with "Dumb and Dumber" and "Something About Mary," much like Shyamalan has been attempting to do from "The Sixth Sense." Note to the filmmakers: it's no longer the '90s and times have certainly changed, we do not have be shocked into laughs.
There are a few reasons that "Hall Pass" doesn't work as well as it should. For one, those "shocking" Farrelly moments from earlier outings now seem desperate, with a pair of penises, some vomit and a dump their attempts to be amusing (they're not, and in the case of the vomit scene, just plain digusting). On top of that, Wilson isn't used to good effect here (i.e. he isn't as funny), and as the "other couple," "Saturday Night Live's" Sudeikis and "Samantha Who's" Applegate upstage the bland Wilson and an even blander Fischer with better lines and in Sudeikis' case, better physical comedy.
Lastly, the film's premise, widely known by now, is ultra-thin, with everything else, including a woefully contrived climax, remarkably tame filler given what actually happens. Sure, there are a few sporadic reflex laughs, which could describe the film itself: mildly funny but overall a tame effort. Don't feel too sorry for the likable Wilson, he's still paid for these things, as are the Farrelly's (I can only imagine how their upcoming Three Stooges film will turn out), and hopefully Wilson will be seen or heard to better effect later this year in Woody Allen's new rom com and in Pixar's animated "Cars 2."
"Hall Pass" isn't a great date movie, likely appealing only to young males who enjoy this type of thing. Go if you must, but you may regret it later (especially if you're on a date), this is more of a rental.
Wes's Grade: C
Wednesday, February 16, 2011
Big Mommas: Like Father, Like Son - F
Rated PG-13 for some sexual humor and brief violence, 107 minutes
“Big Mommas” a big stinker
Truthfully, should this come as any surprise, given that the first two “Big Momma” films weren’t exactly classics? What was initially very mildly amusing and a fun urban take on the 1959 classic “Some Like It Hot,” the very very broad comedies have grown worse and more annoying, but that could be due to the acquired taste of Martin Lawrence, a comedian known to grate the nerves.
This third installment continues his shenanigans as Big Momma, except this time he has along a son, “Tropic Thunder’s” Brandon Jackson. With utterly predictable, even offensive material and acting from both the leads that largely consists of running and mugging for the camera in women’s clothes and makeup, this “Big Momma” is easily one of the worst films of the year and one of the worst of Lawrence’s career, which says something.
Malcolm (Lawrence) and stepson Trent (Jackson) go undercover to escape some bad guys at a girls prep school (what else?). Malcolm is Big Momma, Trent his great niece, Charmaine. The same hijinks ensue and Big Momma is pursued by an equally big janitor (Faizon Love) while Trent tries to romance one of the young girls in the school.
“Big Mommas” is simply terrible: cheap, formulaic, offensive laughs that aren’t that funny to begin with. If you’ve seen the other “Big Momma” films (and let’s hope you haven’t) then you’ve essentially seen this one too. Lawrence is finding himself in the same position as another comedian, Eddie Murphy, who was funny back in the day but whose schtick has grown extremely tiresome over the years.
“Big Mommas” takes down another young comedian in Jackson, a moderately funny actor and comedian who may not want to include this on his film resume. It’s also unfortunate that the film makes so much fun of a naturally large person in Love, who must need the acting work to take dreck like this.
There’s nothing worthy about “Big Mommas” so I’d say that it’s really time to put Big Momma to rest for good.
Wes's Grade: F
“Big Mommas” a big stinker
Truthfully, should this come as any surprise, given that the first two “Big Momma” films weren’t exactly classics? What was initially very mildly amusing and a fun urban take on the 1959 classic “Some Like It Hot,” the very very broad comedies have grown worse and more annoying, but that could be due to the acquired taste of Martin Lawrence, a comedian known to grate the nerves.
This third installment continues his shenanigans as Big Momma, except this time he has along a son, “Tropic Thunder’s” Brandon Jackson. With utterly predictable, even offensive material and acting from both the leads that largely consists of running and mugging for the camera in women’s clothes and makeup, this “Big Momma” is easily one of the worst films of the year and one of the worst of Lawrence’s career, which says something.
Malcolm (Lawrence) and stepson Trent (Jackson) go undercover to escape some bad guys at a girls prep school (what else?). Malcolm is Big Momma, Trent his great niece, Charmaine. The same hijinks ensue and Big Momma is pursued by an equally big janitor (Faizon Love) while Trent tries to romance one of the young girls in the school.
“Big Mommas” is simply terrible: cheap, formulaic, offensive laughs that aren’t that funny to begin with. If you’ve seen the other “Big Momma” films (and let’s hope you haven’t) then you’ve essentially seen this one too. Lawrence is finding himself in the same position as another comedian, Eddie Murphy, who was funny back in the day but whose schtick has grown extremely tiresome over the years.
“Big Mommas” takes down another young comedian in Jackson, a moderately funny actor and comedian who may not want to include this on his film resume. It’s also unfortunate that the film makes so much fun of a naturally large person in Love, who must need the acting work to take dreck like this.
There’s nothing worthy about “Big Mommas” so I’d say that it’s really time to put Big Momma to rest for good.
Wes's Grade: F
Cedar Rapids - B
Rated R for crude and sexual content, language and drug use, 86 minutes
“Cedar Rapids” is low-key but sincere fun
The new comedy “Cedar Rapids” may seem billed as a cross between TV’s “The Office” and “The Hangover,” but it strikes its own chords of unassuming hilarity. Good-natured, but unpredictable, its fish-out-of-water story is overly familiar but still well-acted by all the principals, including “The Office’s” Helms and scene-stealer John C. Reilly.
To call insurance agent Tim Lippe (Ed Helms) "naive" is a gross understatement. He's never left his small Wisconsin hometown. He's never flown in an airplane or stayed at a hotel. And he's never experienced anything like Cedar Rapids, Iowa. Sent to the "major metropolis" to represent his company at an annual insurance convention, Tim is soon distracted by three convention veterans (John C. Reilly, Anne Heche and Isiah Whitlock Jr.) who will show him how it works but also push a few of his buttons. For a guy who plays everything by the book, this convention will be anything but conventional.
“Cedar Rapids” is a sweet, low-key and offbeat comedy with its heart in the right place. It’s easy to make comparisons with “The Office” with Helms leading the cast, and while some of it has to do with corporate relationships, it’s more about finding yourself outside of the corporate structure. It’s directed by Miguel Arteta, the guy who directed equally offbeat comedies in “Chuck and Buck” and “The Good Girl” and the colorful characters seem to fit Arteta well.
Helms grounds the ensemble comedy film very capably and shows his comic skills and his character undergoes the most changes of the four leads. Reilly comes in and nearly steals the show as the film’s most loathsome but funny character as a slimeball insurance sales that he’s seemingly born to play. Helms, Reilly, Heche and character actor Whitlock (seen most notably in HBO’s “The Wire”) all work well together with a warm chemistry.
The touching film’s observations on middle America may resonate with some, though others may feel the story is too familiar and obvious. Whatever the case, you’ll come away with a smile on your face.
Wes's Grade: B
“Cedar Rapids” is low-key but sincere fun
The new comedy “Cedar Rapids” may seem billed as a cross between TV’s “The Office” and “The Hangover,” but it strikes its own chords of unassuming hilarity. Good-natured, but unpredictable, its fish-out-of-water story is overly familiar but still well-acted by all the principals, including “The Office’s” Helms and scene-stealer John C. Reilly.
To call insurance agent Tim Lippe (Ed Helms) "naive" is a gross understatement. He's never left his small Wisconsin hometown. He's never flown in an airplane or stayed at a hotel. And he's never experienced anything like Cedar Rapids, Iowa. Sent to the "major metropolis" to represent his company at an annual insurance convention, Tim is soon distracted by three convention veterans (John C. Reilly, Anne Heche and Isiah Whitlock Jr.) who will show him how it works but also push a few of his buttons. For a guy who plays everything by the book, this convention will be anything but conventional.
“Cedar Rapids” is a sweet, low-key and offbeat comedy with its heart in the right place. It’s easy to make comparisons with “The Office” with Helms leading the cast, and while some of it has to do with corporate relationships, it’s more about finding yourself outside of the corporate structure. It’s directed by Miguel Arteta, the guy who directed equally offbeat comedies in “Chuck and Buck” and “The Good Girl” and the colorful characters seem to fit Arteta well.
Helms grounds the ensemble comedy film very capably and shows his comic skills and his character undergoes the most changes of the four leads. Reilly comes in and nearly steals the show as the film’s most loathsome but funny character as a slimeball insurance sales that he’s seemingly born to play. Helms, Reilly, Heche and character actor Whitlock (seen most notably in HBO’s “The Wire”) all work well together with a warm chemistry.
The touching film’s observations on middle America may resonate with some, though others may feel the story is too familiar and obvious. Whatever the case, you’ll come away with a smile on your face.
Wes's Grade: B
I Am Number Four - B-
Rated PG-13 for intense sequences of violence and action, and for language, 105 minutes
Energetic, fun "I Am Number Four" holds few surprises
"I Am Number Four" could essentially be an alien version of "Twilight," after all it's based on a best-selling young adult novel, stars a handsome young British actor and even features a crusty old pickup. "Four" may not have the draw of the teenage werewolf-vampire series, but it's far more energetic and fun to be a part of. Some of it is predictable, cookie-cutter sci-fi fare and it gets rather noisy in the last act, but it's enjoyable escapist fare, something that can't be said for the rather colorless "Twilight" films.
Extraordinary teen John Smith (Alex Pettyfer) is a fugitive on the run from ruthless enemies called Mogadorians sent to destroy him. Changing his identity, moving from town to town with his guardian/father-figure Henri (Timothy Olyphant), John is always the new kid with no ties to his past. In the small Ohio town he now calls home, John encounters unexpected, life-changing events-his first love (Dianna Agron), powerful new abilities and a connection to the others who share his incredible destiny.
"I Am Number Four" is a colorful, modestly entertaining sci-fi film that's mostly geared for the young set. The film is a pleasant sleeper given that the film hasn't been marketed well by the Disney machine (released under its Touchstone label), a troubling sign for a film that could have limited appeal outside of sci-fi fans or fans of the James Frey-Jobie Hughes best-selling novel of the same name. Fans of the book will notice a handful of changes but otherwise this is mostly a faithful adaptation of the novel.
D.J. Caruso, director of the hit action film "Eagle Eye," is a serviceable director though a stronger director with experience in this type of genre, say Chris Columbus, would've done a better job in bringing the novel to life. Caruso can't escape the more predictable elements (teenage love story/angst, ugh) or a downright noisy but fast-paced climax that seems out of place with the rest of the film. Pettyfer, an English model and actor, is a capable lead, and he's well-paired with pretty but bland "Glee" actress Agron. Australian actress Teresa Palmer makes more of an impression as a fellow alien who literally flies in to help save the day.
More so than the "Twilight" films, "I Am Number Four" is modest, escapist fun and while it may lack a lot of big surprises with limited appeal outside the comic-con set, it's worth seeing, along with a decent soundstrack, a few nifty special effects (note: watch for the beagle) and those who enjoy seeing a grayish Timothy Olyphant, star of one of my favorite new shows, "Justified," in small role.
Wes's Grade: B-
Energetic, fun "I Am Number Four" holds few surprises
"I Am Number Four" could essentially be an alien version of "Twilight," after all it's based on a best-selling young adult novel, stars a handsome young British actor and even features a crusty old pickup. "Four" may not have the draw of the teenage werewolf-vampire series, but it's far more energetic and fun to be a part of. Some of it is predictable, cookie-cutter sci-fi fare and it gets rather noisy in the last act, but it's enjoyable escapist fare, something that can't be said for the rather colorless "Twilight" films.
Extraordinary teen John Smith (Alex Pettyfer) is a fugitive on the run from ruthless enemies called Mogadorians sent to destroy him. Changing his identity, moving from town to town with his guardian/father-figure Henri (Timothy Olyphant), John is always the new kid with no ties to his past. In the small Ohio town he now calls home, John encounters unexpected, life-changing events-his first love (Dianna Agron), powerful new abilities and a connection to the others who share his incredible destiny.
"I Am Number Four" is a colorful, modestly entertaining sci-fi film that's mostly geared for the young set. The film is a pleasant sleeper given that the film hasn't been marketed well by the Disney machine (released under its Touchstone label), a troubling sign for a film that could have limited appeal outside of sci-fi fans or fans of the James Frey-Jobie Hughes best-selling novel of the same name. Fans of the book will notice a handful of changes but otherwise this is mostly a faithful adaptation of the novel.
D.J. Caruso, director of the hit action film "Eagle Eye," is a serviceable director though a stronger director with experience in this type of genre, say Chris Columbus, would've done a better job in bringing the novel to life. Caruso can't escape the more predictable elements (teenage love story/angst, ugh) or a downright noisy but fast-paced climax that seems out of place with the rest of the film. Pettyfer, an English model and actor, is a capable lead, and he's well-paired with pretty but bland "Glee" actress Agron. Australian actress Teresa Palmer makes more of an impression as a fellow alien who literally flies in to help save the day.
More so than the "Twilight" films, "I Am Number Four" is modest, escapist fun and while it may lack a lot of big surprises with limited appeal outside the comic-con set, it's worth seeing, along with a decent soundstrack, a few nifty special effects (note: watch for the beagle) and those who enjoy seeing a grayish Timothy Olyphant, star of one of my favorite new shows, "Justified," in small role.
Wes's Grade: B-
Brotherhood - B
R for pervasive language, some violence and sexual content, 81 minutes
“Brotherhood” an intense, absorbing indie thriller
If you’ve ever wondered what fraternity life is like, the gripping new independent thriller “Brotherhood” sheds some light on that. A fictional, Texas-based and Texas-filmed drama, it concerns what happens when a fraternity initiation goes horribly wrong, and you must choose between bad or completely awful consequences.
College freshman Adam Buckley (Trevor Morgan) finds himself in the back of a van dealing with the fact that he has to rob a convenience store as the final step of his initiation into the Sigma Zeta Chi fraternity. Minutes later, he discovers that a fellow-pledge, Kevin Fahey (Lou Taylor Pucci), just got shot while doing it.
Frank (Jon Foster), the senior fraternity brother in charge, gets Kevin out of the store alive, but the fraternity's troubles are just beginning. Thinking they can get out of the situation without taking Kevin to a hospital and alerting the authorities, Frank decides the fraternity will handle things themselves. But when every move is met with disastrous consequences, Adam soon realizes that in order to save his friend's life he must find it within himself to go against Frank and his new brothers.
“Brotherhood” is an absorbing, efficiently made and tense low-budget thriller directed and written by first-time director Will Canon, a native Dallas-site in his debut feature-film. It’s an auspicious debut for Canon, though the film, which has been making the festival circuit for a year now (I saw the film last year at the Dallas International Film Festival), is actually an expanded remake of his 2001 short film “Roslyn.”
Canon quickly establishes the forces of good (Adam) and evil (Frank) in the story, and the fraternity house becomes a battleground to see which man will be standing at the end. The messages and themes (good v. evil, do what is right regardless of the consequences, et al) are a tad redundant and reinforced throughout the film, and the message itself has been around since the days of “12 Angry Men.”
Even with that, we also know that the tension provides some decent entertainment, and “Brotherhood” is an above-average, well-made debut film. Some of it could’ve been better developed, but it’s still an entertaining film that’s worth a look.
Unknown - B-
Rated PG-13 for some intense sequences of violence and action, and brief sexual content, 113 minutes
Far-fetched but entertaining Neeson thriller “Unknown”
Two years ago character actor Liam Neeson proved himself to be a capable action hero in the thriller “Taken,” and he again sufficiently proves himself in the new action film “Unknown.” Entertaining, fast-paced but a little silly, particularly in its last act, “Unknown” is engaging enough to hold its audience in spite of a few plot holes.
Dr. Martin Harris (Liam Neeson) awakens after a car accident in Berlin to discover that his wife (January Jones) suddenly doesn't recognize him and another man (Aidan Quinn) has assumed his identity. Ignored by disbelieving authorities and hunted by mysterious assassins, he finds himself alone, exasperated, and always on the run. With help from an unlikely ally (Diane Kruger), Martin plunges headlong into a deadly mystery that will force him to discover who he really is.
“Unknown” is a captivatingly swift late-winter action-thriller entry that’s part action-adventure, part-spy thriller, though I won’t reveal any key plot details. There a few inconsistencies that you’re sure to pick up on throughout the film, until the last act when it goes a little overboard on twists and turns. “Unknown” is an interesting film: an American production filmed in Germany that’s based on a French novel “Out of My Head.”
A tad preposterous, “Unknown” is standard action-thriller that will likely sweep you off your feet due in large part of the likability of Neeson, who carries the film in nearly every scene. He’s also well-paired with the tough Kruger, best-known for being a side-kick to another well-known actor, Nicolas Cage, in the even sillier “National Treasure” films.
“Mad Men’s” voluptuous beauty January Jones is also well-cast as Harris’ mysterious wife; Quinn is a bit of a waste as the bad guy, who’s given little screen time, while Langella makes the most of a very brief role. Even more memorable is Swiss character actor Bruno Ganz (“The Reader”) in a strong supporting role as a wizened former police officer who helps Neeson’s character.
There are a few entertaining action scenes in the streets of Berlin, particularly a couple of decent car chases and it speeds to a somewhat predictable but explosive climax. It may or may not make sense to you in the end, and what is unknown may still be unknown, but what is for sure is that Neeson is an able action-adventure hero.
Wes's Grade: B-
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