Rated R for frenetic strong bloody violence throughout, crude and graphic sexual content, nudity and pervasive language. 96 minutes
The dizzyingly jumpy, very messy "Crank: High Voltage" will leave you cranky
It's easy to see why Jason Statham is a movie star. His chiseled looks and skillful martial-arts moves are desirable, but it's altogether a mystery why Statham would choose to star in crappy movies like "Crank" and "Transporter." Statham's nice martial-arts skills are the only redeemable thing about the excessively crude, violent, racist and offensive "Crank: High Voltage," a highly unnecessary sequel to the modestly successful 2006 film "Crank," about a dude injected with a poison and must keep his heart rate up or die.
In "Crank: High Voltage," a Chinese mobster has stolen professional assassin Chev Chelios' (Statham) heart and replaced with an artificial battery-powered one that must be jolted from time to time for Chelios to live. He hunts down the mobster who took his heart, meets up with his old girlfriend Eve (Amy Smart), all the while talking to his doctor (Dwight Yoakum) on the phone to get tips on how to live through all of this.
There's not much to go on with this "Crank," I didn't care for the first one and hated this one even more. It's directed and written by the team that did the first movie, Mark Neveldine and Brian Taylor. "High Voltage" is filled with every racist stereotype imaginable, to the point that they must add subtitles whenever the chatty Asian woman speaks. And "High Voltage" must be filled with more dizzingly jumpy edits than I've ever seen in a film, to the point that it renders the film incoherent.
In this manner, "High Voltage" could've been entertaining in a sloppy, over-the-top way, but there are so many edits it may leave you crankier than Statham is in the film, who never smiles and cracks some heads open (literally) in nearly every scene. It also wastes a decent comic actress in Smart ("Just Friends"), who spends most of the time running around topless with pasties covering the essential elements.
I enjoy Statham's martial-arts - the dude has some skills and can truly kick some butt - but he needs to find a better movie and far better material than this. The whole excessive jumpiness of "High Voltage" may be justified in line with the film's premise, but it left me not only dizzy but in a cranky mood and in great need of some Aleve to ease my pounding headache. In no way can I recommend this, so go at your own risk (and expense), and know that it's clearly not worth it.
Monday, April 13, 2009
17 Again - C+
Rated PG-13 for language, some sexual material and teen partying, 102 minutes
Zac Efron is "17 Again", but Ned has all the fun in trite, derivative comedy
Zac Efron may well be one of the biggest stars on the planet, but his new comedy "17 Again," a comedy about revisiting the glory of the teenage years, doesn't shine brightly. "17 Again" is nothing new - altogether unoriginal, trite and poorly written to be honest - and the movie is stolen right under his nose by a couple of his funnier supporting co-stars. The dashing, stylish Efron seems unaffected by the fact he's upstaged, after all he's the main draw here, and draw them in (truckloads of tweens) he definitely will.
Talented teen athlete Mike O'Donnell (Efron) gives up a basketball career in 1989 to marry his pregnant girlfriend. Flash forward 20 years and he's grown up to be a cynical Matthew Perry, who's now a pharamaceutical sales rep with two kids (Michelle Tractenburg and Sterling Knight) who dislike him and a even more bitter wife (Leslie Mann), with a marriage that's headed straight for divorce. At least he has his friend Ned (Thomas Lennon), the geeky nerd and his friend from high school who's now a self-made computer geek millionaire. He desires to relive the glory days of his teen years to do more things for himself rather than others, and his wish is granted, except he realizes he's gone back to help bring his family back together, teaching everyone some valuable life lessons and growing up in the process.
"17 Again" is a pale revisionist coming-of-age story with a few fun moments, but lacks focus, solid direction and a good script. Efron, the handsome guy who became a big star via the "High School Musical" movies, is a game, effortless leading man with some sheer talent to look good but little else. The script takes every predictable turn you might think, and some of them are a little awkward and sometimes even a little icky when you think that a younger version of your Dad is mingling with your teenage friends.
"17 Again" is directed with an unoriginal flair by Burr Steers ("Igby Goes Down") and an overly-familiar script by Jason Filardi ("Bringing Down the House"). This thing was done in similar form back in the late '80s with then big-teen stars Kirk Cameron ("Like Father, Like Son") and Fred Savage ("Vice Versa"), and it was not even that good back then. It sheds no new light on teen angst or family dysfunction, and it's really rather shallow at it's core, with no help from tween sensation Efron. Also, Filardi has story problems: he can't add. He opens the story 20 years ago with Mike and Scarlett pregnant with their daughter, who flashed forward 20 years is now 17. That doesn't quite add up.
Fortunately, there are a couple of supporting players that save the day and all but steal the movie from Efron and providing "17 Again" with it's best moments. "Reno 911's" Lennon makes for one of the funniest sidekicks seen this side of Ethel Mertz. Ned wants to hit on the hot school principal and will do all he can to get her - lavishing her with outrageous gifts and wearing even more outrageous, loud clothes - and then discovering that in fact, she too speaks an Elfian language from "Lord of the Rings." Also around for a few humorous scenes is Leslie Mann (or Mrs. Judd Apatow) as Mike's grown-up wife who has a sense that she's seen the young Mike somewhere before.
By the way, "17 Again" is NOT a Matthew Perry movie. He bookends the movie with a few scenes at the beginning and end - but this is a Zac Efron movie, who all those tweens have come to see. "17 Again" is a mediocre, predictable and derivative comedy at best with a few sporadically fun moments provided by the outrageous Lennon or the colorful Mann. But it will be Efron who will draw them in and make this another big hit young star. Recommended only for Efron fans, for anyone else, find something better to do.
Zac Efron is "17 Again", but Ned has all the fun in trite, derivative comedy
Zac Efron may well be one of the biggest stars on the planet, but his new comedy "17 Again," a comedy about revisiting the glory of the teenage years, doesn't shine brightly. "17 Again" is nothing new - altogether unoriginal, trite and poorly written to be honest - and the movie is stolen right under his nose by a couple of his funnier supporting co-stars. The dashing, stylish Efron seems unaffected by the fact he's upstaged, after all he's the main draw here, and draw them in (truckloads of tweens) he definitely will.
Talented teen athlete Mike O'Donnell (Efron) gives up a basketball career in 1989 to marry his pregnant girlfriend. Flash forward 20 years and he's grown up to be a cynical Matthew Perry, who's now a pharamaceutical sales rep with two kids (Michelle Tractenburg and Sterling Knight) who dislike him and a even more bitter wife (Leslie Mann), with a marriage that's headed straight for divorce. At least he has his friend Ned (Thomas Lennon), the geeky nerd and his friend from high school who's now a self-made computer geek millionaire. He desires to relive the glory days of his teen years to do more things for himself rather than others, and his wish is granted, except he realizes he's gone back to help bring his family back together, teaching everyone some valuable life lessons and growing up in the process.
"17 Again" is a pale revisionist coming-of-age story with a few fun moments, but lacks focus, solid direction and a good script. Efron, the handsome guy who became a big star via the "High School Musical" movies, is a game, effortless leading man with some sheer talent to look good but little else. The script takes every predictable turn you might think, and some of them are a little awkward and sometimes even a little icky when you think that a younger version of your Dad is mingling with your teenage friends.
"17 Again" is directed with an unoriginal flair by Burr Steers ("Igby Goes Down") and an overly-familiar script by Jason Filardi ("Bringing Down the House"). This thing was done in similar form back in the late '80s with then big-teen stars Kirk Cameron ("Like Father, Like Son") and Fred Savage ("Vice Versa"), and it was not even that good back then. It sheds no new light on teen angst or family dysfunction, and it's really rather shallow at it's core, with no help from tween sensation Efron. Also, Filardi has story problems: he can't add. He opens the story 20 years ago with Mike and Scarlett pregnant with their daughter, who flashed forward 20 years is now 17. That doesn't quite add up.
Fortunately, there are a couple of supporting players that save the day and all but steal the movie from Efron and providing "17 Again" with it's best moments. "Reno 911's" Lennon makes for one of the funniest sidekicks seen this side of Ethel Mertz. Ned wants to hit on the hot school principal and will do all he can to get her - lavishing her with outrageous gifts and wearing even more outrageous, loud clothes - and then discovering that in fact, she too speaks an Elfian language from "Lord of the Rings." Also around for a few humorous scenes is Leslie Mann (or Mrs. Judd Apatow) as Mike's grown-up wife who has a sense that she's seen the young Mike somewhere before.
By the way, "17 Again" is NOT a Matthew Perry movie. He bookends the movie with a few scenes at the beginning and end - but this is a Zac Efron movie, who all those tweens have come to see. "17 Again" is a mediocre, predictable and derivative comedy at best with a few sporadically fun moments provided by the outrageous Lennon or the colorful Mann. But it will be Efron who will draw them in and make this another big hit young star. Recommended only for Efron fans, for anyone else, find something better to do.
State of Play - B
Rated PG-13 for some violence, language including sexual references, and brief drug content, 127 minutes
"State of Play" delivers enjoyable entertainment, few messages
"State of Play" delivers enjoyable entertainment, few messages
The new thriller State of Play comes at a time when public trust in U.S. politicians is at an all-time low and print journalism is facing an upheaval from online news choices. With that in mind, State of Play, based on a BBC series from a few years back, wants to be the new All the President’s Men though its messages lack relevance of that film. Taken as a message movie, it doesn’t work, but it’s otherwise an entertaining, tense thriller that will likely find an audience due to its A-list cast, who with the exception of one crucial miscasting, performs ably.
A petty thief is gunned down in a Washington D.C. alley and a Congressman's assistant falls in front of a subway - two seemingly unrelated deaths. But not to sarcastic, brash newspaper reporter Cal McAffrey (Russell Crowe), who smells conspiracy waiting to be uncovered. His unruly past is connected to Congressman Stephen Collins (Ben Affleck) and his wife Anne (Robin Wright Penn), a high-level friendship that makes things a little thorny when covering the story. With the help of ambitious young rookie writer Della Frye (Rachel McAdams), Cal uncovers clues that lead him to a corporate corruption full of D.C. insiders, low-life, and assassins. But as he seeks the truth, the relentless writer must choose between risking his life and friendships and selling his soul to get the ultimate story.
State of Play is an enjoyable but flawed thriller that starts out well when it digs for clues then falters a little by the time it reaches a predictable climax that rings false with the rest of the film. Director Kevin Macdonald, who guided Forest Whitaker to an Oscar in The Last King of Scotland, helms the proceedings well, though it all has a familiar All the President’s Men tone to it. The pairing of the disheveled McAffrey and green around the ears Frye seems too Woodward-Bernstein-ish, with Mirren handling the foolproof Ben Bradlee-editor role with aplomb. Anyone could’ve played this smallish role (Alan Arkin comes to mind) but she lends it a much-needed credibility.
The interplay between Crowe, Mirren and McAdams contribute to the better parts of the movie, and along the way Macdonald and writers Matthew Michael Carnahan (who wrote another self-important D.C. thriller, Lions for Lambs) and Tony Gilroy (Michael Clayton and the recent Duplicity), add some intensity, particularly one engaging scene in a parking garage that shows that even a tough guy like Crowe can get scared. But even with that, as a whole it lacks a certain mystery and power, even in its supposed (and a bit confusing) twist at the end.
Yet the biggest flaw in State of Play isn’t its lack of relevance or its familiar tone, but the crucial miscasting of Ben Affleck in a key role. Edward Norton, who was originally to play the role, would’ve made a more memorable impression than the blank, shallow stares and youthful presence that Affleck provides. In other words, he’s simply not believable, and it affects the importance of the movie itself, especially the implausibility of the whole Crowe-Affleck friendship. The boorish slob that Crowe plays here would hardly be an acquaintance, much less a close friend, with someone as corrupt and boyish as Affleck.
Though Crowe, Mirren and McAdams all turn in solid performances, the more memorable performances in State of Play come from a few reliable supporting players. Jason Bateman has the most fun as a slimy PR guy and key player in the case; Jeff Daniels shades a corrupt congressman with a perfect twinge of hypocritical attitude, and the always-lovely Robin Wright Penn makes the most of an underwritten, nearly non-essential role, of the wife of Affleck’s character, who also has eyes for Crowe. (Blink - and you’ll miss the one, brief scene with recent Oscar nominee, Viola Davis, of Doubt.)
State of Play is too self-important, too long and too flawed to make a truly, great movie. It fails to make a strong connection with the notions of politics and unbiased journalism, but it’s a decent thriller with an A-list cast with enough forgettable but enjoyable popcorn entertainment to fill a couple of hours away from the real world.
You'll also find this review at www.PopSyndicate.com.com.
Sunday, April 5, 2009
Dragonball Evolution - D
Rated PG for intense sequences of action/violence and brief mild language, 84 minutes
Cheap, third-rate "Dragonball" a big disappointment to comic book fans
Many comic books fans are probably eagerly awaiting the new fantasy film "Dragonball Evolution," based on the hugely popular Japanese manga comics and anime of the same name, but they'll be tremendously disappointed with this cheap, derivivative and otherwise third-rate movie version. The film builds on the dark themes of the comics and has some entertaining fight scenes, but generates little intensity and involvement and takes itself way, way too seriously while wasting a well-known, talented cast in the process.
The story begins with Goku (Justin Chatwin) who seeks out upon his adoptive grandfather Grandpa Gohan's (Randall Duk Kim) dying request to find the great Master Roshi (Chow Yun-Fat) and gather all seven Dragon Balls. Of which he has one, in order to prevent the evil Lord Piccolo (James Marsters) from succeeding in his desire to use the Dragon Balls to take over the world. With the help of friend Bulma (Emmy Rossum), Goku's quest is to obtain the mystical Dragonballs before Piccolo does.
"Dragonball Evolution" is a comic-book adaptation that falls flat in attempting to translate the fun and energy of the comic books to the screen. In other words it's boring and laughable in every way. Yes, this is a fantasy comic-book film, but even on that level it fails to generate much interest, mainly due to the fact that director James Wong (who directed a couple of the "Final Destination" films) and writer Ben Ramsey can't get a handle on developing any sort of coherent story or fleshing out the characters from the comic books.
"Dragonball" has a decent pace and Wong inserts a few impressive fight scenes and special effects, but the biggest disappointment comes with the worst acting - even worse the "Dragonball" anime films - and those characters are animated. The bland Justin Chatwin ("The Invisible") is miscast the role of Goku (aged to a teenager for the movie) but even worse is Rossum's expressionless Bulma and Chow Yun-Fat wildly overacting as Master Roshi. The only truly memorable character is the evil Lord Piccolo, played with quiet fervor by James Marsters underneath a load of makeup and pointy ears.
All of "Dragonball Evolution" is a bit ridiculous and silly when you think about it - the adventure of a lifetime for some magical balls - but comic-book fans may turn out enough to make it a mild cult hit. Fortunately, the film ends quickly with an over-the-top climax that reminds more of "An American Werewolf in London" than any comic book that leaves it open to more of these. Supposedly, the script for part 2 is already written; one tenet of the movie is to "have faith in yourself" - let's have faith that script is far better than this.
Cheap, third-rate "Dragonball" a big disappointment to comic book fans
Many comic books fans are probably eagerly awaiting the new fantasy film "Dragonball Evolution," based on the hugely popular Japanese manga comics and anime of the same name, but they'll be tremendously disappointed with this cheap, derivivative and otherwise third-rate movie version. The film builds on the dark themes of the comics and has some entertaining fight scenes, but generates little intensity and involvement and takes itself way, way too seriously while wasting a well-known, talented cast in the process.
The story begins with Goku (Justin Chatwin) who seeks out upon his adoptive grandfather Grandpa Gohan's (Randall Duk Kim) dying request to find the great Master Roshi (Chow Yun-Fat) and gather all seven Dragon Balls. Of which he has one, in order to prevent the evil Lord Piccolo (James Marsters) from succeeding in his desire to use the Dragon Balls to take over the world. With the help of friend Bulma (Emmy Rossum), Goku's quest is to obtain the mystical Dragonballs before Piccolo does.
"Dragonball Evolution" is a comic-book adaptation that falls flat in attempting to translate the fun and energy of the comic books to the screen. In other words it's boring and laughable in every way. Yes, this is a fantasy comic-book film, but even on that level it fails to generate much interest, mainly due to the fact that director James Wong (who directed a couple of the "Final Destination" films) and writer Ben Ramsey can't get a handle on developing any sort of coherent story or fleshing out the characters from the comic books.
"Dragonball" has a decent pace and Wong inserts a few impressive fight scenes and special effects, but the biggest disappointment comes with the worst acting - even worse the "Dragonball" anime films - and those characters are animated. The bland Justin Chatwin ("The Invisible") is miscast the role of Goku (aged to a teenager for the movie) but even worse is Rossum's expressionless Bulma and Chow Yun-Fat wildly overacting as Master Roshi. The only truly memorable character is the evil Lord Piccolo, played with quiet fervor by James Marsters underneath a load of makeup and pointy ears.
All of "Dragonball Evolution" is a bit ridiculous and silly when you think about it - the adventure of a lifetime for some magical balls - but comic-book fans may turn out enough to make it a mild cult hit. Fortunately, the film ends quickly with an over-the-top climax that reminds more of "An American Werewolf in London" than any comic book that leaves it open to more of these. Supposedly, the script for part 2 is already written; one tenet of the movie is to "have faith in yourself" - let's have faith that script is far better than this.
The Hannah Montana Movie - B
Rated G, 92 minutes
Miley still packs a punch as squeaky clean "Hannah Montana"
I must confess that I wasn't exactly eager to see "The Hannah Montana Movie." I'm not a fan of the Disney TV show nor do I really fit into its target demographic - girls ages 10-17, and star Miley Cyrus seems a bit, well, overexposed in so many ways. But one thing is for sure, the movie is a harmless, engaging and squeaky clean piece of fluffery that should please its target demographic. Cyrus herself is the right mixture of peppy and energetic, even when you know where the predictable, threadbare plot is going.
Those familiar with the TV show know that Cyrus plays Miley Stewart, who's secretly the young blond-wigged tween superstar Hannah Montana. She's really a normal girl who gets into trouble like everyone else, to the consternation of her single dad Robby Ray (played by Miley's real-life Dad, country singer Billy Ray Cyrus). Her best pal and cohort in crime is Lily (Emily Osment, Haley Joel's younger sis), along with older, clumsy brother Jackson (Jason Earles), and the well-meaning but mischief-laden Rico (Moises Aras), all from the TV show.
Her career seems to get in the way of everything, and her Dad takes her back to her roots and hometown Crowley Corners in Tennessee as sort of a "Hannah Detox" and remind her of who she really is. Of course, there's a boy for her to fall in love with, ranch hand Travis (Lucas Till), not to mention her no-nonsense Grandmother (the ever-lovable character actress Margo Martindale) and her slick agent (Vanessa Williams), who wants her to come back to L.A. to be Miley. Granny has run into problems when a developer (Barry Bostwick) wants to modernize the town, and it's up to Hannah/Miley to save the day while falling in love and keeping her identity a secret.
"The Hannah Montana Movie" is really just a retread of the show expanded to a little over 90 minutes with a few fun, padded musical numbers, but those who love the show will also love the movie. At a recent screening, the young girls in the audience were more than enthusiastic - clapping and cheering when Cyrus came on screen. She definitely has her following, and while Cyrus has made it clear she won't do anymore of these, box-office receipts (and lots of begging from Disney) could persuade her otherwise.
"Hannah Montana" knows its audience well and knows that young girls will the biggest part of it. They'll bounce along with all the songs, from the opening number "Best of Both Worlds" (very familiar to those who saw her concert movie last year) to the heartwarming "Butterfly Fly Away" performed near the end of the film. Taylor Swift makes a cameo appearance (and also adds a song - "Crazier") in the film, as does Rascal Flatts, and in addition to a crazy cameo by Tyra Banks. The energetic "Hoedown Showdown" is the movie's showstopper, combining both country and R&B in a very fun number.
The plot? Predictable as always. Love angle? Gooey as always. Cyrus herself? Engaging as always, and zany too especially when trying to be two separate people in two places at the same time. Whatever you think of Cyrus or Hanna Montana (right now, a cash cow for Disney), you have to give her credit - her movie is clean, goofy fun and suitable for everyone. And be thankful, there are lots of worse things young girls could be doing (like seeing the very adult "Observe & Report") this weekend. Definitely recommended for its target audience and should be a big, big hit.
Miley still packs a punch as squeaky clean "Hannah Montana"
I must confess that I wasn't exactly eager to see "The Hannah Montana Movie." I'm not a fan of the Disney TV show nor do I really fit into its target demographic - girls ages 10-17, and star Miley Cyrus seems a bit, well, overexposed in so many ways. But one thing is for sure, the movie is a harmless, engaging and squeaky clean piece of fluffery that should please its target demographic. Cyrus herself is the right mixture of peppy and energetic, even when you know where the predictable, threadbare plot is going.
Those familiar with the TV show know that Cyrus plays Miley Stewart, who's secretly the young blond-wigged tween superstar Hannah Montana. She's really a normal girl who gets into trouble like everyone else, to the consternation of her single dad Robby Ray (played by Miley's real-life Dad, country singer Billy Ray Cyrus). Her best pal and cohort in crime is Lily (Emily Osment, Haley Joel's younger sis), along with older, clumsy brother Jackson (Jason Earles), and the well-meaning but mischief-laden Rico (Moises Aras), all from the TV show.
Her career seems to get in the way of everything, and her Dad takes her back to her roots and hometown Crowley Corners in Tennessee as sort of a "Hannah Detox" and remind her of who she really is. Of course, there's a boy for her to fall in love with, ranch hand Travis (Lucas Till), not to mention her no-nonsense Grandmother (the ever-lovable character actress Margo Martindale) and her slick agent (Vanessa Williams), who wants her to come back to L.A. to be Miley. Granny has run into problems when a developer (Barry Bostwick) wants to modernize the town, and it's up to Hannah/Miley to save the day while falling in love and keeping her identity a secret.
"The Hannah Montana Movie" is really just a retread of the show expanded to a little over 90 minutes with a few fun, padded musical numbers, but those who love the show will also love the movie. At a recent screening, the young girls in the audience were more than enthusiastic - clapping and cheering when Cyrus came on screen. She definitely has her following, and while Cyrus has made it clear she won't do anymore of these, box-office receipts (and lots of begging from Disney) could persuade her otherwise.
"Hannah Montana" knows its audience well and knows that young girls will the biggest part of it. They'll bounce along with all the songs, from the opening number "Best of Both Worlds" (very familiar to those who saw her concert movie last year) to the heartwarming "Butterfly Fly Away" performed near the end of the film. Taylor Swift makes a cameo appearance (and also adds a song - "Crazier") in the film, as does Rascal Flatts, and in addition to a crazy cameo by Tyra Banks. The energetic "Hoedown Showdown" is the movie's showstopper, combining both country and R&B in a very fun number.
The plot? Predictable as always. Love angle? Gooey as always. Cyrus herself? Engaging as always, and zany too especially when trying to be two separate people in two places at the same time. Whatever you think of Cyrus or Hanna Montana (right now, a cash cow for Disney), you have to give her credit - her movie is clean, goofy fun and suitable for everyone. And be thankful, there are lots of worse things young girls could be doing (like seeing the very adult "Observe & Report") this weekend. Definitely recommended for its target audience and should be a big, big hit.
The Black Balloon - B+
Rated PG-13 for some sexual content, a scene of violence, and brief strong language, 97 minutes
Affecting "The Black Balloon" poignantly examines family and autism
The Australian film "The Black Balloon" is an award-winning, hearbreaking look at how autism affects family even in the smallest of ways. Though this type of story has been seen before, "Black Balloon's" superb acting, directing and writing lift it above the normal TV movie-of-the-week. Though overly familiar, "Black Balloon" is filled with many compelling, entertaining moments that underscore the importance of love in all relationships, normal and not-so-normal.
When Thomas (Rhys Wakefield) and his military family move to a new home and he has to start at a new school, all he wants is to fit in. When his very pregnant mother (Toni Collette) has to take it easy, he's put in charge of his autistic older brother Charlie (Luke Ford). Thomas, with the help of his new girlfriend Jackie (Gemma Ward) faces his biggest challenge yet. Charlie’s unusual antics take Thomas and his family on an emotional journey that cause his suppressed frustrations about his brother to reach a boiling point.
"The Black Balloon" is a compelling drama that examines the effects of autism of an Australian family who just wants to fit in and be normal. Directed and written by Aussie Alissa Down, autism serves as the backdrop for this coming-of-age-romance drama that looks at the situation primarily from the view of the normal brother, Thomas and his struggles to fit in and the obstacles he has from his autistic older brother Charlie, who unwittingly spoils the situation at every turn: throwing fits in the grocery story, running through the neighborhood in his underwear and other unexpected events.
Director Down skillfully directs and captures some powerfully sad scenes, most of which are very physically exhausting. The most unforgettable is Charlie's breakdown at Thomas's family birthday party in front of Thomas's shocked girlfriend, well-played by the pretty Ward. All of the cast members contribute excellent performances, including "The Sixth Sense's" Collette as the caring mother and newcomer Wakefield as the understandably frustrated brother.
Luke Ford ("The Mummy: Tomb of the Dragon Emperor") is the most memorable, giving a sensitive, tender performance as the mute, autistic Charlie. Though the role requires the "most" acting of the family members, it's utterly believable and engaging. Ford, along with Collette, rightfully won Australian Film Institute awards last year for their performances, and Ford might find himself nominated for an Academy Award for 2009.
"The Black Balloon" doesn't subscribe to any lofty notions or preachy messages, and most importantly, it opts for subtle, even restrained emotional responses rather than big, maudlin moments. While the story has a familiar ring to it ("RainMan" anyone?), it's an effective, honest portrait of family trying to do the right thing, and that's all you can ask for.
Affecting "The Black Balloon" poignantly examines family and autism
The Australian film "The Black Balloon" is an award-winning, hearbreaking look at how autism affects family even in the smallest of ways. Though this type of story has been seen before, "Black Balloon's" superb acting, directing and writing lift it above the normal TV movie-of-the-week. Though overly familiar, "Black Balloon" is filled with many compelling, entertaining moments that underscore the importance of love in all relationships, normal and not-so-normal.
When Thomas (Rhys Wakefield) and his military family move to a new home and he has to start at a new school, all he wants is to fit in. When his very pregnant mother (Toni Collette) has to take it easy, he's put in charge of his autistic older brother Charlie (Luke Ford). Thomas, with the help of his new girlfriend Jackie (Gemma Ward) faces his biggest challenge yet. Charlie’s unusual antics take Thomas and his family on an emotional journey that cause his suppressed frustrations about his brother to reach a boiling point.
"The Black Balloon" is a compelling drama that examines the effects of autism of an Australian family who just wants to fit in and be normal. Directed and written by Aussie Alissa Down, autism serves as the backdrop for this coming-of-age-romance drama that looks at the situation primarily from the view of the normal brother, Thomas and his struggles to fit in and the obstacles he has from his autistic older brother Charlie, who unwittingly spoils the situation at every turn: throwing fits in the grocery story, running through the neighborhood in his underwear and other unexpected events.
Director Down skillfully directs and captures some powerfully sad scenes, most of which are very physically exhausting. The most unforgettable is Charlie's breakdown at Thomas's family birthday party in front of Thomas's shocked girlfriend, well-played by the pretty Ward. All of the cast members contribute excellent performances, including "The Sixth Sense's" Collette as the caring mother and newcomer Wakefield as the understandably frustrated brother.
Luke Ford ("The Mummy: Tomb of the Dragon Emperor") is the most memorable, giving a sensitive, tender performance as the mute, autistic Charlie. Though the role requires the "most" acting of the family members, it's utterly believable and engaging. Ford, along with Collette, rightfully won Australian Film Institute awards last year for their performances, and Ford might find himself nominated for an Academy Award for 2009.
"The Black Balloon" doesn't subscribe to any lofty notions or preachy messages, and most importantly, it opts for subtle, even restrained emotional responses rather than big, maudlin moments. While the story has a familiar ring to it ("RainMan" anyone?), it's an effective, honest portrait of family trying to do the right thing, and that's all you can ask for.
Observe and Report - D
Rated R for pervasive language, graphic nudity, drug use, sexual content and violence, 86 minutes
Please, don't "Observe" this unfunny, profane "Report"
If "Observe and Report" seems familiar, you're not far off the mark. It's like a raunchier, far dirtier, and less funny version of this year's "Paul Blart: Mall Cop" combined with Sandler's "The Waterboy" and both of those films were far from masterpieces. It also reveals that Seth Rogan could be a little overexposed, overrated and typecast as the schluby sarcastic underachiever. "Observe and Report" is one of the most profane, abrasive and profoundly stupid and excessively mean comedies I've seen in a long time. It's peppered with a few enjoyably funny moments, in between the excessive "f's" and "you's," if you get my drift.
At Forest Ridge Mall, head of security Ronnie Barnhardt (Rogan) patrols his jurisdiction with an iron hand, combating skateboarders, shoplifters and the occasional unruly customer while dreaming of the day when he can become a real cop. His delusions of grandeur are put to the test when the mall is struck by a flasher.
Ronnie seizes the opportunity to showcase his underappreciated law enforcement skills, hoping this will enable him to become an actual cop and win his dream girl Brandi (Anna Faris), a hot, snobby make-up counter clerk. Meanwhile, his pursuit of glory engages a battle with the equally competitive police Detective Harrison (Ray Liotta) and Ronnie must solve the crime before the real cops do.
"Observe and Report" is a low-brow, derivative and profane comedy that hits below the level of mediocrity in terms of humor. Director and writer Jody Hill, who made the extremely funny "The Foot Fist Way" a few years ago, makes an egregious mistake of thinking that inserting all those four letter words will make a funny comedy. It doesn't. At least he has Rogan in the title role, a gifted, funny guy on his own, though his talents are lost here amidst the profanity, and it also shows how annoyingly talky he can be.
As for the rest of "Report" - it's story is both flat and predictable, it's characters one-dimensional, and it's tone takes a startling turn toward the violent, dark and just plain icky and mean (beating kids up, snorting cocaine and seeing every last inch of a pale flasher - just not that funny) in its last act.
What funny moments there are in "Observe and Report" come from selected members of the supporting cast. Character actress Celia Weston steals moments as Ronnie's drunk mother (she tries in vain to cheer him up), and from dramatic actor Michael Pena, showing his comic chops by channeling his inner John Leguizamo-lisp as one of Ronnie's security-guard sidekicks. Not as good: talented actors Liotta and Faris, who are altogether wasted in the movie, typecasting them both as a dirty cop and a ditzy slut and giving them little to do but either beat up people or throw up on them.
"Observe and Report" is a terrible disappointment given the talent, not to mention an excessively profane one (this is definitely not one for the kiddoes), but it will most likely be a hit anyway. Rogan, director and writer Hill, Liotta and Faris can all do much better than this. Next time try it with a real script, real characters, and without so many "f's" and "you's."
Please, don't "Observe" this unfunny, profane "Report"
If "Observe and Report" seems familiar, you're not far off the mark. It's like a raunchier, far dirtier, and less funny version of this year's "Paul Blart: Mall Cop" combined with Sandler's "The Waterboy" and both of those films were far from masterpieces. It also reveals that Seth Rogan could be a little overexposed, overrated and typecast as the schluby sarcastic underachiever. "Observe and Report" is one of the most profane, abrasive and profoundly stupid and excessively mean comedies I've seen in a long time. It's peppered with a few enjoyably funny moments, in between the excessive "f's" and "you's," if you get my drift.
At Forest Ridge Mall, head of security Ronnie Barnhardt (Rogan) patrols his jurisdiction with an iron hand, combating skateboarders, shoplifters and the occasional unruly customer while dreaming of the day when he can become a real cop. His delusions of grandeur are put to the test when the mall is struck by a flasher.
Ronnie seizes the opportunity to showcase his underappreciated law enforcement skills, hoping this will enable him to become an actual cop and win his dream girl Brandi (Anna Faris), a hot, snobby make-up counter clerk. Meanwhile, his pursuit of glory engages a battle with the equally competitive police Detective Harrison (Ray Liotta) and Ronnie must solve the crime before the real cops do.
"Observe and Report" is a low-brow, derivative and profane comedy that hits below the level of mediocrity in terms of humor. Director and writer Jody Hill, who made the extremely funny "The Foot Fist Way" a few years ago, makes an egregious mistake of thinking that inserting all those four letter words will make a funny comedy. It doesn't. At least he has Rogan in the title role, a gifted, funny guy on his own, though his talents are lost here amidst the profanity, and it also shows how annoyingly talky he can be.
As for the rest of "Report" - it's story is both flat and predictable, it's characters one-dimensional, and it's tone takes a startling turn toward the violent, dark and just plain icky and mean (beating kids up, snorting cocaine and seeing every last inch of a pale flasher - just not that funny) in its last act.
What funny moments there are in "Observe and Report" come from selected members of the supporting cast. Character actress Celia Weston steals moments as Ronnie's drunk mother (she tries in vain to cheer him up), and from dramatic actor Michael Pena, showing his comic chops by channeling his inner John Leguizamo-lisp as one of Ronnie's security-guard sidekicks. Not as good: talented actors Liotta and Faris, who are altogether wasted in the movie, typecasting them both as a dirty cop and a ditzy slut and giving them little to do but either beat up people or throw up on them.
"Observe and Report" is a terrible disappointment given the talent, not to mention an excessively profane one (this is definitely not one for the kiddoes), but it will most likely be a hit anyway. Rogan, director and writer Hill, Liotta and Faris can all do much better than this. Next time try it with a real script, real characters, and without so many "f's" and "you's."
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