Legally Blonde 2: Red, White & Blonde.

Review #1861: Legally Blonde 2: Red, White & Blonde.

Cast: 

Reese Witherspoon (Elle Woods), Sally Field (Victoria Rudd), Regina King (Grace Rossiter), Jennifer Coolidge (Paulette Bonafonté), Luke Wilson (Emmett Richmond), Bob Newhart (Sid Post), Bruce McGill (Stan Marks), Dana Ivey (Libby Hauser), Jessica Cauffiel (Margot Chapman), with Moonie the Dog (Bruiser), and Alanna Ubach (Serena McGuire) Directed by Charles Herman-Wurmfeld.

Review: 

I'm sure you remember Legally Blonde (2001), the movie that dealt with forging a path for oneself with confidence that was pitched at one point as "Clueless meets The Paper Chase", based on the material of the same name by Amanda Brown. It was a feel-good movie that Robert Luketic directed as the feel-good legal hit of its time. Or something like that, because I remember it surely could have reached further in the departments of humor and legal mumbo-jumbo besides what it did. Yea, subverting the expectations of a perpetually smiling lawyer that bounces off snide comments as it was just another sunny day in lawyer land. It was more interesting in the small attempts at awareness rather than its goofy hand at comedy. The less you predict, the better it went. Herman-Wurmfeld is probably best known for this film alone, despite the fact that this was his third feature film (Kissing Jessica Stein (2001) had attracted attention on the indie circuit). Kate Kondell served as the screenwriter.

It is evident that someone watched Mr. Smith Goes to Washington (1939) and thought, hey I can do a movie kind of like that, complete with cribbing footage from it too. But this movie has an idealism about it that manages to come off as the equivalent of too much cotton candy at the fair that only leads to simple vomit. It is a movie that seems to have been nicked and tucked in re-writes to where one would hope it is taken out to pasture with the mix of sitcom lines and characters to go with. absolute zero meaningful drama. Taking something like the issue of animal testing and making one bored to tears is quite the achievement in dubiousness. It begs for a cynical hand at the wheel to deal with politics or some sort of inspiration beyond cribbing dynamics from the first film in being yet another fish out of water story. Beyond (million dog) marches and congressmen changing their mind on things because their dog is gay, one simply finds themselves wishing these scenarios were, well, funny. Witherspoon fares the best out of everyone in the same way that a shirt with a dirty spot looks cleaner when washed but doesn't really get rid of the spot. The cheery disposition presented here only works to the fishbowl level of sitcom times here, where one would rather see more scenes between her and Wilson because of the interesting dynamic between sunny charm and a dry Wilson. Sally Field (accompanied by a goofy wig) seems lost with material that has her say at one point "don't worry Bob, I'll get her ... and her little dog too." At least the secret adversary mentor in the first film was suitable for what was needed. Here, she seems there more for name recognition and a nice check rather than something useable. King plays the snooty foil that was already done before in the first film, and it is evident that nothing really changes for the better beyond what you already know what is going to happen in bla-bla land that King can't elevate too much. Newhart as a doorman with key knowledge to help Witherspoon in the ways of politicking sounds like the lead to a joke, but this is one is at the expense of the audience who find themselves rolling their eyes at whatever paycheck was used to waste his time here. McGill is nice and dandy in the easy cliche role, one that might have been a better fit for the second lead role rather than Field in terms of smarminess...instead he gets to play a guy swayed in protecting dogs from getting animal tested because damn it he loves his gay big dog. As a whole, the original movie has been dissected and had some of its aspects repeated here within a fish-out-of-water story where the lead gradually wins the respect of her peers with her can-do attitude to adapting to the environment that uses her know-how (i.e. fashion sense) to get what she aims to do before giving a speech at the end while everything goes exactly right for her. It is the equivalent of chewing gum for 95 minutes, where one will find a bit of sweet release on two points: the one moment where chewing it is cool, and the moment when you finally decide enough is enough and spit it out. Folks big on the original might find something okay with this one, but others would do better to look elsewhere.

Overall, I give it 6 out of 10 stars.

Legally Blonde.

Review #1698: Legally Blonde.

Cast: 

Reese Witherspoon (Elle Woods), Luke Wilson (Emmett Richmond), Selma Blair (Vivian Kensington), Matthew Davis (Warner Huntington III), Victor Garber (Professor Callahan), Jennifer Coolidge (Paulette Bonafonté), Holland Taylor (Professor Elspeth Stromwell), Ali Larter (Brooke Taylor-Windham), Jessica Cauffiel (Margot), Alanna Ubach (Serena McGuire), Francesca P. Roberts (Judge Marina R. Bickford), Oz Perkins (David Kidney), Linda Cardellini (Chutney Windham), Bruce Thomas (UPS Guy), Meredith Scott Lynn (Enid Wexler), and Raquel Welch (Mrs. Windham-Vandermark) Directed by Robert Luketic.

Review: 

Well, sometimes you need a movie about the law to go with a tale of forging a path forward for oneself with confidence, I suppose. Legally Blonde is adapted from the novel of the same name, which was self-published by Amanda Brown in 2001 (although it should be noted that the 1994 copyright filing lists both Brown and Brigdet Kerrigan, who coincidentally had attended Harvard) based on the writer's experiences in Stanford Law School, which namely involved making fun of her classmates with letters sent back home to Arizona while reading Elle magazine; one key experience involved her going to a group for women attending the school that Brown found amusement over their serious tone (such as trying to change "semester" to "ovester"). She dropped out after two years, but she eventually cobbled a manuscript together; while it didn't attract much attention as a book, it did find interest with film studios, and one pitch that was used for it was "Clueless meets The Paper Chase". At any rate, the film was written by Karen McCullah Lutz and Kirsten Smith, who saw numerous script changes that turned a first draft with raunchy material into one with adversity to overcome and a murder trial (including an ending that came from test audiences caring about the success of its character rather than a kiss on the courthouse). In other words, a script that would probably have come off the heels of stuff like American Pie (1999) ended up being more of a feel-good movie that surely plays its own note in the blonde circuit (which has quite a few stereotypes that I'm sure would make for an interesting discussion somewhere else). This was also the feature film debut of Robert Luketic, a native of Australia who had been making short films since he was a teenager before his short Titsiana Booberini (1997) attracted Hollywood.

Honestly, it's just an okay movie. It's an obvious movie, one that plays exactly to the bone of "being yourself with confidence" that makes for a few chuckles for a 96 minute movie that sure takes its time to really get going, even when it has something to say about workplace dynamics in conduct (or perhaps not judging stuff like sorority life or law school by the cover...?) and something something feminist classic something something. Or something like that, because really it is the trial parts that are more up to speed in actually doing something beyond "aw shucks". You know how folks will randomly approach stars and have them do "classic stuff" at a convention? The appeal for this movie is kind of like that, albeit without as many nerd lingo (as any convention attendee would say). That, or it is basically a sports movie for sorority folks. Strangely enough, with a pitch evoking the name of Clueless (1995), it really doesn't seem to have that much "zing" to it, if you know what I mean. Sure, there are quite a few quirky moments, such as the "bend and snap" sequence, which sounds believable when you note that the writers came up with it while at a bar. It comes and goes, really, when you think about it. There is nothing here that is exactly harmful or ridiculous, and I imagine that it certainly proved an inspiration to at least one person when it came to law or perhaps something else - so yeah, average isn't the worst possible experience one could have with this feature. If it wasn't for Witherspoon, this probably would have been a lesser experience. Her sunny charm and wit certainly play off against the others well enough with flourishing interest that you would see from a "fish out of water" type without being played out, and its easy to see how two decades have only cemented the enduring entertainment that Witherspoon brings here. The others keep up fine for the most part. Wilson is casual enough to keep his portion of the film going well enough without asking for too much more (the aforementioned ending involved the two leads kissing at the end, but I think you can see why they just went with a different one). Blair brings up the snobby parts to where it needs to go (complete with the predictable stuff), which is followed by the snooty snake charm from Davis to go with the slithering calmness generated by Garber. Coolidge gets a chuckle in shyness while others get a line or two to show up (such as Larter doing some well-blown hysterics over gluteal efforts), which means that one will do just fine in keeping their attention airtight. As I stated already, it is the law parts that generate interest more, probably because its predictability is a little less obvious than the school segments, but that is probably just me. In the two decades that have followed the release of this film, a sequel was released alongside a musical and a spinoff, and it is perhaps representative of the legacy of the film that another sequel is in development. Is it predictable? Indubitably, but it has plenty of charm in the right places to make a worthy time for those in the mood for what it yearns to say about having fun as oneself without letting folks or other things get in their way. 

Overall, I give it 7 out of 10 stars.

Rango.

Review #1557: Rango.

Cast: 
Johnny Depp (Rango), Isla Fisher (Beans), Abigail Breslin (Priscilla), Ned Beatty (Tortoise John), Alfred Molina (Roadkill), Bill Nighy (Rattlesnake Jake), Harry Dean Stanton (Balthazar), Ray Winstone (Bad Bill), Timothy Olyphant (The Spirit of the West), Stephen Root (Doc / Mr. Merrimack), Maile Flanagan (Lucky), Alanna Ubach (Boo Cletus / Fresca / Miss Daisy), Ian Abercrombie (Ambrose), Gil Birmingham (Wounded Bird), and James Ward Byrkit (Waffles) Directed by Gore Verbinski (#140 - The Ring)

Review: 
“I always wanted to do an animated movie. I find it to be incredibly liberating as a way of telling a story. It lends itself to more surreal concepts because you’re limited by expectations of total reality and I just think you can have a conversation with a peanut butter sandwich or Miyazaki turns the parents into pigs. You’re limited from the conventions of live action.”

There can be quite a dual nature to the art of finding a way into filmmaking, which is equally appropriate for Gore Verbinski. His first profession was in music, participating in a variety of rock band in Los Angeles as a guitarist. He sold his guitar for a film camera and found himself taking direction for music videos and eventually commercials (you may or may not recognize one of his ads involving frogs for Budweiser). He made his directorial debut with Mouse Hunt (1997) and has continued on with a variety of genres and general use of visual effects, whether that involves horror with The Ring (2002) and A Cure for Wellness (2016) or adventure epic with the first three Pirates of the Caribbean films (2003, 2006, 2007). There are a variety of films that this film took some inspiration from, ranging from films from Chinatown (1974) to El Topo (1970) to The Shakiest Gun in the West (1968). This was the first animation effort from Industrial Light & Magic, who you will have recognized from several films over the years (such as the Pirates of the Caribbean films), with Hal Hickel as animation director. The interesting thing is that Verbinski wanted to capture something "kinetic" with the performances, which involved having the actors perform with costumes and sets to have them feel like they are part of the Wild West, with the audio being lifted for the film, which he aspired to do as a "small" film when compared to his previous features.

A group of Westerns in the era after its golden age of the past try in some way to borrow some of the characteristics from before with their own spin on what the frontier of the Old West means. In this sense, we have a film of identity that draws upon quite a few Westerns in some sensibility that generally works itself out handily in entertainment with some finely-tuned animation and a cast worth following along with in this tale of critters in the desert. It has a strange touch that will appeal fairly equally for adults and children (more so older than younger) without becoming tacked and tacky in execution and charm. Depp is precisely the voice one could want for such an intriguing title character - amusing, wonderful and quite adept at following along in growing confidence as the unlikely sly lizard of the moment that gives a good push without seeming like an eccentric bit for the sake of it. Fisher follows along with capable drive and a zippy rapport with Depp for some moments, while Breslin adds some familiar curiosity in parts. Beatty proves quite enjoyable with a familiar kind of schemer with a folksy voice suited for what is needed to hear on screen. Others prove just as useful, such as Molina or Nighy, while Stanton and Olyphant bring a worthwhile chuckle. On the whole, it generally works out with its humor without seeming too much for whatever particular audience it aims for, finding its stride in a search for identity with interesting animation and a game cast to make a 107 minute adventure that I can recommend without hesitation for some fun.

Overall, I give it 9 out of 10 stars.

Coco (2017).

Review #1016: Coco.

Cast: 
Anthony Gonzalez (Miguel Rivera), Gael García Bernal (Héctor), Benjamin Bratt (Ernesto de la Cruz), Alanna Ubach (Mamá Imelda Rivera), Renée Victor (Abuelita Elena Rivera), Ana Ofelia Murguía (Mamá Coco Rivera), Edward James Olmos (Chicharrón), Alfonso Arau (Papá Julio Rivera), Selene Luna (Tía Rosita Rivera), Dyana Ortellí (Tía Victoria Rivera), Herbert Siguenza (Tío Felipe Rivera and Tío Oscar Rivera), Jaime Camil (Papá Enrique Rivera), Sofía Espinosa (Mamá Luisa Rivera), and Luis Valdez (Tío Berto Rivera) Directed by Lee Unkrich (#074 - Monsters, Inc, #155 - Finding Nemo, #382 - Toy Story 3, and #441 - Toy Story 2) and Adrian Molina.

Review: 
You are likely wondering if there was anything before or after the film. In this case, Olaf's Frozen Adventure, a 21-minute "short" played before the main feature. Long story short, it is a finely animated piece, but I don't see the point of playing this before Coco. Sure, it is a Disney production for a film released by Walt Disney Pictures, but this is something you would see as a television special, not on a big screen. Long story short, it doesn't detract from Coco, but it isn't really anything you absolutely need to see, unless of course you're a huge fan of Frozen. Hopefully you enjoy the following review.

I will admit that I had a fair amount of expectations from this film, likely because Pixar does have a fair (but not perfect) record with their movies, but also because it seemed particularly interesting. Admittedly, there are likely some comparisons that could be made to The Book of Life (2014), but there isn't much point in doing so in my view seeing as I hadn't seen the other film before this (one can likely search the web all they want for the comparisons they desire). In any case, Coco is a wonderful movie, achieving a great look with tremendous animation and a riveting story and cast of characters that surely makes for great entertainment for all audiences. Gonzalez does a fine job as the lead, never approaching the lines of annoyance or unlikeability, while also making his character fairly interesting to follow for the film, and he also does a fairly decent jobs for times when he sings as well. Bernal does a pretty commendable job, having some fine moments of amusements, but he also proves to be an interesting character to follow as well, with him and Gonzalez having pretty good chemistry together. Bratt is enjoyable to watch as well, having a fine amount of charisma that certainly seems believable. The rest of the cast is also fairly pretty good at their roles, each having at least one good moment throughout the film, most of the time having a pretty good effect. The animation is wonderful to watch, having a dazzling colorful effect at times that shows a good deal of creativity and imagination while not distracting one from the story itself. The movie has a fairly cohesive narrative that sticks well enough while also making sure to cover its bases splendidly. Although it has its amusing moments, the movie does manage to create some emotion without feeling fabricated nor overly sentimental. At 110 minutes, it feels like the right kind of run-time for a film like this, although some could find it to be a bit dragged in the beginning, but I'd say that the film is never boring on any level, whether on the eyes or for what the film wants to be about, saying some fairly interesting things about culture and family along with other things that should be watched and not spoiled in a review. This is an easy film for me to recommend because of the elements that make this a clear winner, from its animation to its heart.

Overall, I give it 9 out of 10 stars.