D.E.B.S.

Review #2357: D.E.B.S.

Cast: 

Sara Foster (Amy Bradshaw), Jordana Brewster (Lucy Diamond), Meagan Good (Max Brewer), Devon Aoki (Dominique), Jill Ritchie (Janet), Geoff Stults (Bobby Matthews), Jimmi Simpson (Scud), Holland Taylor (Ms. Petrie), Michael Clarke Duncan (Mr. Phipps), and Jessica Cauffiel (Ninotchka Kaprova) Written and Directed by Angela Robinson (#411 - Herbie: Fully Loaded)

Review: 

"I kind of “riff” on a lot of genre influences in my work, [and] in “D.E.B.S.” I’m constantly quoting other movies. It’s kind of a “mish-mash” of influences."

Sure, why not. This was the feature film debut of one Angela Robinson, a Chicago native who had made a handful of short films for nearly a decade before getting her chance with a studio movie. D.E.B.S. was actually originally a short film done in 2003 that had been sponsored by a grant from POWER UP that came from her inspiration of drawing comics when in college (she studied and graduated from Brown and NYU). The short basically was one where she "was playing with the idea of a really outrageous WB show" (so basically a riff on Charlie's Angels). The result was an a 11-minute short (released in 2003, most notably at Sundance) that Screen Gems liked enough to want to make a feature film of, complete with Robinson at the helm (Jill Ritchie was the sole returning actress from the short). The movie was released to literally less theaters than you could imagine: 45, but somehow it generated a reaction from one producer to eventually spring a deal for Robinson to direct her next film: Herbie: Fully Loaded (2005). Robinson has mostly directed in television (ironically enough, it included an episode of the failed Charlie's Angels reboot). The movie eventually sprung some sort of cult following in the "I checked it out in the video store" sense.

Okay, so we've got a movie about a secret test in the SAT that tests one on recruitment to D.E.B.S: Discipline, Energy, Beauty, Strength. I think you can see where it might lend itself to aiming for goofy parody (complete with plaid skirts), but really you could call it an offbeat romcom (a spy and a kooky criminal) with two women that just happens to be a PG-13 rated movie. It has the hit-or-miss quality in being a parody on the level of say, I'm Gonna Git You Sucka (1988), which basically means you'll either get into the movie and chuckle or will just find it a bit of a lightweight. Eh, I liked the movie fine, mainly because it had the commitment to actually go where it wanted to go without feeling like a slapdashed product, which is more than one can say for certain movies of its ilk. "Camp" or not, one will at least get the impression that Foster and Brewster are having at least some fun trying to establish a repertoire with each other; it's a "meet cute" movie that happens to have a bit of greenscreen, what's not to get? Foster is quite proud of her appearance in the film, stating once that people apparently go up to her and say that the movie made them feel "comfortable being who I am". Her shaky road to realizing what she actually wants (coming of age meets coming out?) is interesting enough to work, mostly because the movie rolls on self-realization that is at least "real". It just happens that Brewster (she's named for a song, heh) has that "it factor" when it comes to charm even in the muddle of hang-up neurosis. You get two people yearning to figure out who they are with someone around them, Brewster just is a bit funnier when accomplishing the sell (you get a scene about accidentally snapping a bra, just to point the goofy stuff). The others are fine here and there in those little side gags (not every parody has that many well-defined people besides "smokes cigarettes" anyway). You get a bit of appearance time from Duncan and Taylor that mostly fill a bit of story time (well okay, Taylor is bitingly interesting, but a regular TV viewer already knows that), which is particularly interesting to reveal that really the "secret test" is all about measuring one's ability to lie (interpret that however you like). Its cheeky enough to get away with cheap gags because it has silly fun and doesn't bite more than it can chew. The 92-minute runtime is about what you might expect in drawing every last little gag you might hear from a spoof, which is fine by me when driving off into the sunset. Ultimately, it is the kind of movie where one can be called a "gay slut" and chuckle with the shallow but committed nature that may just be up your alley, midnight movie or not.

Overall, I give it 7 out of 10 stars.

Talladega Nights: The Ballad of Ricky Bobby.

Review #1706: Talladega Nights: The Ballad of Ricky Bobby.

Cast: 

Will Ferrell (Ricky Bobby), John C. Reilly (Cal Naughton Jr), Sacha Baron Cohen (Jean Girard), Michael Clarke Duncan (Lucius Washington), Leslie Bibb (Carley Bobby), Gary Cole (Reese Bobby), Jane Lynch (Lucy Bobby), Amy Adams (Susan), Andy Richter (Gregory), Houston Tumlin (Walker Bobby), Grayson Russell (Texas Ranger Bobby), David Koechner, Ian Roberts & Jack McBrayer (Hershell, Kyle & Glenn), Pat Hingle (Larry Dennit Sr), Greg Germann (Larry Dennit Jr), Molly Shannon (Mrs. Dennit), Ted Manson (Chip), and Rob Riggle (Jack Telmont) Directed by Adam McKay (#526 - Anchorman: The Legend of Ron Burgundy, #693 - Anchorman 2: The Legend Continues, #1574 - The Big Short)

Review:

There are just a few movies that are inevitable to watch, as I've said before. I was waiting to do this film for quite a while, so why not today - the fifteen year anniversary of its release? It's strange to say this, because I've had a strange time of memories when it comes to NASCAR. Honestly, I remember being a fan of racing as a kid, mostly because my dad was fan of the sport (particularly with Dale Earnhardt, as I recall); I haven't kept up with it as much, but I find it an interesting curiosity (granted, this also applies to the Indianapolis 500 but not so much with Formula One). Honestly, it is probably an interesting task to try and make a worthy movie about stock car racing when the argument about the best one at that point was between Days of Thunder and Cars (of course, one could be charitable and add The Last American Hero)? But hey, one needs a good ballad involving Talladega Superspeedway and the art of racing in the hot sun and hoping to avoid "The Big One", as the saying goes. The idea for the film came to Ferrell and McKay when the former was working on Elf (2003); despite not being huge fans of the sport, they soon got swept up in the phenomenon involved with the track experience (incidentally, Ferrell actually studied sports information at the University of Southern California). This is the second of five collaborations between director/writer McKay and Ferrell (who had met on Saturday Night Live, as McKay worked as a writer and Ferrell as a performer), who each wrote the script for this film. 

It doesn't take too many words to say that I enjoyed this one. It has fun with the sports movie formula (specifically the biopic angle) by coming off as fairly authentic in its enthusiasm for the sport (one filled with cars driving for brands, if you remember) along with having a well sense of timing and improvisation that one can see with the end credits and its various takes on certain little moments that never rides a gag for too long or overstay its welcome in 108 minutes. It rides the wave of clichés well, extolling itself about family and the spectacle of victory without condensation or fluff. Ferrell plays the title role with great relish, confident in his timing that lends itself to plenty of zingers and brash charm beyond just the race track. Reilly makes a worthy counter to Farrell, a useful second fiddle with earnest infectious charm, while Cohen zings his way through eccentricity as the main foil that plays to consistent chuckles when paired with Farrell in any type of scene, which either involves a friendly conversation about broken arms/crepes to the nature of needing to beat the other at driving. Duncan was always a solid character presence, and he certainly makes his little moments count for what is needed, made clear with an amusing sequence where he and Reilly try to "gently" help Farrell's character out of a chair and end up with two knives. The rest of the cast make it count fairly well with chuckles and warmth, whether that means with the transient (and brilliant) Cole or zippiness in Adams or even with the snappy Tumlin & Russell (Bibb and Lynch each serve as worthy counterparts to Ferrell, lest I forget). Germann rounds it out as the occasional straight man (paired at times with a spirited Shannon, naturally) that fits the film to a T with amusement that keep the film on its feet without seeming beholden to desperation; the races don't dominate the focus of the film, but one gets their fill and enjoys what they see from Talledega and perhaps sees the appeal of what draws folks to a place in Alabama every year. As a whole, it moves through its arc of rip-roaring racing and humor with plenty to offer for those who seek a feature that has not lost any steps to time that might be McKay and Ferrell's most solid work together, one for the folks who desire a bit of speed in their lives along with someone to go with it.

Overall, I give it 9 out of 10 stars.

The Green Mile.

Review #1522: The Green Mile.

Cast: 
Tom Hanks (Paul Edgecomb), David Morse (Brutus "Brutal" Howell), Bonnie Hunt (Jan Edgecomb), Michael Clarke Duncan (John Coffey), James Cromwell (Warden Hal Moores), Michael Jeter (Eduard Delacroix), Graham Greene (Arlen Bitterbuck), Doug Hutchison (Percy Wetmore), Sam Rockwell (William "Wild Bill" Wharton), Barry Pepper (Dean Stanton), Jeffrey DeMunn (Harry Terwilliger), Patricia Clarkson (Melinda Moores), Harry Dean Stanton (Toot-Toot), Dabbs Greer (Old Paul), Bill McKinney (Jack Van Hay), Brent Briscoe (Bill Dodge), Eve Brent (Elaine Connelly), and William Sadler (Klaus Detterick) Written and Directed by Frank Darabont (#1506 - The Shawshank Redemption)

Review: 
"I think it's the basic need for all of human kind to be a part of something bigger than themselves because as actors we get to create that."
"The notion that we can be better than we are, as human beings; that there’s a bar that can be raised in all of our lives. And that there are certain acts of incivility that we should no longer indulge in. Maybe we should try to do a little better."

The 1990s had a plethora of memorable Tom Hanks performances that turned him from just a star in comedies into an icon. The California native had done plays in high school and at Chabot College and California State University, Sacramento before dropping out to do work with the Great Lakes Theater Festival in Cleveland. He did theater work for a few years (doing three years at the Lakewood Civic Auditorium) before venturing into film with He Knows You're Alone (1980) and television with Bosom Buddies (1980-82). Splash (1984) was his first starring role, which proved beneficial to his career in leading to more comedy roles and a gradual shift to drama with films such as Big (1988). While the 1990s started off with flops like The Bonfire of the Vanities (1990), he proved himself in the following years with neatly-picked roles suited to his personality that resulted in praise, with numerous highlights being iconic ones like Philadelphia (1993), Forrest Gump (1994), and Toy Story (1995). Coincidentally, Hanks was once thought of to star in The Shawshank Redemption before turning it down to commitments, but Hanks found himself onto this film after Darabont's first preference of John Travolta fizzled out. This was also the first major role for Duncan, who had worked odd jobs such as a bouncer/security guard and bit roles before having a break with Armageddon (1998, which he did when he was 40 years old) that led to a recommendation by none other than friend and actor Bruce Willis in this role.

The source material that this is adapted from is the serial novel of the same name, published from March to August 1996 as six paperback volumes (all except the last were 96 pages). There are a few differences between the two works, such as the change in year from 1932 to 1935 (Top Hat, the film with a significant part to play in the story, was released in the latter year), while certain characters are excluded (such as a vicious orderly present in the bookends that Darabont felt was beside the point). Ultimately, what we have here is a nicely-done fable, one that captures a sense of miracles with dignity and emotional power that makes an fairly watchable experience like no other. If it isn't as striking in depth as Darabont's other adaptation of a King work about prison in The Shawshank Redemption, it is at least spirited enough to maintain enough reason and hope to make its lasting point all the more endurable. It sits well with mature audiences without seeming too wistful in 189 minutes to the point of sanctimony, building its foundation with its bookend aspects in Greer that keep its lasting words about miracles and other ideas that can be interpreted with thought by viewers with the patience to do so and linger with it.

Undeniably, the cast live up to the period piece fable staging with care. Hanks proves charming in everyman consistency, sinking into manner of dignity and curiosity for those he works with in a place of officers and a cell of doomed men. Morse accompanies him as the lead focus of officers to view, maintaining a spirited patience that contributes well to the sequences within the prison in pragmatism. It is Duncan who shows the best presence with his time needed, a force of nature that inspires the passion and pan that comes with someone who pulls off sensitivity and conviction with no trouble at all, seeming one with the world and with us in a world that seems to just have pain. Hunt and Clarkson accompany the film with fair importance that proves useful, whether in grace or in withered nature. Jeter provides a little warmth within the bars, while Hutchison makes a tremendously slimy bully with accomplishment. Rockwell taps into wild evil with careful energy that could have been thought of as just a loon in lesser hands but seems quite underlying in creepiness with him. Cromwell does fine in hard-lined moments while Stanton provides a chuckle in his one key scene involving a execution rehearsal.

There were various filming locations that ranged from studio work at Warner Bros along with the Tennessee State Prison to go with custom-built interior sets from Terence Marsh to depict a sense of space and mystery in those prison scenes, which are quite effective. In its fable of miracles and pain, one has time to ponder upon its style and its weaving of story threads that make an experience that can inspire curiosity alongside revulsion, such as during its first hint of a miracle or a disastrous execution in the chair, respectively. It makes us want to think a bit more clearly about life, or more specifically the joys and pains that can come from such an emotional release that comes from something like this. It isn't completely perfect in its road to perdition in all of its time spent, but I find it worth at least one watch, particularly if one is looking for a Stephen King adaptation with an accomplished director and stars behind it.

Overall, I give it 9 out of 10 stars.

The Whole Nine Yards.

Review #1074: The Whole Nine Yards.

Cast: 
Bruce Willis (James "Jimmy The Tulip" Tudeski), Matthew Perry (Dr. Nicholas "Oz" Oseransky), Rosanna Arquette (Sophie Oseransky), Michael Clarke Duncan (Franklin "Frankie Figs" Figueroa), Natasha Henstridge (Cynthia Tudeski), Amanda Peet (Jill St. Claire), Kevin Pollak (Janni Gogolak), and Harland Williams (Special Agent Steve Hanson) Directed by Jonathan Lynn

Review: 
This is the kind of film that will linger on a movie shelf for years that you notice one day, and it inspires you to ponder on how it sat there - and the question pretty much remains prevalent even if you watch it. This is an easygoing kind of film, not having anything too particularly funny, but also nothing too particularly awful to it either, having a fine cast for a black comedy that will elicit some laughs.  At 98 minutes, it doesn't come off as a tiresome dredge, so there's that going for it. The story has its bits of turns, blurring the lines of cliche and clever at times in its execution. I did find it amusing that it's set in Montréal, though. Willis does a fine charming job with the slick role he is given, exuding a manner that is fairly amusing. Perry does a decent job, garnering a few laughs and making for a fairly watchable one to pair off Willis at times that doesn't get too grating. Arquette is fairly grating, as per the script, and the French accent does tend to border a bit on Inspector Clouseau at times - but I can't say I'm too surprised at that, so annoying or not, she is an okay adversary I suppose. Duncan does his enforcer well fairly well, complete with a bit of charm. Henstridge is fairly intriguing, having slight chemistry with Perry.  Peet delivers a fairly charming performance for the time she is on screen, managing to elict some laughs with a charm and style that makes her irresistible to watch. If you find the film something that engages you with its good intentions of dark-ish humor, you will find something worth watching; on the other hand, if you find the humor to be a bit like a sitcom without much bite, you might see the film as an afterthought. I didn't feel bored all too often, and I felt it was at least an okay crime comedy, so take that for what it's worth. It isn't a classic in any sense, but it will probably satisfy the curious tastes of most of the people picking it out. For me, it's just okay. It isn't a classic in any sense, but it is at least entertainment that succeeds - for the most part.

Overall, I give it 7 out of 10 stars.

Planet of the Apes (2001).

Review #969: Planet of the Apes.

Cast: 
Mark Wahlberg (Captain Leo Davidson), Tim Roth (General Thade), Helena Bonham Carter (Ari), Michael Clarke Duncan (Attar), Paul Giamatti (Limbo), Estella Warren (Daena), Cary-Hiroyuki Tagawa (General Krull), David Warner (Senator Sandar), Kris Kristofferson (Karubi), and Erick Avari (Tival) Directed by Tim Burton (#040 - Batman, #107 - Beetlejuice, #132 - Alice in Wonderland, #196 - Charlie and the Chocolate Factory, #262 - Corpse Bride, and #316 - Batman Returns)

Review: 
On the cusp of a new film from the Planet of the Apes franchise (of which I've covered three of them: #347 - Planet of the Apes (1968), #615 - Rise of the Planet of the Apes, #662 - Beneath the Planet of the Apes) , I figured that it made sense to cover the 2001 film of the same name that was a remake and an attempt to start the franchise up again; I remember my dad watching this on DVD one quite a bit when I was growing up, and the only part I remember vividly was the ending, so perhaps that colors my thoughts on the movie (although it is the probably the only part of the film anyone remembers). Not only does it try to be based of the 1968 film, it also is based off the novel La Planète des Singes (known in English as Planet of the Apes) by Pierre Boulle. So how does this "reimaging" do?

How is it a movie with a good deal of production value like this manage to feel so shallow? What is it about this movie that springs an energy of mild but not quite there sense of entertainment? How is this not as good as the original? Unlike the ending, these are questions that the movie can provide answers for. The easiest way to say why the movie isn't particularly exciting is the fact that the story and some of the acting seem hollowed out and not as appealing as in the original 1968 film. Wahlberg doesn't do a terrible performance, but he also never really springs much enthusiasm as a lead hero; even a scene where he laments the loss of a crew looking for him doesn't have much emotion to it. It's not that he is inherently unlikable, it's just that he also isn't inherently one to really root for. Not to compare it with the original too much, but Heston's character was someone the audience could go for and want to see succeed, and he actually viewed the environment he landed in with a better sense of shock, as opposed to Wahlberg's space jockey attitude. Technically he has two love interests in the film, though neither have particularly good chemistry with him and it predictably goes nowhere. Roth steals the show with his militaristic, scenery chewing performance that gives the film a bit of life, even if his fate is somewhat of a letdown. Bonham Carter is fairly decent, but she doesn't really give too much depth or life to the character that one probably would've wanted from the role. Clarke Duncan and Hiroyuki Tagawa are fairly decent standouts as well; Warren doesn't really have too much expression nor impact, and Giamatti does fine in a smarmy role that probably had more screen-time than it probably should've had. Charlton Heston has an uncredited cameo appearance, having a somewhat pivotal role that is interesting in the one scene he appears in. The prosthetic makeup by Rick Baker is commendable and quite an upgrade from the original, with this likely being the only shining achievement in the movie. The plot is a bit muddled, and with no real character to go for and care about, there isn't much to want to watch happen. It's watchable as an action flick, but not so much as a science fiction movie. Burton does direct the movie fine enough, with the movie looking pretty decent, but the way that the movie operates with its characters sinks its hopes.

And of course there's the ending. To some, the ending could be viewed as a reasonable way to end the movie and leave the possibility of doing a sequel (as Burton has stated), or it could be viewed as one that doesn't make much sense. It's interesting, considering the ending falls in line with the novel that it is based off of. For me, it was weird watching the movie in full and then getting to the ending and finding myself giggling at it. Who knows how Thade beat Leo to Earth? Who can care to speculate about what the ending is supposed to mean? After all, this is a movie that never really kicks into full gear, with the ending that is like the movie: mild, without much substance. It's not awful, but it also doesn't feel entirely necessary either.

Overall, I give it 6 out of 10 stars.

Movie Night: Daredevil.

Review #443: Daredevil.

Cast
Ben Affleck (Matt Murdock/Daredevil), Jennifer Garner (Elektra Natchios), Colin Farrell (Bullseye), Michael Clarke Duncan (Wilson Fisk/The Kingpin), Jon Favreau (Franklin Nelson), Joe Pantoliano (Ben Urich), and David Keith (Jack Murdock) Directed by Mark Steven Johnson.

Review
On November 2, 2006, Ben Affleck stated his disintrest in being Daredevil again, saying "by playing a superhero in Daredevil, I have inoculated myself from ever playing another superhero... Wearing a costume was a source of humiliation for me and something I wouldn't want to do again soon". Irony is a terrible thing isn't it? Yes, Ben Affleck will be Batman. Yes, I would've liked to hear about much better things, like a Wonder Woman movie, or when the Hulk will get a film that will actually get a sequel. But hey, at least Affleck has some experiance as a costumed hero, and it was a success, right?...Sort of. It was a financial hit when it first came out, and yet all that this inspired was an Elektra spinoff...and no sequels. It's a stand alone film, and an unfocused one at that. My first question for this film came when you first see Daredevil's costume. Maybe it's just me, or my complete non knowledge of the comics, but Daredevil's costume is hilarious. Maybe it's the shade of red, or how it looks at night, but it looks very funny. The film starts off...normally, and the action is okay, and than we get introduced to Elektra 30 or so minutes in. You'd think that the subplot between Elektra and Daredevil would be entertaining, but it's mild in its approach, and it makes you yearn to see the over the top Colin Farrell (Who I last saw being harassed by Kiefer Sutherland in Phone Booth), or wonder why Michael Clarke Duncan isn't seen in this film too much even though he is an entertaining villain. Affleck isn't too bad, and I admire his attempt to be like the character because he apparently read the comics as a kid. The film...just can't support itself. It's not a great or good comic book film, but it could be passable for some, and I give this more credit then other early 2000's comic book movies (Catwoman, Fantastic Four, or even Green Lantern) that weren't as good. I've heard that people like the Director's Cut more than the original version, but at this point I just want to keep this review under a millenium words long. Countdown to 450 Reviews: 10, 9, 8, 7...

Overall, I give it 5 out of 10 stars.

Movie Night: Green Lantern.

Review #220: Green Lantern. Cast Ryan Reynolds (Hal Jordan / Green Lantern), Blake Lively (Carol Ferris), Peter Sarsgaard (Hector Hammond), Mark Strong (Sinestro), Angela Bassett (Dr. Amanda Waller), Tim Robbins (Senator Robert Hammond), Temuera Morrison (Abin Sur / Green Lantern), Geoffrey Rush (Tomar-Re / Green Lantern), Michael Clarke Duncan (Kilowog / Green Lantern), Taika Waititi (Thomas Kalmaku), and Clancy Brown (Parallax) Directed by Martin Campbell (#173 - Goldeneye, #285 - Casino Royale) Review My first question is: "This was made for how much?" The answer is $200 Million, which is odd, given that this film doesn't look like it. This is Warner Brothers' attempt to venture into a different superhero not named Batman or Superman. And it...doesn't work out well. The biggest problem is that it has tries for more style then substance. Reynolds is allright, given what he has to work with, but the other characters aren't really memorable. I kept calling the others "girl interest", and "Guy with effects make him look like the kid from Mask". The effects aren't even that memorable. My question is "How come the costume looks CGI and not just something they could've made?" Is it me or does Jordan's mask look like a [green] Fruit Roll-Up stretched out? Maybe it's just me. All in all, the film just isn't as memorable, and is a failure by Warner and DC to have a new hero franchise to rival Marvel (Which already has a giant head start that won't end anytime soon) But Reynolds is succeeding either way (Given that he'll be playing Deadpool a few years from now) And lastly, this film blows the opportunity for Lantern to rise to something more. Overall, I give it 5 out of 10 stars.

Movie Night: The Island.

Review #129: The Island.

Cast
Ewan McGregor (Lincoln Six Echo/Tom Lincoln), Scarlett Johansson (Jordan Six Delta), Sean Bean (Dr. Merrick), Djimon Hounsou (Albert Laurent), Steve Buscemi (James McCord), and Michael Clarke Duncan (Starkweather Two Delta). Directed by Michael Bay (#057 - Transformers and #058: Transformers: Revenge of the Fallen)

Review
This film has Michael Bay directing, so...Minus three points already (I kid, ratings don't go like that). Anyway, the film is an mix of science-fiction films such as Logan's Run and Fahrenheit 451, with a reasonable plot. The acting is good, especially from McGregor, Johansson, Buscemi, and Duncan (being important in the beginning) The beginning is interesting, making you feel invested not for the action (which comes in the second part), but for the actual plot for once. However, the action starts to seep in, and it is mediocre, as we've seen this before and before (and later and later from Bay...), with the plot unraveling a bit, yet the film still works to be an alright film.

Overall, I give it 7 out of 10 stars.