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.

Hugo.

Review #1559: Hugo.

Cast: 

Asa Butterfield (Hugo Cabret), Chloë Grace Moretz (Isabelle), Ben Kingsley (Georges Méliès / Papa Georges), Sacha Baron Cohen (Inspector Gustave Dasté), Ray Winstone (Claude Cabret), Emily Mortimer (Lisette), Jude Law (Mr. Cabret), Helen McCrory (Jehanne D'Alcy / Mama Jeanne), Michael Stuhlbarg (René Tabard), Christopher Lee (Monsieur Labisse), Frances de la Tour (Madame Emile), and Richard Griffiths (Monsieur Frick) Directed by Martin Scorsese (#990 - Taxi Driver, #992 - The King of Comedy, #1276 - Mean Streets, #1463 - Raging Bull, #1496 - Goodfellas, #1544 - The Departed)

Review: 

"And in my film, the cinema itself is the connection--the automaton, the machine itself becomes the emotional connection between the boy, his father, Méliès, and his family. It's about how it all comes together, how people express themselves using the technology emotionally and psychologically. It's the connection between the people, and the thing that's missing--how it supplies what's missing." - Martin Scorsese

"Every second the actor playing different scenes ten times has to remember, while the film is rolling, exactly what he did at the same point in the preceding scenes and the exact place where he was on the stage." - Georges Méliès

Yes, this is a film by Martin Scorsese, but as is the case with his films, there is certainly more than meets the eye with that statement. In this case, one can start with a legendary director that lived over a century before this film existed with Georges Méliès. He has been long overdue for a spotlight with his films (or at the very least more than one sentence), as he did a large amount of films (most of them falling under the category of "short", but this was late 19th/early 20th century filmmaking). He was inspired to create from a young age, whether that meant drawing all over his books or with puppet-making. As one might see from the film, he developed an interest in stage magic, which led to him having his own theatre to do said performances; he did indeed find inspiration with a showing of the Lumière brothers' cinematograph in 1895 (attempts to buy it were unsuccessful, but by 1896 he had found a projector to use and modify as a camera for his films). He made over 500 films in his lifetime (although less than half survive), with the most obvious highlight being A Trip to the Moon (1902), displaying the first iconic shot ever put to film that is shown a century later with this feature. Melies declined by the end of the 1910s due to a variety of factors ranging from World War I to finances, though he did find a living working a candy/toy stand in the Gare Montparnasse, while having a rediscovery from journalists prior to his death in 1938, which included the Chevalier de la Légion d'honneur alongside a variety of future influences.

The film is adapted from 2007 novel The Invention of Hugo Cabret by Brian Selznick, with John Logan serving as screenplay writer. One can hope that they do not grow tired of seeing a director's vision come out on screen with such interest and efficient, regardless if it is a great director or not. It is interesting in that sense to see a film from Scorsese aimed differently from his usual audience - basically, one can watch the film with their children or by themselves and have a good time. It is a film with a deep respect for its audience alongside cinema that makes for a fairly fabulous achievement (one filmed in 3D, although obviously I can't recreate the experience of said 3D). The film runs at a generally enjoyable pace at 126 minutes that unfolds itself and its surroundings with careful planning that makes a worthy adventure with plenty of visual appeal while also drawing upon the past with a well-touched stroke of the pen. The film is tasked with needing two worthwhile child actors to bridge key gaps in the film, and Butterfield and Moretz do fairly well with generating the presence needed to capture the wonder and curiosity needed from each that should be expected from films like this. Kingsley is capably up to task with inviting mystery and interest in those moments he is around, particularly when explaining who he was as compared to now. Cohen is up to task in some bumbling amusement without preening distraction, proving a useful foil and occasional focus. Others have smaller focus but do just fine with those little moments, whether that means a dutiful Stuhlbarg or Lee (who can make a few lines seem fun even after over 200 appearances, the most appropriate person for a love letter to cinema). It drives an interesting mystery well enough to useful conclusions that run the expected gamut of emotion with a nice atmosphere and understanding from Scorsese and his crew that lands for those who desire something with a mostly consistent balance of first and second half to go with a game cast for a worthwhile feature for its crowd of cinema and beyond.

Overall, I give it 9 out of 10 stars.

Movie Night: Madagascar 3: Europe's Most Wanted.

Review #651: Madagascar 3: Europe's Most Wanted.

Cast
Ben Stiller (Alex), Chris Rock (Marty), David Schwimmer (Melman), Jada Pinkett Smith (Gloria), Jessica Chastain (Gia), Bryan Cranston (Vitaly), Tom McGrath (Skipper and First Policeman), Chris Miller (Kowalski), Frances McDormand (Captain Chantel DuBois), Sacha Baron Cohen (King Julien XIII), Martin Short (Stefano), John DiMaggio (Rico), and Christopher Knights (Private) Directed by Eric Darnell (#154 - Madagascar 2, #165 - Madagascar, and #254 - Antz), Conrad Vernon (#162 - Shrek 2) and Tom McGrath (#154- Madagascar 2, #165 - Madagascar, and #195 - Megamind).

Review
The first two Madagascar films were alright, not too shabby. 7/10 star ratings, but again, decent enough and entertaining enough for at least children or teens. But hey, what do I know, right? Anyway, the third movie is more wild, more ambitious and also more entertaining. The animation this time is really good, I especially like the circus show with the use of black lights and trapeze work. It's so colorful to watch, and the use of "Firework" oddly enough goes really well with the scene, which is about as wild as you expect. The characters (old and new) are entertaining, especially Bryan Cranston, though admittedly that maybe just my preference for the rugged but entertaining to watch actor. Or maybe I just have Malcolm in the Middle (go watch it if you haven't already) on the mind, but whatever. The comedy is more fun to watch, and most of that comes from how awesomely insane the villain is, I especially like the scene where McDormand sings "Non Je Ne Regrette Rien". It comes out of nowhere, and the character reactions to the song are just priceless. Is the plot anything special? Probably not, but it makes up for it by having enough enjoyment and just having fun. Is it great? Not really, but it is better than the first two films, which I guess matters the most.

Overall, I give it 8 out of 10 stars.

Movie Night: Madagascar.

Review #165: Madagascar.

Cast
Ben Stiller (Alex), Chris Rock (Marty), David Schwimmer (Melman), Jada Pinkett Smith (Gloria), Sacha Baron Cohen (King Julien), Cedric the Entertainer (Maurice), Andy Richter (Mort) Directed by Eric Darnell and Tom McGrath (#154 - Madagascar 2)

Review
Madagascar isn't a perfect film, but it is a good film. It is better then Shark Tale and Shrek the Third, but it isn't better then Shrek 2 or Chicken Run. The voice acting is good, especially from Stiller and Rock. The plot is decent, as this film entertains with bright animation, a decently catchy song, and some subtle jokes at points. The film is the start of a franchise (with the second film having already been reviewed). This ends Part VI of Dreamworks Animation Week. Stay tuned for Part VII...

Overall, I give it 7 out of 10 stars.

Movie Night: Madagascar 2.

Review #154: Madagascar 2.

Cast
Ben Stiller (Alex the Lion), Chris Rock (Marty the Zebra), David Schwimmer (Melman the Giraffe), Jada Pinkett Smith (Gloria the Hippopotamus), Sacha Baron Cohen (King Julien the Lemur), Cedric the Entertainer (Maurice the Aye-Aye), Andy Richter (Mort the Lemur), Bernie Mac (Zuba the Lion), and Alec Baldwin (Makunga the Lion) Directed by Eric Darnell and Tom McGrath.

Review
I should mention the original title is "Madagascar: Escape 2 Africa" I was tempted to type it to confuse people or make them wonder who would have this kind of grammar. Anyway, this film is essentially a mash of the first and The Lion King, but despite that, this film still works. The voices are alright, as this film has charm to make you entertained for its relatively standard 89 minutes. Dreamworks Animation and Pixar are both decent studios. Pixar better than others. This is decent at best, not the worst or the best of DreamWorks I've seen.

Overall, I give it 7 out of 10 stars.