70 posts categorized "PG-13"

07/23/2010

'Salt' implodes in the gender blender

The "Salt" talks have begun, and my inner voice won't stop jabbering about how old fashioned, clunky and preposterous Angelina Jolie's new action flick turned out to be.

Jolie's over the top woman-of-action extravaganza isn't quite enough to make me wish she'd just resurrected Lara Croft for a little more fantasy tomb raiding, but it's darn close.

"Salt" benefits from some great timing.  The movie studio publicity mill is probably downright gleeful about opening a movie about deep-cover spies when the evening news mirrored the theme with busted Russian spies in this country who were outed and traded for detained Americans (also accused of spying).

That's not my beef with "Salt."  In fact, good for them on the timing issue.  My problem is that this tale of a CIA operative on the run after being accused of being a deep-cover operative was originally written for a male star.  In fact, Tom Cruise's name has been mentioned a couple of times.

I have no problem with the gender switch, except that Evelyn Salt (Jolie), originally named Edwin Salt, kicks some very serious male buttocks almost constantly in one of the summers most action-packed thrillers.  Think "Iron Man" without the suit.

Make no mistake about it, Salt is one bad dude.  Sorry, woman.  But as she goes rogue and fights for her life she's not duking it out with untrained yokels.  She's enraged because of a plot twist I won't reveal here, so Evelyn's obviously pumped with adrenaline.

But Ms. Salt assaults and takes down highly trained CIA operatives, Secret Service agents and Russian assassins in groups, not just one at a time.  I had a little problem with that, especially since it happens over and over.

Liev Schreiber and British actor Chiwetel Ejiofor play constantly squabbling government agents in hot pursuit of Salt quite well.  Better than this star vehicle with the pedal to the action metal deserves, really.

Australian director Philip Noyce, who put Harrison Ford through his Jack Ryan paces with  "Patriot Games" and "Clear and Present Danger" in the early and mid '90s, hasn't made a movie since "Catch a Fire" in 2006.  He's worked with Jolie before, though.  She co-starred with Denzel Washington in "The Bone Collector" with Noyce in the director's chair in 1999.

What have you done for me lately is what matters when the screen lights up these days, of course.

Noyce puts his camera in all the right places and the action is spectacular at times.  But Kurt Wimmer's ("Law Abiding Citizen," "Ultraviolet") script often feels cobwebby.

And Jolie?  She's a very capable actress; an Oscar winner, in fact. ("Girl, Interrupted").

She's just not a guy.  Unfortunately, this actioner cries out for a male anti-hero.

06/30/2010

Acting and other 'Twilight' things that bite

Lines that are not in "The Twilight Saga:  Eclipse," but should be.

Edward Cullen, perpetual teen vampire:  "Wanna grab a quick bite after graduation?"

Bella Swan, pouting graduating senior virgin human two-timer who's constantly teasing a certain vampire and a certain perpetually shirtless werewolf:  "Yeah, and a cool one."

We might as well joke about "Eclipse," the third "Twilight" movie.  This monster-human romance series has continually morphed into a spoof of itself ever since filmmaker Catherine Hardwicke, a Texas native, left or was given the boot after the initial "Twilight" in 2008.

Hardwicke launched the teen-scream franchise with a decent enough teen vampire/civilian moody blue love story.

The franchise has gone down thrill ever since.

The acting is more stilted with each outing, even from capable Dakota Fanning in her second cameo in this one as Jane, a member of the Volturi (a vampire ruling group).

British director David Slade, who takes over the franchise with No. 3, made a real movie (with real dialogue, real drama and stuff) titled "Hard Candy" in 2005.  He followed-up with the eerie vampire monster mash "30 Days of Night" in 2007 and should have left his bloodsucking horror helming at that.

There's nowhere to go with the "Twilight" franchise, except to orchestrate the further slide down the slippery slope into a perfect storm of pop culture phenomenon, young teen girls with a crush on a dreamy big-screen, milk-faced imaginary boyfriend ("Oh, he bites?  Well, nobody's perfect.") and peer pressure to jump on the latest pop bandwagon.

In Episode 3, based on Stephenie Meyer's novel "Eclipse" and once again adapted by Melissa Rosenberg, the folks of Forks, WA are gearing up for high school graduation.  Bella (Kristen Stewart) isn't sending out invitations or applying to any colleges, though.

The forever glum "Twilight" ingénue spends her time sitting in a field of wildflowers discussing when she and 100-year-old teen vampire boyfriend Edward (Robert Pattinson) are going to "do it," which, of course, means to turn her into an immortal so they can live happily ever after and after and after.

Now this is shocking.  I mean, a vampire able to sit comfortably outside in broad daylight?  Who signed off on a complete disregard for vampire rules?  Is nothing sacred in schlocky monster-horror flicks anymore?

Putting that monumental problem aside for a second, nothing much of interest happens in the second "Twilight" sequel.  Edward and ab-noxious, muscle-flexing werewolf rival Jacob Black (decent actor Taylor Lautner) are forced to form an uneasy alliance, which is no big whoop.

A Newborn Army of blood-thirsty vampires is strolling down through the woods from Seattle to have a go at ripping Bella to shreds.   She has little time to worry about such things.  Bella has more pressing problems, like juggling bracelets given to her by each of her beast beaus.

The jugular will just have to wait until the next sequel.

That one should be titled, but isn't, "Twilight's Last Gleaming."

06/25/2010

Boys, even as 'Grown Ups,' will be boring

What do you get when you send a gaggle of decent comics and a dozen or so support players out to a lake house to make a movie comedy about old pals?

Not much.  And, oh yeah, "Grown Ups."

Adam Sandler, who played a comedian who thought he was dying last year in "Funny People," really does die comically in this dismal ensemble series of tasteless sight gags about passed gas, a dog with his vocal chords slashed and an arrow through the foot (not once, but twice).

And, oh yeah, Sandler's comic pals Kevin James, Chris Rock, David Spade and Rob Schneider die right along with him, as do former "Saturday Night Live" alums Maya Rudolph, Colin Quinn, Tim Meadows, Tim Herlihy and Norm Macdonald.

The idea, co-written by Sandler and former "Saturday Night Live" scribe Fred Wolf ("Strange Wilderness," "Without a Paddle" and "Joe Dirt," if that tells you anything) is this.

Five starters on a boys basketball team reunite 30 years later at the lake house where they celebrated a city championship.  They bring their families.  In the rush to pack, however, they forgot to bring the funny.

Comedy is hard.  Ensemble comedy is even harder because the jokes must be divvied up.  Sadly, "Grown Ups" is just hard to watch.

Even though this movie has a script and is allegedly directed by Dennis Dugan ("Happy Gilmore," but also "I Now Pronounce You Chuck & Larry"), it wanders aimlessly through trite lowbrow humor and boys-will-be-boys gawk sessions at some of the females in the cast.

Speaking of the women unfortunate enough to be part of all this, Maria Bello ("Thank You for Smoking," "A History of Violence") draws some laughs as "got milk" mama Sally Lamonsoff.  Salma Hayek, now acting under her married name Salma Hayek Pinault, doesn't embarrass herself as Roxanne, Sandler's on screen fashion designer wife.

"Grown Ups" reminds me of the awful 2004 con-man comedy "The Big Bounce."  Owen Wilson, Charlie Sheen, Morgan Freeman and country crooner Willie Nelson all looked like they were having a blast hanging out in Hawaii for that one.  But the movie sucked.

Change the beach to a Massachusetts lake front and the players to Sandler and the gang (including his wife and kids in small roles), and the results are unfortunately the same.

A good time must have been had by all ... on the set.  Not so much for those of us in the audience, though.

06/23/2010

Cruising for a bruising with Tom & Cameron

There's a lot to like about "Knight and Day," the high-octane starring vehicle for Tom Cruise and Cameron Diaz.

The source material is the first element to admire.  This fast-paced three-step with romance, danger and comedy didn't evolve from someone's novel, or leap over tall buildings to get to the movie house from a comic book.  It didn't even morph from some computer geek's video game.

"Knight and Day" found life in something called a movie script.  Novel idea, that.

Screenwriter Patrick O'Neill, a former TV writer ("Dead Last"), came up with the story; a globe-trotting action-comedy about a mysterious secret agent who may or may not be the good guy and a civilian sucked into fast-paced, bullet-dodging danger via a seemingly random collision with a handsome stranger at an airport.

June Havens (Diaz) boards a plane in Wichita, Kan. to attend her sister's wedding in Boston.  That guy with the wide grin and the sunglasses from the earlier encounter is flirting a little with her.  So June excuses herself to go to the lavatory to sort things out.

When she returns to her seat, Roy Miller (Cruise), the suave guy, offers her a drink and the news that everyone on the plane is dead, including the pilots, and they are about to have an up-close and personal look at the cornfields of Indiana.

What follows is a series of spectacular action set pieces at various take-your-breath-away locales around the world from Austria to Seville.  The bad guys (or the real good guys?)  led by CIA agent Fitzgerald (Peter Sarsgaard of "An Education") and Roy shoot it out and duke it out for control of a new, high-tech energy source.  

As if it's not enough to bring in Paul Dano (the brooding teen of "Little Miss Sunshine") as Simon, the brilliant young inventor, "Knight and Day" throws in Spanish star Jordi Mollà ("Blow," "Bad Boys II") as Antonio, a weapons kingpin.

With homage to classic globe-hopping adventures like "North by Northwest" and "Charade," "Knight and Day" goes through the exotic motions with a light heart and an itchy trigger-finger.

We can thank very good director James Mangold for the fact that it works.  Mangold injected vibrant new life into both the musical biopic and the Western with "Walk the Line" in 2005 and "3:10 to Yuma" two years later.  There's no secret ingredient to making a film like this work.  Just pair up two exceptional movie stars and hope that when you light the chemistry dynamite it goes off.

That formula only half-ignited when Brad Pitt and Angelina Jolie stepped in front of the camera as a bored married couple who (unbeknownst to each other) were also highly trained assassins in "Mr. and Mrs. Smith" (2005). 

Cruise and Diaz shared the screen in the decidedly different sci-fi thriller  "Vanilla Sky" in 2001.  They have a delicious rapport in this one.  They go about their sometimes silly business as the seasoned professionals they are.  I could do without the "varooming with the bulls" scene where Cruise (who loves to hop a Harley in his movies) and Diaz flee a stampede on a motorcycle.

Otherwise, "Knight and Day" rocks as a very good date movie with fast-action for the guys and romance for the ladies.

06/11/2010

'The A-Team': On the rogue again

Welcome to '80s Reboot Week at your neighborhood movie house.

Film-goers might just feel like they're in a time warp as they stroll multiplex hallways and see the re-imagined "Karate Kid" in one theater and a reconfigured "A-Team" in another.

It should surprise no one that "The A-Team" is a B-movie.

The campy TV action series that occupied NBC prime time from 1983 to 1987 provided an action fix, not logic.  The redux tones down the campy nature a little.  You'll never hear B.A., Mr. T's old character, growl, "I pity the fool," for instance.  Audiences are more sophisticated these days, according to the "A-Team" words of wisdom spun in the film's press notes.

This time we get nuance, if you'd like to call it that.  The first time B.A. batters bad guys with his fists, we notice the word "Pity" tattooed on the fingers of one hand and -- don't get ahead of me -- "Fool" on the other.

Mixed martial artist Quinton "Rampage" Jackson steps in as B.A., the A-Team wheel man who's in the wrong line of work to have a serious fear of flying.  At the center, though, is Liam Neeson as cigar-chomping leader and tactician Col.  John "Hannibal" Smith (the George Peppard role).  

Rising star Bradley Cooper ("The Hangover," "All About Steve") is Face, designated ladies man and sm-o-o-o-th talker.  Sharlto Copley, who sprang to the forefront from nowhere as Wikus in last year's "District 9," steps into the role of crazed-genius pilot "Howlin' Mad" Murdock.

Co-stars include excellent actor Patrick Wilson ("Watchmen") as mysterious CIA weasel Lynch, Jessica Biel ("The Illusionist") as Capt. Sosa, a former love of Face's, and somewhat laughable lines like this:

Face to Capt. Sosa during a heated confrontation:  "I forgot how beautiful you are."

"The A-Team," lensed north of the border with the Vancouver area of Canada doubling for Mexico, Baghdad, Germany, Los Angeles and other locales, rattles the theater speakers and singes the screen with plenty of fast-paced adrenalin-pumping explosions and near-cartoon-like action.

These special ops experts survived combat in Middle East conflicts.   The '80s quartet cut their teeth on napalm and treachery of the Vietnam War era.  Both sets of misunderstood soldiers of fortune were wrongly accused of walking off with war booty (robbing the Bank of Hanoi on TV/ stealing $100-bill U.S. currency plates from Baghdad in the current skirmish).

Director Joe Carnahan ("Smokin' Aces," "Narc") co-wrote this screenplay with actor/writer Brian Bloom (who plays Black Ops leader Pike) and Skip Woods, who co-wrote "X-Men Origins:  Wolverine" and penned the sly action-crime saga "Swordfish."  

There's just a hint of retro in this adventure that culminates in a big, explosive finish at the L.A. harbor.  Anyone who saw "MacGruber" recently might have slight "MacGyver" flashbacks.  The "A-Team" is plenty adept at warrior arts and crafts at a moment's notice and at grabbing odds and ends for parts to homemade weapons of mass destruction.

Quickly forgettable, "The A-Team" is like a carnival ride that briefly thrills and is fun, but won't linger long in the brain.

05/28/2010

'Prince' is a pauper compared to the masters

Audiences settle for so much less at the movies these days.

By today's milquetoast standards, "Prince of Persia:  The Sands of Time" provides adequate action-adventure swashbuckling in the sands of 6th century Persia.  It's the wink-at-the-audience comic tone that pales in comparison to previous rollicking adventures, though.

For anyone who remembers "Raiders of the Lost Ark," the first Indiana Jones action, comedy and romance frolic of 1981, or perhaps the fun-filled soldier-of-fortune saga "Romancing the Stone" in 1984, a weakly imitation grown out of a video game compares rather poorly.

This is an era when so-so is often hyped into super-duper.  At least in this gimmicky tale (Come on, a dagger that can reverse time?) popcorn munchers in the dark are treated to above average acting, decent special effects and lead actors easy on the eyes.

Jake Gyllenhaal, an Oscar-nominated actor looking a little self-conscious about playing a joystick-driven hero, takes the title role.  A street urchin taken in by the king (ho-hum), Dastan (Gyllenhaal) follows his heart to do the right thing after storming a castle in the fictional holy city of Alamut and, quite by accident, mind you, stumbling upon the aforementioned magic dagger handed down by the gods.

The screenplay, bearing more hand prints than a newborn kitty in an orphanage, may be pedestrian.  But at least versatile British director Mike Newell ("Harry Potter and the Goblet of Fire," "Mona Lisa Smile")  knows how to make the most out of what he's got.

And what he's got here is a one-dimensional, yet flashy yarn that moves fast.  In fact, it only slows down for alluring love/hate glances between Gyllenhaal and his ingénue, budding actress Gemma Arterton as "Come hither, no don't" princess Tamina.

To tell you the truth, I had more fun concentrating on the support players.  Oscar-winner Ben Kingsley (remember "Gandhi"?) looks like he's enjoying himself as sly, beloved Uncle Nizam.  And you can't help but like Alfred Molina ("An Education," "Spider-Man 2") as Sheik Amar, the devious, ostrich racing entrepreneur who'd probably be running Goldman Sachs if he could operate in today's market.

Gyllenhaal, on screen most recently in "Brothers," makes a better dashing sword-swinger than I thought he would.  That's because the rising star who drew his Oscar nomination opposite the late Heath Ledger in "Brokeback Mountain" ( 2005) makes the audience believe he is a prince with a heart of gold who'll use his back-to-the-future dagger for good, not evil.

Arterton, Agent Fields in the Bond adventure "Quantum of Solace," still has some work to do as the sometimes pouting woman hiding true grit until the right time to expose it.  It's an old formula that generally still works, though, and the two leads do stir up a little screen heat in the desert.

"Prince of Persia," no doubt the first in a sword-and-sandal franchise if it flexes muscles at the box-office, is adequate, if not extraordinary weekend movie entertainment.  It's got solid elements, just no spark to ignite something magical.

Since it comes from video game source material and doesn't thrill, amuse or tug the heartstrings like the previous masters, let's just call it a token effort and be done with it. 

05/14/2010

Slightly off the robust entertainment target

 
When Russell Crowe and Ridley Scott re-team for the umpteenth adaptation of the Robin Hood legend, we get a fair dose of "Gladiator," a little "Guess Who's Coming to Dinner," major sword-clanking battles in Sherwood Forest and, by Scott and Crowe dark standards, Merry Men merriment.

"Robin Hood," which co-stars Cate Blanchett, William Hurt, Max Von Sydow and other fine actors, is the fifth collaboration for the New Zealand born movie star and his prolific British cohort in the director's chair.

Move often than not, the modus operandi has been tough guys in seriously dangerous situations.  "Gladiator" earned an Oscar nomination for Scott and a Best Actor golden statuette for his leading man.   Crowe and Scott reunited for "American Gangster" in 2007 and the thriller "Body of Lies" a year later.

In between, the duo took a little wine and cheesy movie break in France.  With Scott calling the shots, Crowe drank a little wine, wooed a pretty damsel and fell into an empty swimming pool.  That was "A Good Year." (2006)

"Robin Hood" begins in France as well, but there's little time to sit around sipping Chardonnay.  It's 1199 and archer Robin Longstride (Crowe) is among King Richard the Lionheart's (Danny Huston) troops laying siege to a French castle.  

Here we go again.  It's obvious from the spectacular opening sequence that the tag-team of Scott and Crowe are ready to rumble on a very large scale again.  If you were awake in high school history class, you may recall that the king doesn't walk away from the battle (despite winning).

It's nothing new for legends that loom large on our movie screens to be kneaded more than a little for mass market consumption.  "Robin Hood" screenwriter Brian Helgeland, who shared an Academy Award with director Curtis Hanson for "L.A. Confidential" in 1997, has no restraints when it comes to a legend that began in 9th century medieval oral history.

So forget what you know about Douglas Fairbanks as the hooded crusader in 1922 ("Robin Hood"), Errol Flynn in 1938 ("The Adventures of Robin Hood") and Sean Connery in 1976 ("Robin and Marian").  I trust you've already filed Kevin Costner's wobbly British accent in "Robin Hood:  Prince of Thieves" (1991) so far back in your memory bank that it couldn't reemerge even if you wanted it to.

This "Robin Hood" is essentially a prequel; Robin the Hood back story.  Once the skilled archer gets out of the stocks (for mouthing off to the king) and bonds with a handful of loyal rowdy followers (the Merry Men), the mission begins to return the fallen king's helmet to the Queen Mother (Eileen Atkins).

Robin, who grew up without a father, also agrees to return a dying prodigal son's sword to the doomed soldier's father.  That may seem like a lot of chores for a future hero of Sherwood Forest to bog himself down with.  But since this movie ends where most Robin Hood flicks begin (Sequel anybody?), there's no plot-point agenda.

Marion, tough and no one's damsel in distress as portrayed by Blanchett, turns out to be the revered old man's (Von Sydow) daughter-in-law.  Only in the movies does a stranger move into a lady's bedroom and pose as her husband to keep peace in the land.  That works fine for a day or two.  But then the need to scratch the old Scott-Crowe itch kicks in, and ferocious battles rage with lives and, in fact, England itself on the line.

"Robin Hood" squeezes in a wee bit of merriment.  Mark Addy ("The Full Monty"), who toned down his British accent a little to star in the U.S. sitcom "Still Standing," earns some laughs as mead-swilling Friar Tuck.  William Hurt plays it serious as Sir William Marshal, though, turning in one of his finest performances in years.  And Mark Strong (Lord Blackwood in "Sherlock Holmes") is about all anyone needs as nasty villain Sir Godfrey.

At two hours and 20 minutes, "Robin Hood" indulges itself too long on screen.  Technically it's on target, though, if you appreciate boiling oil dumped on soldiers and enough flying arrows to block out the sun at times.  Generally, however, Scott and Crowe are both on top of their  game.

And the game here is tweaking a mystery folk hero into a bankable new epic movie franchise.

05/07/2010

Acting, blazing action a blast in 'Iron Man 2'

The only problem with the first "Iron Man" two years ago was that director Jon Favreau fell into the trap of action extravaganza overkill.  The ultimate battle finale felt like it had more chapters than "War and Peace."

Favreau has learned his lesson.  "Iron Man 2," which rocks with pulsating action and outstanding acting (a rare combination), builds to a spectacular crescendo, then ends on an emotional human note.

In fact, the sequel takes a cue from comic book hero and competitor Superman.  The Man of Steel liked to whisk Lois Lane suddenly skyward and then park on a rooftop for a flirty, "Go ahead, kiss her" chat after the bombastic dust settled.

Screenwriter Justin Theroux's feature film debut came in the outrageously funny "Tropic Thunder," which drew Downey an Oscar nomination.  He takes some chances here that work, like letting this film's lead character get drunk and shame himself with birthday party angry rant.  From a bottom-out low often comes a rise to great heights, however.  Theroux's script manages that. 

"I am Iron Man," billionaire industrialist and former weapons dealer Tony Stark (Robert Downey Jr.) proclaims during a press conference that comes at the end the first "Iron Man" and launches the sequel.  You're in for a robust two hours of "Holy s%#*!" action sequences, dandy performances and witty, if at times silly, dialogue.

Six months after the first adventure, admittedly egocentric Stark is flaunting his wealth, his "peacemaker" iron suit with rockets in the heels and his need for flaunting applause at Stark Expo.  His late father put on a similar chest-thumping dog and pony show first, looking a little like vintage Walt Disney talking about Tomorrowland.  Tony's flashy reboot, however, more closely resembles a slightly larger-than-life version of Apple CEO Steve Jobs bestowing the iPad on the world.

The government wants to take Stark's invention away.  So Stark proclaims to the Senate Armed Services Committee (with Garry Shandling chewing the scenery as Sen. Stern) that no possible threat exists that can rival Iron Man, so chill, America.  

Pretty soon after that, a Russian named Ivan Vanko (Mickey Rourke) whips up a lightning-whip knock-off version of the Iron Man technology and off we go into grand adventure.

Rourke, nominated for a Best Actor Academy Award in 2009 as the washed-up modern day gladiator in "The Wrestler," is perfectly cast as a vengeful Russian who's way smarter than he looks.

Vanco constantly chews on a toothpick, even when he's slicing race cars apart at the Monaco Grand Prix or plotting Stark's demise.  The camera loves Rourke's craggy face, and the veteran actor -- a survivor of good times and bad -- is rivaled by only one other toothpick chewer in the history of cinema.  That's Paul Newman.

"Iron Man 2," not unlike Stark's flashy computer gadgets, unlimited resources and, of course, the red-and-gold supersuit, borders on being an embarrassment of riches.  The technical effects astound even more this time than the first time around.

Downey, one of the finest actors working today for my money, is super and completely comfortable in the suit and out.  Like his character, Downey is a gifted man who has beat the odds to get where he is.

Few actors can still act engulfed in a formidable costume.  Downey, on screen during the Christmas holidays as the title character in "Sherlock Holmes," is one of them.  Perhaps the finest.

Gwyneth Paltrow returns as Stark's assistant "Pepper" Potts, and their verbal tête-à-tête is even more finely tuned than it was in '08.

Newcomers, who are all great, include Scarlett Johansson ("The Spirit," "Vicky Cristina Barcelona") kicking hiney and not taking names in a unitard as mystery lady Stark assistant Natalie Rushman.  Also, Sam Rockwell ("Everybody's Fine") struts his stuff quite well as a spoiled, jealous arms manufacturer.

Don Cheadle, nominated for an Oscar for "Hotel Rwanda" in 2004, takes over the role of military liaison Lt. Col. James "Rhodey" Rhodes seamlessly, like he belonged there all the time.  Cheadle is so good, in fact, that some "Iron Man" fans might be thinking, "Terrence Howard who?"

"Iron Man 2" falls just short of measuring up to the name of its parent franchise company, Marvel.  It's a blast of a superhero action sequel.  It's just that No. 2 must, by definition, revisit a cinematic world now familiar and, therefore, slightly redundant.

04/09/2010

Believable as a couple, so-so as action-comedy

A weird, preposterous little action-comedy frolic, "Date Night" would be totally forgettable nonsense without its two leads, Tina Fey and Steve Carell.

Movie-goers with long memories will see the connection to "The Out-of-Towners" (circa 1970 featuring Jack Lemmon and Sandy Dennis, especially) in this tale of a married couple having one wild night of danger and mishaps in New York City.

If you don't count the 1999 remake (Steve Martin and Goldie Hawn), "The Out-of-Towners" is probably the out-of-minder for most at this point.  That allows a bit of freshness to first-time feature screenwriter Josh Klausner's variation of the theme.

New Jersey couple Phil (Carell) and Claire (Fey) Foster still love each other despite the insanity of raising to rambunctious young kids, juggling two careers (he's a tax consultant; she's in real estate) and feigning interest in a neighborhood book club.

They insist on a "date night" once a week, even if it's to the same old restaurant and leads to excuses for no romantic funny business once they're back home.

The dissolving marriage of friends (Kristen Wiig and Mark Ruffalo) convinces them to spice things up a little.  So one particular date night leads to Claw, one of the snootiest seafood restaurants in Manhattan.  They have arrived without reservations, so Phil jumps at the chance to steal a no-show couple's table.

Very often, filmmakers stick little warning signs along the cinematic highway to alert the audience to approaching danger or drastic change in tone.  When Phil counters to his wife, "What can it hurt?" (or something along that order), the signpost reads "Danger ahead."

Of course Phil and Claire are mistaken for the no-show Tripplehorns.  Not by restaurant staff, mind you, but by thugs out for some serious revenge.  "Date Night" is not a film of great depth in any area, except for the solid talent pool, so I won't give away too much of the plot here.

Let's just say our little somewhat stale New Jersey couple is bored no more when the night involves gunshots aimed their way.  There's no safe refuge and their plight involves one of the more spirited car chase scenes since the 18-wheeler popped a wheelie in "The Dark Knight" on Batman's watch two years ago.

Director Shawn Levy (the "Pink Panther" remake) means well.  He has also pushed the "Night at the Museum" franchise past its creative welcome.  So it's no real surprise that he lets this adventure wobble so far out of control that, frankly, I lost interest for a while.

He's smart enough, though, to fill smaller roles with name or really interesting actors.  Case in point:  A constantly shirtless Mark Wahlberg shows up in silk genie pants as a security expert on his own date night.  Ray Liotta and William Fichtner ham it up as a mobster and the sex frolicking D.A., respectively.

And if you've ever seen deadpan comic Jimmi Simpson as Lyle the Intern on "The Late Show with David Letterman," you'll get a kick out of Simpson here as one of the trigger-happy thugs.

Carell and Fey, back-to-back NBC Thursday night stars with "The Office" and "30 Rock," don't quite click as the exciting comic team you might imagine.  They are, however, funny sort of separately together and exceptionally believable as a married couple whose passion hasn't just been placed on a back burner, but one with the faintest flicker of a pilot light still burning.

They're fun to watch in a roller coaster ride across Buffoonery Land that otherwise wouldn't be worth boarding.

04/02/2010

Time to get Kraken, but in 2-D

Release the Kraken again?

Yeah, why not?  Just know there's no real need to spring for the extra three or four bucks for the 3-D glasses.

"Clash of the Titans," you see, was not shot in eye-popping 3-D, as was "Avatar."  Like Tim Burton's recent retooling of "Alice in Wonderland," it was shot in traditional 2-D and converted to 3-D to cash in on the swelling trend of three-dimensional viewing.

No matter which route you go, there's plenty of enormous scorpion battle action, visits by Hades himself (Ralph Fiennes) and, of course, the Kraken, ancient Greece's version of a shock-and-awe weapon of mass destruction.

Here's a phrase I never thought I'd be writing:  "Clash of the Titans" is based on an old Harry Hamlin fantasy action flick.

It's true, though.  There's no source material for the remake that fills the screen with silly dialogue, decent acting and adequate special effects except the original "Clash of the Titans" of 1981.  That one featured Hamlin as demigod Perseus and the late Sir Laurence Olivier as Zeus, Perseus' god daddy.

In the revamp, Sam Worthington, the Aussie actor who romped with the Pandorians as Jake Sully in "Avatar," takes on Perseus, while Liam Neeson holds court on Mount Olympus as Zeus.  

Perseus, like the god-rejecting seaside citizens of Argos, would rather fight the gods than join his father.  He's especially ticked at Hades, who drowned Perseus' Earthly family in retaliation when the riled-up citizens chunk  a huge statue of Zeus into the sea.

"Collateral damage," Hades tells Perseus.

I don't know about you, but that doesn't exactly sound like 200 BC dialogue to me.  Also, Worthington (perhaps with "Avatar" on his mind) doesn't appear fully invested emotionally in this performance.  Gemma Arterton injects some spirit as Io, Perseus' magical mystical guide, though.  That helps.

"Clash of the Titans" hits all the hot plot points.  Perseus and a small band of determined soldiers battle the giant scorpions, hop the ferry to Hades to take on snake-like Medusa (Natalia Vodianova) and, encounter the winged black stallion Pegasus.  Of course all of this is just a prelude to the finale, which is launched when Neeson's Zeus bellows, "Release the Kraken!"

At the screening I attended, several fanboys down front felt it was necessary to scream the line along with Neeson.  (No one told me this was a sing-along screening.)

From this aisle seat, "Clash of the Titans" draws a split vote.  It ranks high enough on the monster-mash entertainment meter to be worth a look, especially if you like creature features.

The drawback, however, is that director Louis Leterrier ("The Incredible Hulk") and visual effects supervisor Nick Davis (an Oscar nominee for "The Dark Knight") use modern advancements in technology to squeeze the cheesy wink-at-the-audience fun from the production.

That was the beauty of the original.  It was stilted and imperfect, but a hoot.

For lack of a worse description, let's call the original "Hamlin on wry with cheese."