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Written by Aline Brosh McKenna, the screenwriter of the super successful and critically acclaimed The Devil Wears Prada, Morning Glory is a predictable, sometimes pleasurable though most often subpar, comedy set in the world of morning news/entertainment shows. It's sort of like Prada in that the up-and-comer takes on the veterans of the industry, winning over her co-worker and/or boss from hell as she pumps new energy into the business. But while Prada's Anne Hathaway was a terrific blend of optimism with shades of perkiness and worried wanna journalist striving to get ahead in a difficult industry to get a toehold in, Rachel McAdams isn't given as wide of a character arc to play.
It's hyperactive, bubbly, out-of-her league TV producer Becky Fuller versus veteran newsman/resting on his laurels while collecting a paycheck for doing next to nothing Mike Pomeroy (played by Harrison Ford), and unless you've never seen a comedy movie before, you know how this battle of wills is going to end.
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Bad Lieutenant: Port of Call New Orleans
Werner Herzog's Bad Lieutenant: Port of Call New Orleans follows rogue detective Terence McDonagh (Nicolas Cage) in post-Katrina New Orleans. After injuring himself on the job, Terence becomes hooked on drugs to deal with the pain. This growing addiction soon leads to him breaking the law in increasingly brazen and dangerous ways in order to feed his habit. Terence's antics threaten to derail the drug-related homicide case he's investigating, while his gambling debts and run-ins with the underworld stand to cost him his life.
Regardless of its (at time of publish) close to 90% "fresh" rating at Rotten Tomatoes, I won't join the bandwagon of Kool-Aid drinkers and hail Bad Lieutenant: Port of Call New Orleans as a black comedy masterpiece or a wickedly subversive work of abstract art that ingeniously pokes fun at not only the conventions of the cop movie genre but also the very conceit of Abel Ferrara's original Bad Lieutenant. No, Herzog's version is just an artful but overwrought mess trying to pass off over-the-top acting and half-baked ideas as some meditation on addiction and excess. The movie starts off as a rather pedestrian police procedural. Hints of Terence's dark side are evident from the opening scene, but it's not until his drug habit and growing debt take hold of him that he (and the actor playing him) becomes truly unhinged.
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It would seem that with Gamer, Surrogates and Avatar all debuting this year, Hollywood has unconsciously decided to release its cinematic meditations on user-controlled vessels in ascending order of quality and thoughtfulness. Following on the heels of the recklessly subpar Gamer, Surrogates raises the concept of a world in which humans can remotely manipulate synthetic versions of themselves – young, athletic, beautiful, strong and incapable of feeling pain – to a basic level of writing and execution. Where one can imagine that James Cameron's Avatar will considerably elevate the level of scale and character, Surrogates takes a rather mid-level, pot-boiler approach to the genre.
There is a lot of jittery cigarette smoking and sloshed-down booze in “Revolutionary Road,” a waxworks edition of the corrosive, furiously unsentimental novel by Richard Yates about an unhappy marriage. Set in the lonely-crowd milieu of 1955, though published in 1961, the novel tracks the unraveling of Frank and April Wheeler, a handsome young couple who have been trying and failing to keep disappointment at bay by pretending that, despite their suburban address — despite a life calibrated to the commuter rail schedule, their two small children, well-stocked bar and picture window that looks over a front lawn as manicured as a cemetery — they are not like everyone else.
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By the time this review is over, I will have spent more time thinking about Fool's Gold than the writers of its script. This...thing...is one of the sloppiest pictures released by a major studio in recent memory. What can you say about a "romance" with no romance, a "comedy" with no laughs, an "adventure" with no excitement? Though I certainly wasn't rubbing my hands together in anticipation walking in to the theater, I thought this would at least succeed at being an enjoyable time waster. "Attractive people wearing few clothes in exotic locales -- I can handle watching that for a few hours," I thought to myself. But I was wrong. So very wrong. The whole affair is about as compelling as a two-hour fart.
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The King's Speech delivers solid drama with a rousing climax - a fully satisfying and uplifting period piece that achieves its dramatic potential without sacrificing historical accuracy. Unless you count Hitler, who is seen from afar, the narrative is villain-free, allowing the focus to be on the internal and interpersonal struggles of the characters - a more rewarding approach than when a bad guy is invented to fill the need for a conventional conflict. Even though it is set against the backdrop of mid-20th century British royalty, there are no barriers to mainstream accessibility. The wealth of acting mined by director Tom Hooper may represent the best ensemble not only of this year but of the last several years. Big and small, there are some astounding performances here.
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There are two ways in which one can consider The Nativity Story. As a piece of religious instruction or an animated version of a crèche, it accomplishes its aims. As a movie, however, it's slow, plodding, and not terribly interesting. There's also an unmistakable whiff of exploitation to be found. Although I'm sure the people directly involved with the making of the movie came to it with the best intentions, one can scent what smells suspiciously like greed coming from the corporate level. (Keep in mind that New Line Cinema is best known for its horror franchises - it owns both Freddy and Jason.) The desire to ride The Passion of the Christ's coattails is understandable - that movie was a bona fide blockbuster. However, The Nativity Story isn't in the same league. It's an uninspired re-telling of a Bible story that every Christian knows by heart.
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American Werewolf in Paris
An American Werewolf in Paris is a failed attempt to recapture the humor and horror of John Landis' 1981 feature, An American Werewolf in London. Where the original had comedy, the sequel has the kind of revolting silliness that can be found in TV sit-coms. Where the first installment had chills, this one has sequences that are inappropriately, unintentionally funny. In short, while An American Werewolf in London has become something of a minor classic in its genre, the woeful An American Werewolf in Paris seems destined for late nights on Cinemax (it even has the necessary gratuitous nudity).
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Meet the Feebles
And now for something completely different...
Originally released in New Zealand during 1989, Peter Jackson's cult hit Meet the Feebles is only now receiving its official United States "tour", opening for short runs in select art houses across the country over a six month period. Those not specifically on the lookout for this film will probably miss meeting the Feebles, which may be a good thing, considering the potentially- horrified reaction of someone who unwittingly walks into a theater showing this feature.
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Suddenly, the "Hong Kong style" is in. Not only are director John Woo and actor Jackie Chan both releasing English-language films early in 1996 (Broken Arrow and Rumble in the Bronx, respectively), but the number of Hong Kong titles obtaining widespread American distribution is on the upswing. Two of those films, Wong Kar-wai's Chungking Express and Fallen Angels, are being released by Miramax under Quentin Tarantino's Rolling Thunder imprint. Depending on how they are received, this could open the floodgates, at least temporarily, since no one knows what will happen to the Hong Kong film industry next year when the country reverts to Chinese rule.
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Fresh from the Corman camp comes Barbarian, yet another faceless entry in the previously-thought-dead subgenre of Mega-Low-Budget Swords & Sandals. If this movie were any more hilarious, I'd start a nationwide petition to make sure video vendors plunk this one down on the Comedy shelf.
Rare is the turkey this meaty.
The Outlaw Josey Wales
Clint Eastwood has directed, played in or starred in a lot of westerns. We all have our favorites and this my favorite Eastwood western, along with the more set-in-modern-day western, "Bronco Billy." (The latter is really a drama more than a western.)
This is simply an extremely entertaining story with two lead characters - played by Eastwood and Chief Dan George - who were fascinating to watch. Also, as in most westerns, I enjoyed the good photography and was surprised, considering the year of release, that the language was pretty tame.
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Home Alone 4
Peter is about to get divorced from Kate and announces that he's living with his new girlfriend, Natalie. He tells his three children, including Kevin, that they are hosting the visit of a royal family and invites everyone to spend Christmas with him and Natalie. After initially refusing, Kevin takes his father up on his offer after being tormented by his older brother Buzz.
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Born to Ride
The stars of Starship Troopers are back in action! Mike (Casper Van Dien) decides to hit the road on his refurbished classic motorcycle along with best buddy Alex (Patrick Muldoon), but their trek takes a surprising turn when they become involved in a plan involving political blackmail.
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A knight and his valet are plagued by a witch, and to repair the damage they make use of the services of a wizard. However, something goes wrong and they are transported from the 12th century to the year 2000. There the knight meets some of his family and slowly learns what this new century is like. However, he still needs to get back to the 12th century to deal with the witch, so he starts looking for a wizard.
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Kama Sutra: A Tale of Love
Tara and Maya are two inseparable friends in India. Their tastes, habits, and hobbies are the same. Years later, the two have matured, but have maintained their friendship. Tara gets married to the local prince, Raj Singh, who soon succeeds the throne as the sole heir. After the marriage, Raj gets bored of Tara and starts seeking another female to satisfy his sexual needs. He notices Maya and is instantly attracted to her. He has her included as one of his courtesans, and is intimate with her. Watch what happens when Tara finds out and the extent she will go to keep her marriage intact.
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