Wednesday, November 22, 2006

HAPPY FEET REVIEW FROM HOLLYWOOD.COM


Hollywood.com Says
With Borat, Bond and various upcoming Oscar fodder hogging the headlines, you might not have heard much about the li’l penguin that could (dance). Which plays right into Happy Feet’s heartwarming-but-not-sappy theme. At long last, a great animated movie--for everyone!
Story
In the beginning of Happy Feet, you might think a handful of moviegoers forgot to silence their cell phones; it’s just the emperor penguins, singin’ their beaks off to one of any number of songs popular circa 2003. In Antarctica, that’s how they stick together--it’s how they harmonize, so to speak. But with the birth of one penguin, Mumble (voiced by Elijah Wood), the whole colony is shaken up. Mumble has the voice of a puberty-stricken boy and is unable to keep a tune, but he can dance like the dickens! His mother, Norma Jean (voiced by Nicole Kidman), thinks it’s a cute habit, but his father (voiced by Hugh Jackman) and the rest of the tight-knit community ostracize him. After toiling around a while with his new buddies (of which two are voiced by Robin Williams), some of whom are “Latino penguins,” Mumble realizes his only chance at redemption is to find the source of the penguins’ current fish famine--and he’ll stop at nothing, not even “aliens."
Acting
Robin Williams is quite the odd bird himself. Nowadays--movie-wise, at least--he’s better heard and not seen (i.e. voice-over roles like this one), whereas his mile-a-minute physicality was once a necessary evil to get the full 3-D effect of his personality. His animated self obviously less in-your-face, Williams’ dialogue does all the work in Feet and gives a performance that matches his beloved Aladdin Genie. Frodo alert: Wood, also starring in this weekend’s Bobby, hits all the, er, wrong notes to turn in a solid performance as the movie’s lead, Mumble. Since he sounds (and looks) much younger to most people than his actual age (25), it’s another in his long line of impeccable role choices. As the unattainable object of Mumble’s affection, Brittany Murphy stars as Gloria, a character that if nothing else allows the actress to display her singing talents as a preview of her reported upcoming album. (Yes, seriously.) The biggest names, Kidman and Jackman, with small parts, don’t offer much besides superficial mainstream appeal, but bit parts from Hugo Weaving, Anthony LaPaglia and the late Steve Irwin round out the formidable cast with some zing.
Direction
Penguins have long been ripe for the animating, what with their waddling, clumsiness and stuffed-animal cuteness. March of the Penguins outed them as lovable, misunderstood Antarctic creatures, Madagascar turned them into ‘toon comedians and now Feet director and co-writer George Miller (Mad Max) gives them the full treatment by animating and literally humanizing them. Miller’s labor of love, which he’d deliberated over for some time, encompasses all the kiddie messages we’ve come to expect while managing to toss in the rare animation curveball: ecological themes. Miller is clearly an animal lover--he also wrote and produced Babe--a passion he ties into the film without forcing. But the animation, nonstop musical numbers and technical aspect of the film will truly and pleasantly surprise you. In fact, a few scenes in particular involving humans juxtaposed with animated penguins make for memorable images--and messages. He and his team of co-writers, Warren Coleman, John Collee and Judy Morris, also formulate typically quicker-witted dialogue for the primarily Aussie cast, but it’s the overall heartwarming tale and execution thereof that’ll have you smiling all movie long.

DEJA VU HOLLYWOOD.COM REVIEW


Hollywood.com Says
What a title for a Denzel Washington flick, as this role seems a lot like all of his recent ones, even if it’s not. He tries to add a twisty sci-fi/romance/action thriller to his recent string of immediately forgettable vehicles and succeeds in that department, if nothing else.

Story
ATF Agent Doug Carlin (Denzel Washington) has had many a hard day at the office, but never anything like the one that awaits him. On a sunny, pleasant morning in post-Katrina New Orleans, a ferry explosion kills hundreds of people. After Carlin goes fishing for clues, he comes across a beautiful young woman, Claire (Paula Patton), believed to be a victim of the bomb blast. But to Carlin, her lifeless body bears telltale signs of foul play beyond the ferry incident, and he believes retracing her final days will solve her case and find the bomber. The FBI does Carlin one better with an unprecedented technology that actually allows them to watch Claire’s life as it unfolded just prior to the string of events. There’s one catch, however, for Carlin, FBI Agent Pryzwarra (Val Kilmer) and uber-techie Denny (Adam Goldberg): The footage, which cannot be paused or rewound, is limited to a timeframe of four-and-a-half days ago. When Carlin tries to manipulate the video by going back four-and-a-half days and thwarting the suspected terrorist’s (Jim Caviezel) plans, he literally walks right into his own déjà vu.

Acting
In Deja Vu, Denzel gives his usual flawless performance, and yet, just the same, there’s something still to be desired. Whether in scope, character or box-office influence, his roles lately are so similar that they themselves could be the culprit behind a case of the ol’ déjà vu. Problem is, his aforementioned flawlessness is by now so (seemingly) effortless that a trip back to Training Day territory, or something in which he bears his teeth and grit--something he’s obviously capable of doing--would be a welcome change. Patton, on the other hand, is headed down the right path. Fresh off her eye-opening breakout turn in Idlewild, she is not only extremely easy on the eyes, she can act and is often forced to do so by herself as someone who doesn’t know she’s being watched, which is presumably no easy assignment for an actor. Goldberg has always been good but unfortunately has also always seemed destined for supporting roles like this, and Jesus Christ himself, Caviezel (The Passion of the Christ), is more than sufficiently creepy in his role. As for Kilmer, whose screen time dwindles with each role, you basically forget he’s there.

Direction
Deja Vu has the kind of pedigree studios can’t buy--that is, unless they’re willing to fork over several million for behind-the-camera talent. Rookie screenwriter Bill Marsilii teams up with Terry Rossio, writer of the Pirates of the Caribbean movies and Shrek, to name just a few blockbusters that will put all of his future generations through college. Then they join director Tony Scott, of Top Gun, Crimson Tide, Enemy of the State and Man on Fire fame. Finally, producer Jerry Bruckheimer is also in the mix, and everything he touches turns to platinum. They all mesh well--if mediocrity is what they were trying for. The writers turn Deja Vu into a sci-fi film way too far in and the better part of the movie is merely footage of Claire’s final days. Even worse is Bruckheimer’s trademark overproduction. Scott’s stamp of high tension is present, but there’s too much going on, most of it uninteresting or overwhelming, to really appreciate it. Either way, sci-fi is simply not the director’s strong suit. And as the film’s end nears, the whole group collectively sends it spiraling out of control, its futility hiding behind crowd-confusing and -pleasing twists.

HOLLYWOOD.COM'S REVIEW OF TENACIOUS D'S THE PICK OF DESTINY


Hollywood.com Says
They are Jake and Elwood with more head-banging, Wayne and Garth with less mugging, Cheech and Chong with a slightly weaker stash, the Brokeback cowboys with a more platonic take on man-love... They are Tenacious D, and they’re the stars of the second funniest film of 2006.
Story
In the tradition of Batman Begins and Casino Royale, the clock is rolled back on the legendary icons the D—the self-proclaimed greatest band in the world—as the curtain is pulled back on their secret origins and the demons that drive them are unveiled… OK, so it’s not really that deep. Though the heavy metal/comedy combo of Jack/JB/”Jabeles” (Jack Black) and Kyle/KB/”Kage” (Kyle Gass) have long played hip clubs, cut an album, starred in their own short-lived HBO series and amassed a devoted cult of fans, their first feature film reveals how the pudgy duo first meet, form the band, meet their first fan (Jason Reed as TV holdover Lee) go questing the fabled Pick of Destiny—a shard of Satan’s tooth turned into a guitar pick passed among rock’s most accomplished shredders—and ultimately smack down with the devil himself. Believe it or not, it’s a love story.
Acting
Thanks to their long professional partnership, Black and Gass comprise two perfectly crafted sides of a very polished comedy coin: Black is the wild-eyed, uncontrolled id, Gass is the low-energy, manipulative slacker, and they meet in the middle with an equal amount of unchecked delusion about their musical ability and potential. They both deftly pull off the trickiest types of comedy: smart jokes in the guise of dumb characters, and it’s nice to see Black—obviously the bigger film star of the two—share the funniest bits equally with Gass. Of course, all of this hinges on the audience’s tolerance for the ambitiously clueless ego-cases (and moviegoers who only love Black for his tamer version of the same persona in School of Rock should be warned—this is the cruder, ruder and more profane incarnation) but we admit we’ve long had a taste for the D. They boys carry they movie squarely on their shoulders, though longtime D supporters Tim Robbins and Ben Stiller stand out in cameos—the first Stiller cameo in ages that’s both amusing and non-gratuitous! Also appearing in small bits: SNL’s Fred Armisen and Amy Poehler, Oscar-nominee Amy Adams, Colin Hanks, hard rock hero Ronnie James Dio, Foo Fighter Dave Grohl as Satan and an uncredited John C. Reilly, though you’ll never, ever recognize him when he’s onscreen. And kudos to whoever had the inspired notion to cast Meat Loaf as JB’s pious father and Troy Gentile as the young, rockin’ JB (Gentile also played a junior version of Black in Nacho Libre).
Direction
Helmer Liam Lynch, who also collaborated on the screenplay with Black and Gass and directed their music video “Tribute,” understands the absurd world of the D completely, and demonstrates a clever, assured sense of straight-faced silliness. Indeed, the first ten minutes of the film alone—a mini-rock opera in itself—announce him as a comedy director to watch. Although we’re sure the bandmates themselves would take full credit for the film’s success. After all, they may not have made the greatest movie in the world but, in D-speak, they came up with a pretty rockin’ tribute version.