Nowhere Boy (Sam Taylor Wood, 2009): It's been about five months since I saw this, so I can't remember too many details apart from being surprised at how conventional it is. Wood comes from the world of art, so you'd be forgiven for expecting something a bit more ambitious than this. Still, it's not too bad, but the family dramas involved will be familiar to anyone who's seen Hollyoaks, despite excellent turns from Kristin Scott Thomas and Anne Marie Duff. Also, I don't think John Lennon was nearly that good looking. [50]
Sherlock Holmes (Guy Ritchie, 2009): This will likely be painful for Doyle purists, though it could have turned out much worse. My biggest gripe is that there's just too much comedy, the homoerotic interplay between downey Jr and Law reaching uncomfortably bizarre levels. Also there's much great design but little atmosphere in the period recreation of London. Holmes is a bit smarmy, rather than bruskly intelligent, though Downey Jr is likeable enough in the role, even Jude Law is bearable, though Rachel McAdams and Mark Strong (both usually talented) leave little lasting impression. As big budget spectacle goes this is passable, but this character deserved a less 'crowd-pleasing by numbers' approach. [49]
It's Complicated (Nancy Meyers, 2009): I can't complain at the prospect of more Meryl, though she's been slumming it with her film choices lately. This is actually more bearable than Meyers' last couple of interior design pornos, though by now the fact she can't write any characters apart from disgustingly rich women who are absurdly over-praised for their aging bodies. Streep and Baldwin are great fun to watch though, and although the film fails to hit a single note of emotional honesty, they suggest something in their relationship that the script sorely lacks. [51]
Er, thought I'd do more, but I've gotta go.
Friday, 14 May 2010
Saturday, 20 March 2010
cinema catch-up
I've left this way too long to do everything, so this is just stuff I've seen at the cinema. More to come.
---
Law Abiding Citizen (F Gary Gray, 2009): Mostly all I remember of this is the bit where the judge picks up her mobile and it shoots her in the head. Why does it do this? Because Gerard Butler is a wronged man and he can hook up anything to kill you, even locked in solitary confinement (thanks to a truly disappointing device that should have been the film's big reveal). The characters are awful, the action is too grotty and nasty to see this as lightweight fun, and why is Jamie Foxx chasing killers and investigating murders if he's only an attorney? [33]
The Lovely Bones (Peter Jackson, 2009): Such a weird story, trying to balance (literally) ethereal heaven-set pondering with a rather tired police procedural. None of it really worked for me, Jackson's hideously garish heaven being the film's worst point. Saoirse Ronan does the best she can, but this manages to be glum rather than melancholy, and the serial killer himself is obviously written by someone who hasn't bothered to do any research on the matter, instead collating together some painfully obvious cliches (he likes making doll houses? Come on!). It has a certain draw at times, through the simple tension of waiting for the killer's facade to unravel, and Jackson's obviously a good filmmaker (heaven aside) so it keeps a nice perpetual motion with some memorable scene-setting. It's all for nothing when the story is so curiously cloying and unsatisfying. [41]
Nine (Rob Marshall, 2009): A watchable feature-length perfume advert, though it's eventually destroyed by its own tug of war between being fun and being meaningful. Guido isn't a perfect character to centre a musical on, a complicated and easily hated mess, so we have to watch all the actresses sing and dance about how complex and selfish he is, but aside from Penelope Cruz, none of them come across as anything other than plot ciphers spouting lyrics. Songs are limp in lieu of sorrowful, with only one number sticking in the mind (unluckily the one with the hoariest staging). Despite all this it's elegantly shot, full of actors who could do much better, and great wish fulfillment for those who want their musicals to look instantly vintage. [52]
Avatar (James Cameron, 2009): I've been dreading saying anything about this because people love it so much, and I can't be bothered to make a detailed case of its flaws. I am astonished at people's OTT reactions at how 'great' Pandora is, for while it's certainly the most realistic CGI seen yet, the design itself is a banal vision of a tribal world, lighting up with day-glo leaves and insects (It's not just the plot that uncannily resembles Fern Gully). The story and characters are very routine, the representation of the navis as chanting, tree-hugging ethnics is so uninspired (not just derivative but insanely lazy and borderline racist) that it actively had me resenting the whole thing. Sam Worthington sleepwalks as he has done in everything so far (why is he cast in all the big films now?) and Stephen Lang portrays an evil army general almost as parodically fascistic as District 9's. HOWEVER - and it's a fairly significant however - Cameron has made a serviceable action-adventure that, while overlong, does what most genre fans have been wanting, taking great care in the details of the world (crap as it is) and providing competent and occasionally fantastic action. You'd feel churlish criticising it too much when it's evident how much effort's gone into it. [53]
Where the Wild Things Are (Spike Jonze, 2009): I like nostalgia for childhood, done in a meloncholy way, but I didn't like this. Who is it for? Jonze has described it as a film about childhood rather than one for children, but it doesn't really satisfy that remit. The Wild Things themselves are marvellous visual creations, but the way they all mirror facets of Max (or just childhood in general) lays out a schematic template for the film that makes it seem overtly fable-like (but without any of a fable's charm or whimsy), so it's never really satisfying to watch all these subtext-cogs click and whir into place. I'm sure it was satisfying for Jonze, who conjures up the occasional brilliant evocation of childhood, but works hard to keep the rest impenetrable. I was ready to get all welled up at the end, but it's all too distant and aloof. [48]
---
Law Abiding Citizen (F Gary Gray, 2009): Mostly all I remember of this is the bit where the judge picks up her mobile and it shoots her in the head. Why does it do this? Because Gerard Butler is a wronged man and he can hook up anything to kill you, even locked in solitary confinement (thanks to a truly disappointing device that should have been the film's big reveal). The characters are awful, the action is too grotty and nasty to see this as lightweight fun, and why is Jamie Foxx chasing killers and investigating murders if he's only an attorney? [33]
The Lovely Bones (Peter Jackson, 2009): Such a weird story, trying to balance (literally) ethereal heaven-set pondering with a rather tired police procedural. None of it really worked for me, Jackson's hideously garish heaven being the film's worst point. Saoirse Ronan does the best she can, but this manages to be glum rather than melancholy, and the serial killer himself is obviously written by someone who hasn't bothered to do any research on the matter, instead collating together some painfully obvious cliches (he likes making doll houses? Come on!). It has a certain draw at times, through the simple tension of waiting for the killer's facade to unravel, and Jackson's obviously a good filmmaker (heaven aside) so it keeps a nice perpetual motion with some memorable scene-setting. It's all for nothing when the story is so curiously cloying and unsatisfying. [41]
Nine (Rob Marshall, 2009): A watchable feature-length perfume advert, though it's eventually destroyed by its own tug of war between being fun and being meaningful. Guido isn't a perfect character to centre a musical on, a complicated and easily hated mess, so we have to watch all the actresses sing and dance about how complex and selfish he is, but aside from Penelope Cruz, none of them come across as anything other than plot ciphers spouting lyrics. Songs are limp in lieu of sorrowful, with only one number sticking in the mind (unluckily the one with the hoariest staging). Despite all this it's elegantly shot, full of actors who could do much better, and great wish fulfillment for those who want their musicals to look instantly vintage. [52]
Avatar (James Cameron, 2009): I've been dreading saying anything about this because people love it so much, and I can't be bothered to make a detailed case of its flaws. I am astonished at people's OTT reactions at how 'great' Pandora is, for while it's certainly the most realistic CGI seen yet, the design itself is a banal vision of a tribal world, lighting up with day-glo leaves and insects (It's not just the plot that uncannily resembles Fern Gully). The story and characters are very routine, the representation of the navis as chanting, tree-hugging ethnics is so uninspired (not just derivative but insanely lazy and borderline racist) that it actively had me resenting the whole thing. Sam Worthington sleepwalks as he has done in everything so far (why is he cast in all the big films now?) and Stephen Lang portrays an evil army general almost as parodically fascistic as District 9's. HOWEVER - and it's a fairly significant however - Cameron has made a serviceable action-adventure that, while overlong, does what most genre fans have been wanting, taking great care in the details of the world (crap as it is) and providing competent and occasionally fantastic action. You'd feel churlish criticising it too much when it's evident how much effort's gone into it. [53]
Where the Wild Things Are (Spike Jonze, 2009): I like nostalgia for childhood, done in a meloncholy way, but I didn't like this. Who is it for? Jonze has described it as a film about childhood rather than one for children, but it doesn't really satisfy that remit. The Wild Things themselves are marvellous visual creations, but the way they all mirror facets of Max (or just childhood in general) lays out a schematic template for the film that makes it seem overtly fable-like (but without any of a fable's charm or whimsy), so it's never really satisfying to watch all these subtext-cogs click and whir into place. I'm sure it was satisfying for Jonze, who conjures up the occasional brilliant evocation of childhood, but works hard to keep the rest impenetrable. I was ready to get all welled up at the end, but it's all too distant and aloof. [48]
Saturday, 16 January 2010
Mega catch up
It's been ages, so I've got loads to do, and don't remember a lot of them that well, so I'll be quick.
The Twilight Saga: New Moon (Chris Weitz, 2009): I wasn't a great fan of the first one, but it captured a certain tone and atmosphere that made it semi-convincing. But here out go any naturalistic tendencies, and in come the pointlessly elaborate swooping shots of every location, out goes Carter Burwell's moody guitar and in comes a more conventionally fantastical big orchestra score. Stewart is way over-mannered, Pattinson gets nothing to do, and Lautner has all the charisma of the Easter Island head that he so closely resembles. Rubbish, except maybe for dumped girls. 32
Two Lovers (James Gray, 2008): One of those ones I wish I'd written about when I saw it, I thought it was great, but it's tough to remember now. Joaquin Phoenix is great (in his last role before he lost his mind and became a bearded rapper), and his character is that rare lead who is utterly entrancing to watch, you feel his arc could spin off in any direction. Definitely one to watch again. 73
FAQ About Time Travel (Gareth Carrivick, 2009): This had some potential to be a pleasing low key geek comedy, three guys nerdily discussing time travel in a pub before accidentally happening upon it themselves. It's unfunny and stupid though, making you feel embarassed for even poor Anna Faris. Feels uncannily like a feature-length UK beer advert starring only generic composites of blokey cliches. 29
Death Note (Shusuke Kaneko, 2006): Another one i'm finding it tough to remember, I do recall this being much goofier and less dark than I had imagined, the tone is almost identical to Pokemon and Digimon cartoons. Apart from being a bit overlong, it's a compelling enough slice of comic cheese, and I sort of look forward to the sequel. 51
Racing With the Moon (Richard Benjamin, 1984): Could have been one of those melancholy-tinged nostalgia fests that I love, but Benjamin fluffs some key things like using wildly inappropriate music (might sound petty but it really jars) and failing to keep focus through the lazily drifting plot strands. Still enjoyable though, with a more interesting (certainly less straightforward) love story than this type of thing usually gets and Cage and Penn are decent. 50
Fermat's Room (Louis Piedrahita & Rodrigo Sopina, 2007): Exactly the sort of thing I love, a high concept, one-set thriller. The thing is, while this is very inventive with keeping you guessing, and also in its exam-driven attack structure, it surprisingly takes less care with some simple things. It's too short, for one, and everything escalates too quickly and the plot twists are too numerous. It has a casual confidence which works wonders most of the time, but where we should be shocked or excited as the end nears, the revelations and climaxes simply queue up unenthusiatically. Still very good, and a must for those who love stuff like Cube (And Cube 2: Hypercube. And Cube Zero). 64
Butterfly on a Wheel (Mike Binder, 2007): Binder proves an able genre-hopper once again with this slick, perfectly paced thriller. It's mostly by-the-book "If You ever want to see your son alive again..." stuff, but Brosnan's calm, rough-edged captor certainly holds your attention, and the set pieces and shock moments are often thrillingly done, if a little stupid. 60
Paranormal Activity (Oren Peli, 2009): An odd one, but certainly effective. Much more relatable than Blair Witch, and with less irritating characters, this becomes the new high watermark for 'oooh, is it really real?' low-budget thrills. It takes great pains in immersing you in the normality of the characters lives, making the film seem mundane, which works brilliantly in its favour when the infrequent hauntings do take place, it is amplified into something truly horrifying. My only complaint, as with Cloverfield and others like it, is that writers will never EVER be able to come up with a sound reason why the characters are filming absolutely everything they do, and this does hurt it a little. 63
Paul Blart: Mall Cop (Steve Carr, 2009): I should confess that I keep finding myself watching King of Queens, not whole episodes, but somehow I just keep getting sucked in. So yes, I officially like Kevin James, and it's his self-deprecating charm and excellent comic timing which keep this from going totally off the rails. Well, for the first half anyway, when the criminal plot gets underway this is as nauseatingly tedious as you could imagine. But for about 40 minutes it's a sweet, dimly amusing character showcase. 42
The Box (Richard Kelly, 2009): Kelly needs some sort of minder when he's scriptwriting, because he just can't stop over-indulging. This potentially prescient weirdo-thriller has many alluring elements (the visual evocation of the 70s, great extras casting, endless mysteries growing larger and weirder) but it's all blown by stupidity. I enjoyed so many little touches that it was still a worthwhile watch for me, but I defy anyone to stick with it past the point where James Marsden is told to enter one of three magical columns of water (Maybe it's from Sartre, who keeps getting namedropped, making sure you know the director's read some books). Too weird for anyone wanting a decent horror film, and too messy and self-defeating for those who see its potential. I know I'll end up watching it again though. 50
Still loads more to come!
The Twilight Saga: New Moon (Chris Weitz, 2009): I wasn't a great fan of the first one, but it captured a certain tone and atmosphere that made it semi-convincing. But here out go any naturalistic tendencies, and in come the pointlessly elaborate swooping shots of every location, out goes Carter Burwell's moody guitar and in comes a more conventionally fantastical big orchestra score. Stewart is way over-mannered, Pattinson gets nothing to do, and Lautner has all the charisma of the Easter Island head that he so closely resembles. Rubbish, except maybe for dumped girls. 32
Two Lovers (James Gray, 2008): One of those ones I wish I'd written about when I saw it, I thought it was great, but it's tough to remember now. Joaquin Phoenix is great (in his last role before he lost his mind and became a bearded rapper), and his character is that rare lead who is utterly entrancing to watch, you feel his arc could spin off in any direction. Definitely one to watch again. 73
FAQ About Time Travel (Gareth Carrivick, 2009): This had some potential to be a pleasing low key geek comedy, three guys nerdily discussing time travel in a pub before accidentally happening upon it themselves. It's unfunny and stupid though, making you feel embarassed for even poor Anna Faris. Feels uncannily like a feature-length UK beer advert starring only generic composites of blokey cliches. 29
Death Note (Shusuke Kaneko, 2006): Another one i'm finding it tough to remember, I do recall this being much goofier and less dark than I had imagined, the tone is almost identical to Pokemon and Digimon cartoons. Apart from being a bit overlong, it's a compelling enough slice of comic cheese, and I sort of look forward to the sequel. 51
Racing With the Moon (Richard Benjamin, 1984): Could have been one of those melancholy-tinged nostalgia fests that I love, but Benjamin fluffs some key things like using wildly inappropriate music (might sound petty but it really jars) and failing to keep focus through the lazily drifting plot strands. Still enjoyable though, with a more interesting (certainly less straightforward) love story than this type of thing usually gets and Cage and Penn are decent. 50
Fermat's Room (Louis Piedrahita & Rodrigo Sopina, 2007): Exactly the sort of thing I love, a high concept, one-set thriller. The thing is, while this is very inventive with keeping you guessing, and also in its exam-driven attack structure, it surprisingly takes less care with some simple things. It's too short, for one, and everything escalates too quickly and the plot twists are too numerous. It has a casual confidence which works wonders most of the time, but where we should be shocked or excited as the end nears, the revelations and climaxes simply queue up unenthusiatically. Still very good, and a must for those who love stuff like Cube (And Cube 2: Hypercube. And Cube Zero). 64
Butterfly on a Wheel (Mike Binder, 2007): Binder proves an able genre-hopper once again with this slick, perfectly paced thriller. It's mostly by-the-book "If You ever want to see your son alive again..." stuff, but Brosnan's calm, rough-edged captor certainly holds your attention, and the set pieces and shock moments are often thrillingly done, if a little stupid. 60
Paranormal Activity (Oren Peli, 2009): An odd one, but certainly effective. Much more relatable than Blair Witch, and with less irritating characters, this becomes the new high watermark for 'oooh, is it really real?' low-budget thrills. It takes great pains in immersing you in the normality of the characters lives, making the film seem mundane, which works brilliantly in its favour when the infrequent hauntings do take place, it is amplified into something truly horrifying. My only complaint, as with Cloverfield and others like it, is that writers will never EVER be able to come up with a sound reason why the characters are filming absolutely everything they do, and this does hurt it a little. 63
Paul Blart: Mall Cop (Steve Carr, 2009): I should confess that I keep finding myself watching King of Queens, not whole episodes, but somehow I just keep getting sucked in. So yes, I officially like Kevin James, and it's his self-deprecating charm and excellent comic timing which keep this from going totally off the rails. Well, for the first half anyway, when the criminal plot gets underway this is as nauseatingly tedious as you could imagine. But for about 40 minutes it's a sweet, dimly amusing character showcase. 42
The Box (Richard Kelly, 2009): Kelly needs some sort of minder when he's scriptwriting, because he just can't stop over-indulging. This potentially prescient weirdo-thriller has many alluring elements (the visual evocation of the 70s, great extras casting, endless mysteries growing larger and weirder) but it's all blown by stupidity. I enjoyed so many little touches that it was still a worthwhile watch for me, but I defy anyone to stick with it past the point where James Marsden is told to enter one of three magical columns of water (Maybe it's from Sartre, who keeps getting namedropped, making sure you know the director's read some books). Too weird for anyone wanting a decent horror film, and too messy and self-defeating for those who see its potential. I know I'll end up watching it again though. 50
Still loads more to come!
Thursday, 10 December 2009
Catch up!
It Takes Two (Andy Tennant, 1995): Basically the Parent Trap again, but since it's not a divorced couple and just a couple of strangers there's no real tension in their being fooled into falling in love. The Olsen twins are disgustingly over-confident. Still, always good to see Kirstie Alley. [34]
This Is It (Kenny Ortega, 2009): I'd never really considered what a global phenomenon Michael Jackson is (Do you know anyone who doesn't really like at least one of his songs?). This ultra-straightforward documentary (just filmed rehearsal footage and bland soundbites from participators) really manages to ram that home, though I was getting a bit bored of his voice by the end of it. Obviously the fascinating part of it is trying to pick up on physical omens of his death, and although he is terribly thin and never without sunglasses, he performs very well. Mostly enjoyable. [53]
Wall Street (Oliver Stone, 1987): Was this cutting edge once? It's hard to comprehend the semi-classic status of this since it's an idea of moral corruption for monetary gain that we've seen so many times (even Eddie Murphy uses it as an arc for his kiddy films now). Still, it's fun to watch and there's not as much moral chest-beating as I expected (there'll plenty in the currently-filming sequel I bet). [52]
The Little Mermaid (Ron Clements & John Musker, 1989): Good songs and an enjoyable villain, otherwise this early template for Disney's 90s slate hasn't aged terribly well. It's still slick and quick, though I found most of the 'charming' characters annoying, and the animation looks rough in places. If I sound harsh it's only because I really love Disney's 90s singalongs. While this is above stuff like Hunchback of Notre Dam and Pocahontas, it isn't as memorable as many better ones. [54]
Labor Pains (Lara Shapiro): Oh Lindsay Lohan, you look so tired here! You can't blame her, as the script is one big snore, livening up only for moments of astonishing stupidity. Lohan is still likeable, though she's really not putting any effort into this one. Everyone nowadays thinks of a wacky idea and thinks it will translate into them being a decent comedy writer somehow. This has literally no laughs [18]
Shifty (Eran Creevy, 2008): Why, it's one of those really good British films people always talk about existing but I've found mostly don't. It's actually an ancient, typical story about a drug dealer who's a nice guy and wants to get out of the business. Simply executed, the story doesn't pile on contrivances or stereotypical living conditions (ie the drug dealer isn't in poverty) to make things dramatic. Creevy has an exceptional hold on the material though, creating convincing montages of doom and unbearable tension with economic use of music and cross-cutting. Certainly a talent to watch. [64]
This Is It (Kenny Ortega, 2009): I'd never really considered what a global phenomenon Michael Jackson is (Do you know anyone who doesn't really like at least one of his songs?). This ultra-straightforward documentary (just filmed rehearsal footage and bland soundbites from participators) really manages to ram that home, though I was getting a bit bored of his voice by the end of it. Obviously the fascinating part of it is trying to pick up on physical omens of his death, and although he is terribly thin and never without sunglasses, he performs very well. Mostly enjoyable. [53]
Wall Street (Oliver Stone, 1987): Was this cutting edge once? It's hard to comprehend the semi-classic status of this since it's an idea of moral corruption for monetary gain that we've seen so many times (even Eddie Murphy uses it as an arc for his kiddy films now). Still, it's fun to watch and there's not as much moral chest-beating as I expected (there'll plenty in the currently-filming sequel I bet). [52]
The Little Mermaid (Ron Clements & John Musker, 1989): Good songs and an enjoyable villain, otherwise this early template for Disney's 90s slate hasn't aged terribly well. It's still slick and quick, though I found most of the 'charming' characters annoying, and the animation looks rough in places. If I sound harsh it's only because I really love Disney's 90s singalongs. While this is above stuff like Hunchback of Notre Dam and Pocahontas, it isn't as memorable as many better ones. [54]
Labor Pains (Lara Shapiro): Oh Lindsay Lohan, you look so tired here! You can't blame her, as the script is one big snore, livening up only for moments of astonishing stupidity. Lohan is still likeable, though she's really not putting any effort into this one. Everyone nowadays thinks of a wacky idea and thinks it will translate into them being a decent comedy writer somehow. This has literally no laughs [18]
Shifty (Eran Creevy, 2008): Why, it's one of those really good British films people always talk about existing but I've found mostly don't. It's actually an ancient, typical story about a drug dealer who's a nice guy and wants to get out of the business. Simply executed, the story doesn't pile on contrivances or stereotypical living conditions (ie the drug dealer isn't in poverty) to make things dramatic. Creevy has an exceptional hold on the material though, creating convincing montages of doom and unbearable tension with economic use of music and cross-cutting. Certainly a talent to watch. [64]
Saturday, 28 November 2009
Mommie Dearest (Frank Perry, 1981)
With: Faye Dunaway, Diana Scarwid, Steve Forrest, Howard Da Silva, Mara Hobel
Plot: Based on Joan Crawford's daughter's memoir, this scathing profile of the hellish actress follows their difficult mother-daughter relationship
---
Jesus Christ! I read that the filmmakers attempted to make this seem a bit more even handed than the book, so I can't imagine what nightmares go on in that. This is the ultimate lurid voyeurism, undeniably thrilling to watch because it's (allegedly) true but also camp and hysterical which keeps us detached enough to not feel too bad about it all. It's tough to imagine this was ever going for anything other than the status of camp classic, but the sad story behind it manages to be compelling enough to keep its histrionics going off the rails, and although it doesn't do too much exploration, the demented psychological figure of Joan Crawford is laid bare for us to poke and analyse. Dunaway chews the scenery until there's nothing left, which is probably appropriate for this kind of thing, and Scarwid and Hobel as the daughter at different ages both simmer quietly with resentment and fear to a marvellously matched effect. Essential viewing for anyone even slightly interested in celebrity.
72
Plot: Based on Joan Crawford's daughter's memoir, this scathing profile of the hellish actress follows their difficult mother-daughter relationship
---
Jesus Christ! I read that the filmmakers attempted to make this seem a bit more even handed than the book, so I can't imagine what nightmares go on in that. This is the ultimate lurid voyeurism, undeniably thrilling to watch because it's (allegedly) true but also camp and hysterical which keeps us detached enough to not feel too bad about it all. It's tough to imagine this was ever going for anything other than the status of camp classic, but the sad story behind it manages to be compelling enough to keep its histrionics going off the rails, and although it doesn't do too much exploration, the demented psychological figure of Joan Crawford is laid bare for us to poke and analyse. Dunaway chews the scenery until there's nothing left, which is probably appropriate for this kind of thing, and Scarwid and Hobel as the daughter at different ages both simmer quietly with resentment and fear to a marvellously matched effect. Essential viewing for anyone even slightly interested in celebrity.
72
17 Again (Burr Steers, 2009)
With: Zac Efron, Leslie Mann, Thomas Lennon, Sterling Knight, Michelle Trachtenberg, Matthew Perry
Plot: Loser in life Matthew Perry is transformed into his younger self (Efron) by a magical janitor, so that he can put right the mistakes of his youth, and form a slightly creepy bond with his previously estranged wife and kids, who don't know who he really is.
---
I went in ready to really hate this, due to an intense dislike of High School Musical, and while it's not exactly better than you'd expect, Efron establishes himself as an able comic actor. We've seen this story so many different ways (Big, 13 Going on 30, the Freaky Fridays), that the lack of invention in its mechanics (particularly the magical janitor, perhaps the laziest plot device of the year) becomes more gruelling and noticeable with each new body-swap comedy, so unfortunately this film bears the brunt of all their sins, though it is also one of the sloppiest. Visually, Steers is pretty nippy and the film looks nice and has pretty much flawless pace and timing (if not the content to match), and the romance between Lennon and the school principal as a meeting of successful nerds feels sweet if silly. Otherwise this is just like all those other films but a bit less funny, and crosses an awkward line when Trachtenberg practically sexually assaults Efron, not knowing he's her father. Urgh!
43
Plot: Loser in life Matthew Perry is transformed into his younger self (Efron) by a magical janitor, so that he can put right the mistakes of his youth, and form a slightly creepy bond with his previously estranged wife and kids, who don't know who he really is.
---
I went in ready to really hate this, due to an intense dislike of High School Musical, and while it's not exactly better than you'd expect, Efron establishes himself as an able comic actor. We've seen this story so many different ways (Big, 13 Going on 30, the Freaky Fridays), that the lack of invention in its mechanics (particularly the magical janitor, perhaps the laziest plot device of the year) becomes more gruelling and noticeable with each new body-swap comedy, so unfortunately this film bears the brunt of all their sins, though it is also one of the sloppiest. Visually, Steers is pretty nippy and the film looks nice and has pretty much flawless pace and timing (if not the content to match), and the romance between Lennon and the school principal as a meeting of successful nerds feels sweet if silly. Otherwise this is just like all those other films but a bit less funny, and crosses an awkward line when Trachtenberg practically sexually assaults Efron, not knowing he's her father. Urgh!
43
Dragonball Evolution (James Wong, 2009)
With: Justin Chatwin, Chow Yun-Fat, Emmy Rossum, Jamie Chung, James Marsters
Plot: A young warrior destined for greatness (Chatwin) must track down seven Dragonballs that grant unlimited power before they are found by the evil Piccolo (Marsters)
---
Who was this made for? Surely the only interested party would be fans of the manga (Which I haven't seen) which has obviously been severely bastardised here. The story has transformed into an American High School comedy with occasional saturday morning cartoon bouts of questing and fighting. It's not terribly made exactly, but so weak and half-hearted that you find yourself actively pitying those involved as you watch (Did their friends have to go see it and feign approval?). Obviously the budget doesn't allow for as many effects as the story requires, and the teens are too fresh-faced and plastic to make the fight scenes seem anything other than playing with lifeless dolls. One of those films that fails badly on so many levels that it becomes a semi-interesting emblem for the worst of Hollywood, but the only true joy it brings is imagining all those hardcore manga fans weeping into their Goku dolls.
26
Plot: A young warrior destined for greatness (Chatwin) must track down seven Dragonballs that grant unlimited power before they are found by the evil Piccolo (Marsters)
---
Who was this made for? Surely the only interested party would be fans of the manga (Which I haven't seen) which has obviously been severely bastardised here. The story has transformed into an American High School comedy with occasional saturday morning cartoon bouts of questing and fighting. It's not terribly made exactly, but so weak and half-hearted that you find yourself actively pitying those involved as you watch (Did their friends have to go see it and feign approval?). Obviously the budget doesn't allow for as many effects as the story requires, and the teens are too fresh-faced and plastic to make the fight scenes seem anything other than playing with lifeless dolls. One of those films that fails badly on so many levels that it becomes a semi-interesting emblem for the worst of Hollywood, but the only true joy it brings is imagining all those hardcore manga fans weeping into their Goku dolls.
26
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