Title: Rush Hour 3
Starring: Jackie Chan, Chris Tucker,
Director: Brett Ratner
Producer: Robert Birnbaum, Andrew Z. Davis, Jonathan Glickman, Athur M. Sarkissian, Jay Stern
Genre: Comedy, Action
Release Date: August 10, 2007
MPAA Rating: PG-13
Distributors: New Line Cinema
I almost made it. I made it all the way through the summer but now the weight has become just too much to bear. Here we are with the umpteenth sequel/threequel and I have but one thought pulsing through my head: For the love of all that is holy, haven’t we had enough already? Tired, unnecessary rehashes of stories we barely cared about the last time around. I don’t mind sequels if they can bring something new to the table but to have the audacity to do pretty much the exact same thing as the previous film is contemptuous and insulting.
In the Socratic dialogue, The Republic, Plato famously tells us that “necessity is the mother of invention.” If that is true, then the counterbalance to that argument must be an exercise in nonessential free will, and Rush Hour 3 must’ve been exactly what they had in mind.
A few years after Rush Hour 2, we rejoin the two main leads in their current jobs. James Carter (Chris Tucker) is directing traffic on the streets of Los Angeles. Chief Inspector Lee (Jackie Chan) is now the bodyguard for Ambassador Han, the former Consul from the original Rush Hour. At the World Criminal Court discussions, Ambassador Han addresses the importance of the fight with the Triad, a society of underground Chinese organized crime. During his announcement that he knows the identity of the Triad leadership, an assassination attempt is made on Han’s life when he is shot by a sniper. Later in the hospital, Lee and Carter make a promise to Soo Yung (Han’s now grown daughter) to find and capture the person behind the attack to ensure her fathers safety.
There is nothing in this movie that feels fresh to me. It is essentially one clumsy setup after another to a car chase/fight scene. Lee has a cause that he just “has to go at alone this time” and Carter disrupts any action with smart-ass, unfunny commentary for the sake of hearing his own high-pitched, whiney voice (“Lee this guys on steroids! His head is bigger than Barry Bonds”). We are also treated to the same tired, clichéd jokes. Aww look, Carter and Lee get into another lovers quarrel and go their separate ways. Lee orders fried chicken and sweet potato pie from room service and Carter orders Mu Shu Pork from around the corner, unbeknownst to each other. Listen guys, it took me a minute but I get it - you two can be friends despite your cultural differences. I think that after three movies, I have earned the right not to have my nose rubbed in it. Again. We get the same over-choreographed fight scenes that I would describe as more B-grade Three Stooges antics if that didn’t qualify as a compliment. I half-expected Carter or Lee to put a hand straight up on their nose to stop the Triad from poking out their eyes.
For the most part, Jackie Chan movies seem like nothing more than a vehicle for showcasing his martial arts ability. They can be funny and entertaining, but if you’ve seen one, you’ve seen them all. And it seems like Tucker is just wasting his prime. He hasn’t made a single movie in the last decade except Rush Hour movies. Wow. For someone with such a promising career after Friday, I can’t for the life of me figure out why he has decided to wallow in mediocrity like this. Seriously, how long are we going to milk this cow? Seeing Tucker go on Letterman and tell everyone he can “kick Jackie’s ass”, or Chan on Leno telling everyone he can “sing and dance better than Chris” leaves me feeling exasperated thinking what else they could’ve been doing besides this. The final scene in the movie sums up the whole experience for me. The two stars go dancing into the Paris night and the song “War” pours over the speakers and in one fail swoop, the filmmakers inadvertently but perfectly summarize the whole experience through the lyrics of the song, and no truer words have ever been spoken about the movie: “… what is it good for? Absolutely nothing, say it again, y’all.”
This is a pointless, nonessential, unnecessary, forced, boring slapped together movie from start to finish. A complete waste of Tucker and Chan’s comedic abilities that I can only hope is the cold water in the face that Tucker needs to motivate him to do something different with his potentially excellent career.
And there’s the rub.
1 out of 5 stars
http://www.rushhourmovie.com/
Jeremy Welsch
jndubbs@gmail.com
Sunday, August 19, 2007
Movie Review: Rush Hour 3 by JW
Friday, August 17, 2007
Movie Review: Superbad by ME
Title: Superbad
Starring: Seth Rogen, Jonah Hill, Michael Cera, Christopher Mintz-Plasse, Bill Hader
Directed By: Greg Mottola
Produced By: Seth Rogen, Evan Goldberg, Judd Apatow
Genre: Comedy
Release Date: August 17th, 2007
MPAA Rating: R for pervasive crude and sexual content, strong language, drinking, some drug use and a fantasy/comic violent image.
Distributors: Sony Pictures Releasing
Superbad revolves around two co-dependent high school seniors (Hill and Cera) who set out to score alcohol for a party, believing that girls will then hook up with them and they will be ready for college. But as the night grows more chaotic, overcoming their separation anxiety becomes a greater challenge than getting the girls. -Official Site
I think Judd Apatow is the modern recreation of Midas. Everything he touches is comedic gold. Breaking out with The 40 Year Old Virgin and Knocked Up, Apatow has proven that he knows comedy. Lending a hand as a producer for Superbad, Apatow lets veteran TV director Gregg Matolla helm this one. Add Seth Rogen and Evan Goldberg as writers to the mix, a few well placed cameos, and you have the recipe for one of the summers funniest, if not crassest, comedies. Even I, as a 30-ish male, can see parts of myself in each and everyone of these characters. While not having had quite this outrageous of an adventure, I have had nights that resemble this in my younger days.
First and foremost, I have got to talk about Jonah Hill. The boy is a rising star and steals almost every single scene that he is in. Next up is Christopher Mintz-Plasse's McLovin, er, Fogel. This kid is the epitome of dorkiness and yet seems to have the best time out of all the kids. Who wouldn't have fun hanging out with cops, drinking and shooting guns all night long? Out of the three main characters, Michael Cera seems to be the weakest link. For most of the movie he comes off as an effeminate little boy who needs to show some courage, and while that is what the movie is about, he never really does it. Things just kind of end up working out for him by the end of the film. How can I review this film without mentioning Seth Rogen and Bill Hader as two cops who just want to be cool. Well, they are extremely funny, but all of their antics took me out of the movie for a bit. Extremely un-policemenlike behavior that would never fly in the real world.
Superbad is a twisted coming of age tale that just may be the comedy of the summer. If you enjoyed The 40 Year Old Virgin and Knocked Up, you will most likely enjoy Superbad. Films like these truly speak for themselves and Superbad sure says it loudly between brays of laughter.
I'd give my middle nut for a sequel,
until then,
keep reading.
Mitch E
mitchemerson@hotmail.com
mitch@comicbookbin.com
Movie Review: Death At A Funeral by ME
Title: Death at a Funeral
Starring: Matthew MacFadyen, Peter Dinklage, Ewen Bremner, Rupert Graves, Alan Tudyk
Directed By: Frank Oz
Produced By: William Horberg, Bruce Toll, Andreas Grosch
Genre: Comedy
Release Date: August 17th, 2007
MPAA Rating: R for language and drug content.
Distributors: MGM Distribution Company
A dysfunctional British family gathers for the patriarch's funeral. Tensions rise, old conflicts are uncovered and, when a man arrives saying he's the dead man's gay lover and threatens blackmail, drastic measures are taken. -Yahoo! Movies
Frank Oz should stick to voice acting and working with puppets. There, I've said it. If you can't tell, I didn't like Death at a Funeral. The only Frank Oz film that I really enjoyed was Dirty Rotten Scoundrels, and that one was a loooong time ago. What could have been an originally funny movie relies on cliched gags such as a body falling out of a coffin, people taking the wrong kind of pills (which happens to be the funniest thing in the movie, more about it in a minute), misplacement of said pills and yet two more people taking said pills! Death at a Funeral also suffers from stereotypical characters with hardly any character development. You have the average lead character Daniel who is overshadowed by his successful writer sibling Robert, the crotchety old uncle in a wheelchair, the creepy guy who is there just to hit on a family member after becoming obsessed with her after a drunken one night stand, I think you get it.
Given that this is an ensemble cast of actors and actresses that I have never heard of, I will just mention the two stand outs. Alan Tudyk plays Simon, the victim of the old pill swap gimmick. He is on a hallucinogenic trip that provides most of the laughs of the film. From seeing the coffin move to sitting on the roof naked, Tudyk steals every scene that he is in. The other member worth mentioning is Peter Dinklage, who I cannot say much about as it may give away some plot points but will say that he gives a stand out performance. The rest of the cast seems extremely mediocre when compared to these two.
Maybe I just don't get that dry British humor, but I truly can't recommend this film unless you have absolutely noting to do and have already seen Knocked Up two or more times.
Visit the website here.
Until I can get my hands on those pills,
keep reading
Mitch E
mitchemerson@hotmail.com
Thursday, August 16, 2007
Movie Review: Stardust by JR
Starring: Claire Danes, Charlie Cox, Michelle Pfeiffer, Robert DeNiro
Directed By: Matthew Vaughn
Produced By: Stephen Marks, Peter Morton, David Womark
Genre: Fantasy/Action/Adventure/Comedy
Release Date: August 10, 2007
MPAA Rating: PG-13 for fantasy violence and some risqué humor
Distributors: Paramount Pictures
Synopsis: A fallen star catches the eye of several people who want it for their own purposes.
Neil Gaiman. I started reading the first part of the infamous “Sandman” books a few years ago and it never really stuck with me. I ended up quitting before I finished the first one. Perhaps I should give it a second chance. Then when “Mirrormask” came out I decided to give him another try. I didn’t know what to expect with that one, and got bored with it, stopping the DVD about halfway through. Perhaps I should give it a second chance. So when “Stardust” was first announced and Gaiman fans everywhere were rejoicing, I was mulled by a feeling of “meh”. By this time, I’m pretty much indifferent to the man whom so many proclaim as godlike in his writing abilities. Then the movie got good reviews by darn near everyone and my interest was piqued. Gaiman can’t possibly appeal to everyone can he?
Apparently he can.
“Stardust” is a whimsical, hysterical fairy tale that had perfect box office timing. In a summer overcome by blockbusters and sequels, “Stardust” is that refreshing breath of fresh air. Yes it looks like a blockbuster with its stellar cast and huge sets, but the story is so well-written, I don’t think it will be quickly forgotten like a normal blockbuster.
As the movie opens, we are given a quick tour of the land. The small village in England of Wall is named for its literal stone wall that borders England with the magical world of Stormhold. Nobody can venture past the wall and there is a very old guard always sitting at the wall to make sure none passes through. Then the story begins with a background of all of our main characters: A king on his deathbed and his sons vying for the crown, three old and ugly witches, and the father of Tristan, the main character. We get to see the history of his mother and father: how they met, how he was conceived, and a little bit about how he was raised. Then we get to see Tristan as a young man: where he works, where he lives, and the girl with whom he is desperately in love, Victoria. Suddenly, a star falls from the sky and all of these main characters want it for their own purposes.
The cast in this film is superb. Tristan is played by an relatively unknown Charlie Cox. I like that this character is played by someone I haven’t heard of. There are no preconceived notions about him at all. I look forward to seeing him in many more films in the future. His chemistry with Claire Danes, who plays the fallen star, is shining. They are so much fun to watch. Michelle Pfeiffer is on top of her game for the second time this summer. With her Velma von Tussle from “Hairspray” and her evil witch Lamia, she’s definitely the comeback of the year. She does evil so well! Even with the wonderful performances already mentioned, my absolute favorite in the movie was Robert de Niro as the pirate captain. I’m not going to give it away since nobody gave it away for me, but he is fabulous!
The supporting characters in the movie are fantastic: There’s a witch who has a servant girl chained up for eternity with a magical chain that cannot be broken. There are a slew of very funny ghosts. There’s a goat that gets turned into a man who retains his goat-like appearance and characteristics. The magical world of Stormhold is brimming with wonderfully well-written characters.
As a lover of fantasy, I was in my element with “Stardust”. While I understand that it's not going to be everyone’s cup of tea, I really believe that there is something in “Stardust” for every movie-goer.
Rating: 4.5 out of 5 falling stars
www.stardustmovie.com
Jenny Rushing
beccajane67@yahoo.com
Monday, August 13, 2007
Movie Review: Hot Rod by JW
Starring: Andy Samberg, Isla Fisher, Jorma Taccone, Bill Hader, Danny R. McBride, Sissy Spacek, Ian McShane
Director: Akiva Shaffer
Producer: John Goldwyn, Lorne Michaels
Genre: Comedy
Release Date: August 3, 2007
MPAA Rating: PG-13
Distributors: Paramount Pictures
A (very) amateur stuntman attempts a stunt where he jumps 15 buses on his moped. He hopes to raise enough money to get his step-father a heart transplant, so he can be health enough again to “uncork the ass-beating of a lifetime” on him and finally gain his respect.
Saturday Night Live is a machine. Like any machine that has been running for 32 years, it doesn’t always work, and the quality can be inconsistent, but for better or worse, it has become quite the institution. I stopped watching ages ago, but they sure keep grinding it out don’t they? We’ve seen sketches turned into feature-length movies; from the good (Blues Brothers, Wayne’s World), to the bad (Night at the Roxbury, Superstar) to the utterly atrocious (It’s Pat, Ladies Man). In the infancy of their careers, we’ve had the pleasure of seeing some real talent come from the halls of 30 Rock, and on to more fruitful ventures. On the other side of that coin, we’ve also seen some of the most inexplicable displays of ‘talent’ attempt to cash in on their resume and fail miserably. So when movies like this come along, I typically take them with a grain of salt. In this case, I think my tepid expectation may have actually added to my enjoyment of the movie.
The premise sounds like yet another SNL sketch forced to feature length. The movie opens with Rod Kimble (Andy Samberg), an amateur stuntman who believes his real father to have been a famous stuntman who worked with Evil Knievel, and his crew spending their days setting up a series of jumps for Rod to attempt on his moped. His crew consists of Dave (Bill Hader), the mechanic, Rico (Danny R. McBride), the ramp builder, and Kevin (Jorma Taccone), the step-brother and videographer. In the beginning, Rod attempts to jump a mail truck positioned between two makeshift wooden ramps. Before he starts, he asks his crew if they had time to reinforce the ramp. They respond, obviously, that no, they didn’t have time. He tries it anyway and flies smack into the top of the truck and the landing ramp. Undeterred by this failure, he promotes a stunt the very next day where he plans to jump the local pool. This also fails. Spectacularly.
On the home front, Rod arrives home daily to suit up for a series of gladiator-type battles with his step-father Frank (Ian McShane) in an attempt to win his respect. His step-brother Kevin tries to stop him but Rod says, “You’re his real son, so he automatically loves you. I have to earn it.” So off he goes to get his ass handed to him again. After the failed pool jump, Rod returns home to learn that Frank is in need of a heart transplant that will cost $50,000 out of pocket. This angers Rod. Not so much because of the severity of the situation, but that he will never get the chance to beat Frank in hand-to-hand combat. After going to his “happy place” (a very hilarious scene with Rod in the forest apparently training and “air punching out his aggression”) he decides that he will set up a stunt wherein he will attempt to jump 15 buses and promote the event with all the proceeds going to pay for Frank’s operation. So he can keep him alive, bring him back to full strength, and try his hand at, well, beating him to death.
Let me go on record as saying with the right projects, Andy Samberg has the potential to have a long and prosperous film career. In lesser hands, this movie could have been a disaster, but what makes it work is the honesty of Rod’s character. Rod is a man happy with simple pleasures, but he is not stupid. Samberg wisely chose not to play it up for cheesiness or cheap laughs. Yes, there are cheesy moments and cheap laughs abound, but there is sincerity in the character that makes it work. The supporting cast is also played to just the right tone as well. There isn’t a Stifler-type character that is trying to break out and be noticed. Everyone just does their part, and does it well while staying mindful of the structure of the film. My favorite parts of the movie are between Rod and Frank. Whether they are fighting or Rod is trying to talk to him to get a glimpse of the respect he almost painfully desires, it always turns into Rod finding various ways to threaten Frank’s life. Even as he lies on his death bed. Another wise move by the filmmakers was not to overdo the emotion and weigh down the picture with sappy sentiment. Again, it plays to just the right tone. And the 80’s-style soundtrack that fills the movie is just icing on the cake.
This movie is much funnier than I expected. A fairly textbook comedy that works because it cares about the characters. It is cheesy but sincere, over-the-top, but not overplayed, and a great vehicle to, what hopes to be, a promising career from star Andy Samberg.
And there’s the rub.
3 1/2 out of 5 starsJeremy Welsch
jndubbs@gmail.com
Thursday, August 9, 2007
Movie Review: Underdog by JR
Genre: Action/Adventure/Family/Comedy
After first seeing the previews earlier this year, I have been excited about Underdog. As a parent of two children ages 7 and 5, it’s hard to find movies that everyone in the family will enjoy. My kids were as equally excited to see it as I was. Usually it’s them wanting to drag me to a movie (Happily N’ever After), or it’s me wanting to drag them to a movie (Narnia).
The story line in Underdog was very simple: Mad scientist and his bumbling sidekick want to do bad things, and the superhero must save the day. The big “twist” on this is that the superhero is a dog. Not so big of a twist, right? Yeah, I know. But it’s still a really cute gimmick and it worked for me. Underdog, whose alter-ego’s name is Shoeshine, is a great character for kids. He has trouble succeeding in what he does because something always goes wrong, and he feels like he can’t do anything. He’s funny and very relatable, even if he is a talking dog. His owner, Jack, is having some problems of his own and has to overcome them to help Underdog succeed. It’s nothing we haven’t seen before, but coupled with the action and the comedy, it really works here. All of the kids in the theater were captivated.
The performances were fantastic as well. Dr. Barsinister is played by Peter Dinklage (you might know him from Nip/Tuck) and he’s a perfect kiddie villain. He’s just sinister enough, yet he does physical comedy very well. His bumbling sidekick is played masterfully by Patrick Warburton. Underdog’s owner Jack is played by newcomer Alex Neuberger. According to imdb.com, he’s only been in one other movie: Running Scared, which I hated. He’s a great little actor. I expect to see him in many other movies in the future.
Underdog is the latest in the old-cartoon-turned-into-a-movie, and I have to tell you, I never watched the old cartoon. I remember seeing pieces of it here and there in my childhood, but it wasn’t one that I would carve out a slice of that special Saturday morning time for. One of the things I do remember about the cartoon is Underdog speaking in rhyme a lot, and he does that in the new movie as well. Sounds like it would get old? Nah, it doesn’t. Not in the short run-time. It’s endearing actually, like a part of his new persona that isn’t developed yet. I hate to compare, but it’s kinda like in Spiderman, when Peter Parker is trying to figure out how to use his webbing and shouts out things like “Go web!”.
My only complaint about the movie is that it dragged a bit in the second half. My kids were thoroughly engaged in it, but I took a quick 10 minute nap. Overall though, the movie was entertaining, funny, full of action, and completely appropriate for the entire family. Which I love.
4 out of 5 stars
Jenny Rushing
Beccajane67@yahoo.com
Wednesday, August 8, 2007
Movie Revbiew: The Bourne Ultimatum by JW
Ed. note – We have a guest reviewer this time around, Jeremy Welsch of www.moviebuffs.com/ Hopefully he will stick around for a while. You guys can email him and beg him to stay at jndubbs@gmail.com.
Title: The Bourne Ultimatum
Starring: Matt Damon, Julia Stiles, David Strathairn, Scott Glenn, Albert Finney, Joan Allen
Director : Paul Greengrass
Producer: Patrick Crowley, Frank Marshall, Paul L. Sandberg, Doug Liman
Genre: Action
Release Date: August 3, 2007
MPAA Rating: PG-13
Distributors: Universal Pictures
Paul Greengrass directs the final chapter in the Bourne trilogy. Jason Bourne is still trying to find out the secrets of his identity while being hunted by the very people who trained him.
Every now and then I have this dream. In it, I am my current age and I wake up and find myself in the halls of my high school (of which I am 13 years removed). I continue to make my way through the hallways making my way towards my locker. Everyone around me is how I remember them in high school and they don't even notice that I am in my early thirties. The only thing running through my mind is an increasing feeling of anxiety as I get closer to my locker because I can't remember my combination. For some reason I think that if I can't figure it out or have to go to the principals office to get it, they'll figure out how old I am and that I am not supposed to be there. But every time I get to the locker, I get the combination right. It doesn't seem familiar to me as I am trying the lock, but I get it open first try - every time. Weird, but true. I have no clue what it means, if anything, but as I sat down to write this review that dream popped into my head and ended up being the best way to summarize how I felt watching the movie.
The movie picks up right where the last one left off. Literally. After the car crash in Moscow at the end of The Bourne Supremacy, we rejoin Bourne as he evades police then goes to Paris to tell Marie's brother that she is dead. During this time, he reads an article about himself in the Guardian Newspaper and heads to London to track down the writer, Rimon Ross, and find out who his source is. He meets up with Ross at Waterloo station and learns of 'Blackbriar', formerly Treadstone (the top-secret CIA program that basically 'created' Jason Bourne). During this meeting, Bourne gives a clinic on surveillance evasion by guiding Ross via cell phone through/around numerous cameras and CIA converging on the station. He finds out the source, gets away from an asset (Blackbriar assassin) sent to kill him and Ross, and he's off to Madrid to track down his source. And so on and so forth.
This movie is essentially two hours of Bourne running away from the CIA, which is trying to kill him, and towards what he hopes are answers about his identity. In the end, that is pretty much what the whole trilogy is about - Bourne trying to find out who he is and kicking everyone's ass that gets in his way. The action in this movie doesn't disappoint. There are two scenes in particular that stick out in my mind. There is a car chase scene is pretty intense. I haven't seen many that look this seamless or exciting, even if it was a bit long and overdone. I had the same complaint about the chase scenes in The Bourne Supremacy. How many shots do we need from inside the car where we see an incoming car smash into Bourne's vehicle and watch his head shake back and forth? Impressive the first few times I saw it, but overused. Like that friend of yours that still quotes Old School - it was funny the first hundred times we heard it, but, we get it, let's move on. The real tour de force of the movie was the sequence in Tangier where Bourne is tracking Desh, an asset sent to kill his source, then him and Nicky (a CIA agent and former Treadstone contact who offers to help Bourne). There is about a 10-15 minute stretch where there is virtually no dialogue; just straight action and a chase on foot. We see Bourne hopping from building to building tracking Desh before he has a chance to kill Nicky with intermittent cuts back and forth between Bourne, Nicky, and Desh. The climax of the sequence is the confrontation between Desh and Bourne that is hands down, the best fight sequence of the trilogy. The most impressive part is, like I said, there is no dialogue at all and the suspense is basically created out of thin air through the editing and camera work. It works on all levels and I wished there had been more direction like this in the movie. I would recommend the movie solely on the integrity of this sequence alone. Absolutely amazing filmmaking.
I liked Identity, and loved The Bourne Supremacy but The Bourne Ultimatum, sadly, sort of let me down. I wouldn't go so far as to say this is a bad movie, by any stretch of the imagination.
The Bourne Supremacy was so far and above Identity that I guess I was spoiled into thinking this would be an improvement to the same degree. Instead it felt more like The Bourne Supremacy, Part II. There is a scene in the movie that is directly taken from the end of The Bourne Supremacy (where Bourne is calling Landy and tells her to "Get some sleep. You look tired"). Wait, what? Didn't we already see that once? If it was an attempt to be clever by tying the two films together, it didn't work. Clever for the sake of clever is weak, tired writing. And if that last scene in The Bourne Supremacy was supposed to prelude to The Bourne Ultimatum, the jump into the middle of its sequel didn't make any sense to me. Again, clever for the sake of clever kind of feels like cheating. The ultimate answer to the question of the series, 'Who is Jason Bourne?' was, well, sufficient, if not a little awkward and a bit forced. I don't know what ending I would have accepted more, but the solution presented didn't work all that much for me, but it'll do.
I really wanted to like this movie more - I really did. By no means is it a bad movie; it just feels too much like we've been down this road before. A tidy 'end' to a very good trilogy that I didn't expect much from when it first started.
And there's the rub.
Jeremy Welsch
jndubbs@gmail.com
