"You're moving with some ITT... Intent To Touch."

Movie Review: "Night at the Museum: Battle of the Smithsonian"
(Lawrentian, published May 29, 2009)

That "Battle of the Smithsonian" is a sequel should have clued me in that I did not need to spend $6 to see it in a theater. Sequels are tricky. For a second film, you expect some new tricks mixed with the old gags. If you make a sequel, you need to be rather creative in making it at least as good as the first without relying on the same formula.

The original "Night at the Museum" indulges the little kid inside all of us who wonders what it would be like to stay inside the museum after closing time. Placing the sequel in the Smithsonian sounds like a pretty natural trump card. Instead of one museum there are many, connected by underground storage archives. This is plenty of space for new exhibits that can come to life and battle each other.

Ben Stiller reprises his role as night guard Larry Daley. Other familiar faces include Owen Wilson, Steve Coogan and Robin Williams. The film also hosts newbies Hank Azaria, Bill Hader, the Jonas brothers and Amy Adams.

Though impressive that studio execs can convince this many celebrities to join the sequel, the cast can only do so much with a script lacking any ingenuity. This movie is heavy on pretty faces, but it relies on a far-too-fluffy script.

The most annoying thing about the movie is the forced and unnecessary love thread between Stiller and Adams, who plays Amelia Earhart. Studio execs must have really wanted Adams, so they found a famous person she looked like and wrote her a part. Sure, every sequel needs some new tension, but a love interest is the best they could come up with?

This plot thread merely distracts audiences so that they do not notice that the plot otherwise lacks substance. The film relies on special effects, pretty faces and the boy-meets-girl fluff that dominates films that lack the creativity to center upon anything else. That they felt they needed a love interest in this sequel is just another clue that they lacked the creativity to come up with something more ingenious.

Almost as annoying as Adams' performance is the apparent lack of fact checking for the film's museum exhibits. I am not a cultural snob, yet I noticed a couple of misplaced artworks, namely Edward Hopper's "Nighthawks" and Grant Wood's "American Gothic."

Both of these pieces currently reside in the Art Institute of Chicago. They must have transmigrated from Chicago to Washington for the film. Obviously both are included merely because they are widely recognized and make for an easy joke. And this is what the movie is all about: making easy, obvious jokes and relying on recognizable faces to fill in the gaps.

"Battle of the Smithsonian" makes a fun romp for the kiddies. If you are babysitting this summer, consider taking the kids to this flick. But however fun it is for the young ones, its impressiveness does not translate to older crowds. And yes, almost all of this film's funny lines are in the previews. Pixar's "Up" comes out today - why not go see that instead? I will see you there.

Pictures to Ponder

(Lawrentian, published May 22, 2009)


Approaching finals and the dreaded 10th week, I know that what you need is yet another venue to exercise those brain cells. This column is dedicated to those films that make you think.

First, there are foreign films and silent films - aka, those movies that require you to pay attention the whole time. Paying attention to subtitles or captions is not so easy when also trying to crochet or otherwise multitask. If you have a sufficiently long attention span and can stand reading subtitles, some choice flicks are "Run Lola Run," "Pan's Labyrinth" and Mel Brooks' "Silent Movie."

Second, there are films that provoke thought on controversial or "touchy" subjects. What better film than "Crash" to inspect the shortcomings and ignorance of human nature? The film is definitely not an upper, but it certainly provokes much thought on personal biases and social interactions. Difficult themes, such as racism in "Crash," have the power to haunt audiences, causing thought long after the credits roll.

Third, and on a lighter note, there are those films that have so many editing goofs that you can watch them for sport. In one shot, the actress's hair is pulled back; in the next, it hangs around her shoulders; in a third, it is again pulled back - all within one scene.

Beginners may try this game with "Jurassic Park," which has a notoriously high number of inconsistencies and editing mistakes. By critically dissecting films, you too will soon be able to recognize flubs in continuity, anachronisms and any other goofs such as those listed by professional movie-watchers on the Internet Movie Database.

Alternatively, you may want to consult IMDB beforehand for a list of a favorite film's goofs. With the list at hand, you can then enjoy spotting each in turn as you review the flick.

A fourth genre: Film adaptations of popular books. This coming summer and fall there are going to be quite a few of these, starting with adaptations of Jodi Picoult's "My Sister's Keeper" and J.K. Rowling's "Harry Potter and the Half-Blood Prince." Others include "The Time Traveler's Wife" by Audrey Niffenegger and "Where the Wild Things Are" by Maurice Sendak.

Quite obviously, none of these films will satisfy all fan expectations from the books. The most entertaining part of these films might be studiously comparing the botched - ahem, creatively licensed - production to the original.

Fifth, there are those films that purport - seriously or otherwise - some existential life theory via metaphor. Thinking about the meaning of life and why we are all here sounds rather taxing, does it not? For a film that comically entertains such topics I heartily recommend "I Heart Huckabees." You can learn a little bit about existential thought, maybe even transcend time and/or space, and pick up a few good one-liners in the process.

Yes, each of these types of film prompts reflection from its audience. And at this point in the term, we Lawrentians might begrudge taking on such heavy thinking during our scarce free time. But perhaps these flicks are a good way to keep your intellectual acumen well-exercised in the coming summer months. I am sure you much prefer doing this to sunbathing or partaking in other outdoor recreation.

"I'm more comfortable with being disappointed."

Movie Review: "Last Chance Harvey"
(Lawrentian, published May 15, 2009)


We are heading into the summer months, which for some reason are synonymous with heavy trafficking of action-packed blockbusters in the theaters. I, for one, have had enough high intensity for a few weeks. Enter "Last Chance Harvey," a subtle, low-key comedy.
The obvious reason to see this movie is that it boasts two fantastically gifted leading actors, Dustin Hoffman and Emma Thompson.

Audiences recognize Hoffman from past films such as "Tootsie," "Rain Man," and more recently, "I Heart Huckabees."

Thompson delivers similarly outstanding performances in "Angels in America" and "Love Actually." Finally, to see both actors in one go, I highly recommend "Stranger Than Fiction."

In "Last Chance Harvey," both Hoffman and Thompson deliver performances that live up to their impressive bills. Hoffman plays the title character, Harvey, who is in London for his daughter's wedding. While visiting, Hoffman meets Kate, played by Thompson, who works as a human-interest surveyor at the local airport.

Audiences immediately recognize that both characters are rather lonely. We see Thompson maneuver through a disastrous blind date. We also see Hoffman play phone tag with several people, learning that he is quite out of the loop on plans for his daughter's wedding. Both characters are endearingly lonely and awkward, though I have yet to decide whether it is comforting or alarming to know that one does not necessarily grow out of these traits with age.

With this disheartening setup, audiences cheer when Hoffman and Thompson finally unite. The chemistry between Hoffman and Thompson quite obviously makes this movie. Both characters thoroughly have each other's number and can effectively push each other's buttons. The result is a satisfying interplay between the two that is worth the depressing build-up.

The balance of humor and seriousness works well for the film. In comparison to numerous other comedies, this film derives its laughs from finding humor in everyday situations. It avoids unrealistic or over-the-top situations meant to force a laugh. Instead, it focuses on the humor implicit in human interaction. This yields a subtler - and often more enjoyable - comedy.

Hoffman and Thompson are perfect fits for delivering this type of humor. They exude charm and their styles and energy compliment each other well. Furthermore, the end is simple and satisfying, neither picture-perfect nor jarring. In short, this film provides a perfectly calm reprieve from the tumultuous action flicks that currently dominate big-screens. Grab a friend, pour yourself a glass of wine and enjoy this more subtle comedy.

" ... Fingernails of a bag-lady."

Movie Review: "X-Men Origins: Wolverine"
(Lawrentian, published May 8)


After the disappointing final chapter of the "X-Men" trilogy, I was dubious as to whether or not milking the same cash cow was such a great idea. Without a compelling storyline, all those fight scenes and blowing things up can get a little redundant. However, this flick was certainly better than "The Last Stand" and it definitely was worth all $6.50 to see it on the big screen.

In addition to the special effects essential to any action film, the "X-Men" series easily impresses audiences by showcasing new mutants' talents. What keeps those potentially redundant fight scenes interesting is that this series has a multitude of characters and powers to choose from. Audiences delight in witnessing how new powers match up and play off of one another.

"Origins" does well to host several new characters in addition to some familiar faces. Returning characters include Logan/Wolverine, Victor/Sabretooth, and William Striker. True, audiences thrill in finally discovering why Logan has an adamantium skeleton, why he cannot remember much of his past, and why Striker knows him.

However, demonstrations of Logan's powers alone cannot carry the film, because fans are already familiar with them. We have seen him rapidly heal multiple gashes and even pop a bullet out of his head. Of course, these feats need to be part of the film, but new mutants and new powers can actually surprise viewers.

Audiences especially delight in the long-anticipated inclusion of Gambit and Wade Wilson, who had been excluded from the original trilogy. Gambit provides an impressive show of his skill with a deck of cards and ability to manipulate kinetic energy.

Ryan Reynolds plays the jokester, sword-wielding Wade Wilson. I know, at first glance, holding a sword pales in comparison to Wolverine, who has built-in weapons coming out of his forearms.

And, to avoid ruining one of the great scenes of the film - even if it does appear within the first 20 minutes - I will say only that once unleashed, Reynolds wields one of the coolest powers of the film.

Disappointingly, though, this is the only scene in which we are entreated to Wade wielding his swords and making wise-cracks. The formulation is hilarious! Why did the "X-Men" producers not utilize it more instead of the repetitive fight scenes between Wolverine and Victor/Sabretooth?

We get it, when those two face off, it results in a cat fight between two really durable kitties. I know that Wolverine is the title character, but the film could have benefited from showcasing other intriguing characters more.

Though there are things to gripe about, I want to stress that this film should be seen on the big screen. Sure, the film includes perhaps a few too many twists within twists. And yes, "X-Men" fans may be disappointed if their favorite character does not receive enough time in the limelight. However, all of the fight scenes are impressive and often surprisingly display how mutants' powers compete with one another.

Already there is talk of sequels. The comic book franchise never produces just one movie per superhero, even though many of these films would do better to leave well enough alone. The original blew audiences out of the water, so producers made another. "X2" met with resounding success, so they finished out the trilogy with a flop.

If producers want to continue milking the "X-Men" franchise, I support continuing with plans for "X-Men Origins: Magneto," which has a tentative release date in 2011. However, I sincerely hope that there will be no "Wolverine" sequel. "Origins" explains Wolverine's entire history. There is no need to wedge a sequel between the end of this film and the beginning of the original trilogy.

"I've never loved anything as much as he loves music."

Movie Review: "The Soloist"
(Lawrentian, published May 1)


As a drama, "The Soloist" strays from the usual repertoire with which I typically satisfy my movie-going habits. I am typically in the mood for a comedy: pure frivolous fun that provides an escape from life's complications. In contrast, dramas are typically heavier, more provocative and require audiences to think. Who wants that? Not to sound too existential, but "The Soloist" proved to be quite contemplative.

Steve Lopez, played by Robert Downey Jr., is a newspaper columnist immersed in finding his next lead. He has a one-track mind and periodically narrates his experiences as if dictating possible starts to articles. This internal dialogue mirrors the corporate world that he represents: Individuals are solely concerned with selling themselves and their ideas to normal society.

In searching for a new story, Lopez meets garrulous street musician Nathaniel Ayers, played by Jamie Foxx. Whereas Lopez represents the ethic of "business as usual" and other norms, Ayers is an aberration: an obviously gifted musician, previously enrolled in Julliard, and now on the streets. He is a deviation from the paradigm that gifted people are successful. Much of the film's intensity is derived from the interplay between ideas of what is normal and deviations thereof.

Downey and Foxx are unrivaled in their impressively complex performances. I was most impressed by the scene in which Ayers reunites with the cello. As he plays, the music consumes him. It provides peace for him - a sense of centering, of knowing that this is where he is supposed to be and this is what he is supposed to be doing. All at once, Foxx conveys a sense of peace and happiness, but also a sense of sadness and longing. He conveys this breadth of emotion simply via movements and facial expressions.

Downey, along with the audience, responds to this performance with awe. It is impressive that this homeless street musician can whip off a Beethoven sonata on a walkway, near heavy traffic, after not having touched a cello for a few years. But besides this initial awe, Downey alludes to other emotions, namely profound emptiness and feelings akin to jealousy of this musician who is so thoroughly content. As Lopez later comments, "I've never loved anything as much as he loves music."

Another impressive aspect of the film is its strategic use of images. The film strategically contextualizes the story by using images of city life and business as transitions between scenes - an office overflowing with files and stacks of paperwork, expanses of highway and parking lots packed with cars, neighborhoods filled with houses of the same size and color and all having a swimming pool in the rear.

These images collectively represent the façade of what is normal. Everything has its place and everyone has his or her role to play. Everything is business as usual. This is the world in which Lopez operates and in which he subsequently discovers emptiness without passion such as he finds in Nathaniel.

Perhaps this is not the lighthearted romp that you might look for on a whim to relax. However, if you can stand contemplating while watching a movie, this one is worth screening. If you do choose to watch, I promise a beautiful sampling of cello is in your future.

May-be, May-be Not

I really dropped the ball this last month on keeping you updated on new releases. However, I am back and ready to give you the scoop on the coming attractions of theatre and DVD this May.

Coming soon to a theater near you...

1. Ghosts of Girlfriends Past (May 1): This romantic comedy looks to be your run of the mill Mathew McConaughey flick. Yet again he plays a successful ladies man who learns a lesson about women and settles down with "the one," played by Jennifer Garner - also not a huge stretch for Garner. It looks predictable and furthermore watching the preview yields the whole plot without even paying to see the film. Perhaps this one would be a fun one for a girls night, but I might wait until it's playing at the cheap seats.

2. X-Men Origins: Wolverine (May 1): Yes, Hugh Jackman reprises his role as the short-tempered, unlikely hero. As I have noted in a previous post, this film looks like it will be sufficiently testosterone-filled and packed with special effects. Lets hope it has something of an intriguing plot and good acting to back it up. Movie review to follow shortly, perhaps.

3. Star Trek (May 8): It is the current fad in movie-making to restart superhero series. "Batman Begins" started the trend and effectively surpassed any of the previous Batman films. Now both "X-Men" and "Star Trek" are coming out with films depicting the beginning of their respective heros. I myself was never a Trekkie, though I do hear a lot of positive buzz about this film. But how does William Shatner feel about all of this?

4. Angels and Demons (May 15): There is absolutely no need for me to see this film. The previews alone feature images creepy enough for me to shy away. However, Tom Hanks is a very talented actor and does return in this film. He is joined by Ewan McGregor, who has also done some talented work ("Big Fish," "Moulin Rouge"... "Star Wars"). I forfeit any right to judge this film because I refuse to see it, but I hope that it meets the expectations of "Davinci Code" fans.

5. Night at the Museum: Battle of the Smithsonian (May 22): It is no secret that I am a adament Ben Stiller fan. Whenever I have chance, I always like to plug "Heavyweights" as one of Stiller's more brilliant roles. True, "Night at the Museum" was not his best work, but it is a fun family film. This sequel promises an impressively long list of big names joining Stiller: Amy Adams, Robin Williams, Owen Wilson, Hank Azaria, Bill Hader, Dick Van Dyke, Steve Coogan, Eugene Levy, and more. Props to the casting team for getting so many of the original people to return for the sequel in addition to so many new faces.

6. Up (May 29): Hooray for Pixar! I have likely already made this same exclamation. However, this new flick looks like a lot of fun. First, the premise makes me giggle: a grumpy 78-year old man ties a ton of balloons to his house and lifts it straight into the sky, only to notice that he has a terrified young boyscout stowed away on his porch. Also, Pixar has a knack for drawing up cute characters. Already I am a fan of the elderly gentleman and the boyscout (which oddly enough, sounds like its own film title...).

Bring it home on DVD

1. The Curious Case of Benjamin Button (May 5): Even recapping the premise of this movie sounds cliche by now. Benjamin Button, played by Brad Pitt, ages backwards, born as an old man and growing progressively younger. Opposite Pitt, playing the love interest, is Kate Blanchett. Now that the film has reached DVD I sadly might have to actually see it so I have something on which to base my criticism. Or perhaps I will discover that I truely enjoy it, despite its surpluss of obnoxious advertising.

2. Last Chance Harvey (May 5): I have already waxed rhapsodic enough about Dustin Hoffman and Emma Thompson. Short recap: Hoffman meets Thompson while stopping at a coffee shop on his way to his daughter's wedding. It looks like a fun, sophisticated romantic comedy -- I'll let you know.


3. Paul Blart: Mall Cop (May 19): This one might be fun. Kevin James has played some funny, endearing roles in the past, including Albert Brennamen in "Hitch." As you might have already deduced, James plays Paul Blart, a mall cop. Seriously dedicated to his job, it takes it upon himself to protect the mall against a gang of youngsters. This should be worth some good clean laughs.

4. Valkyrie (May 19): Oh, Tom Cruise. He has played some excellent roles; past hits include "Risky Business," "Top Gun," "Rain Man," "A Few Good Men," and "Mission Impossible." These are popular movies in which Cruise delivered memorable performances. Unfortunately, now Cruise is more known for his defense of Scientology and jumping on Oprah's couch, professing his love for Katie Holmes. This new film is set in Nazi Germany and revolves around a plot to assassinate Hitler.

5. New in Town (May 26): This is Renee Zellweger's new romantic comedy. She plays a business executive who moves to a small town to help her company. Consequentially she meets some new man and develops an interest outside her business. Perhaps this could be a cute romantic comedy, but if I want to see Zellweger in her prime, I will stick to "Bridget Jones's Diary."