Category: 2007

Pathfinder (2007, Marcus Nispel), the unrated version

If Pathfinder weren’t so long, it might be more amusing. For the first hour, it’s actually rather tolerable. It’s not any good, of course, but the story of this Native American tribe encountering invading Vikings does look good. There’s decent photography from Daniel Pearl and director Nispel, for all his problems, does compose the wilderness shots well.

But then the Vikings, led by the Kurgan–Clancy Brown in the film’s “best” performance–capture the hero (Karl Urban) and his lady friend (Moon Bloodgood). The sequence goes on forever, with Nispel borrowing action thrills out of Predator, Cliffhanger and probably Commando, only without knowing how to direct them.

Nispel’s inability to shoot action–he thinks making it gory covers him–is one of the biggest problems with Pathfinder. Another big problem is how stupid it gets. Having the Vikings be the villains sounds like an action figure play set from the seventies–Vikings vs. Indians–but, if the filmmakers played it straight, might at least be interesting as a “what if” thing. Instead, as my wife pointed out, they turned the Vikings into Klingons, complete with vicious dogs.

Will the hero–I forgot, Urban was a Viking lad stranded during their previous invasion who grew up with the Native people–battle Kurgan of the Klingons? Will he save Bloodgood? Will the movie ever end?

Urban’s got a terribly written part but he’s better than Bloodgood. No one’s worse than Russell Means. Jay Tavare’s nearly okay.

Pathfinder’s a terrible movie. Boring too.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Marcus Nispel; screenplay by Laeta Kalogridis, based on the film by Nils Gaup; director of photography, Daniel Pearl; edited by Jay Friedkin and Glen Scantlebury; edited by Jonathan Elias; production designer, Greg Blair; produced by Mike Medavoy, Arnold Messer and Nispel; released by 20th Century Fox.

Starring Karl Urban (Ghost), Moon Bloodgood (Starfire), Russell Means (Pathfinder), Ralf Moeller (Ulfar), Jay Tavare (Blackwing), Nathaniel Arcand (Wind In Tree), Kevin Loring (Jester) and Clancy Brown (Gunnar).

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The Doll (2007, Danté James)

The Doll is adapted from a short story and falls victim to a standard adaptation problem. Director James uses the protagonist’s internal monologue for exposition; he doesn’t open the film with it either, so it just pops in a few minutes later.

Luckily, James’s direction is good and his attention to detail meticulous. Oh, and he’s got Clayton LeBouef in the lead role and LeBouef is fantastic. So much of The Doll just happens in LeBouef’s expressions, it makes the narrated sequences stick out.

LeBouef plays a black businessman sometime post-Reconstruction, Jan Forbes is a visiting Southerner; they have history. Forbes overacts; every one of his scenes comes off exaggerated, which LeBouef’s scenes temper.

The Doll isn’t subtle but it’s successful. LeBouef and James’s sincerity and seriousness is obvious. James’s decisions might make the film more accessible, but subtly (and better actor in Forbes’s role) would’ve made it better.

2/3Recommended

CREDITS

Produced and directed by Danté James; screenplay by James and Joy Kecken, based on the story by Charles W. Chestnut; director of photography, Josh Gibson; edited by Marian Sears Hunter; music by Anthony M. Kelley; production designer, Richard Montgomery.

Starring Clayton LeBouef (Tom Taylor), Monique Brown (Daisy Taylor), Jan Forbes (Colonel Forsythe) and Carter Jahncke (Judge Breeman).

Mr. Bean’s Holiday (2007, Steve Bendelack)

From start to finish, Mr. Bean’s Holiday proves a constant delight. Hamish McColl and Robin Driscoll’s plot is simple–send Rowan Atkinson’s constantly aloof and impossibly unlucky Mr. Bean to France on a holiday. There’s an immediate scene establishing the travel route and then Atkinson gets in trouble at every point along the way.

He eventually gains a young sidekick in Max Baldry, a nemesis in Willem Dafoe and a lady friend in Emma de Caunes. Of course, Atkinson doesn’t talk much and Baldry speaks Russian and de Caunes speaks French. So no one can understand each other, except when Dafoe’s screaming (in English). There’s a whole connection with Cannes Film Festival, but it never feels too forced; the way the film introduces Dafoe (as a pretentious director) is brilliant. The script sets it up passively in one set piece, then brings it up later. It’s such a memorable establishing scene, however, it needs time to fully ripen.

Part of the story involves Atkinson videotaping everything on a camcorder. Director Bendelack nicely mixes the footage in, sometimes utilizing the camcorder footage to further the main plot. It’s a great device for the film, particularly since the camcorder is the plot catalyst.

Beautiful photography from Baz Irvine and a great score from Howard Goodall, don’t want to forget those.

The three principal costars are great–Dafoe, de Caunes, Baldry–and they have great chemistry with the phenomenal Atkinson.

Aside from some slight pacing issues, Holiday is masterful comedy. It’s short, simple and near perfect.

3.5/4★★★½

CREDITS

Directed by Steve Bendelack; screenplay by Hamish McColl and Robin Driscoll, based on a story by Simon McBurney and a character created by Rowan Atkinson and Richard Curtis; director of photography, Baz Irvine; edited by Tony Cranstoun; music by Howard Goodall; production designer, Michael Carlin; produced by Peter Bennett-Jones, Tim Bevan and Eric Fellner; released by Universal Pictures.

Starring Rowan Atkinson (Mr. Bean), Emma de Caunes (Sabine), Max Baldry (Stepan), Willem Dafoe (Carson Clay), Jean Rochefort (Maitre’D), Karel Roden (Emil) and Steve Pemberton (Vicar).

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Blades of Glory (2007, Will Speck and Josh Gordon)

A couple things are immediately interesting about Blades of Glory. First is Will Ferrell. While Ferrell’s top-billed, it’s really Jon Heder’s movie. It isn’t a question of likability–Ferrell, being funnier, is more likable–but of the script’s focus. It’s Heder’s story, with Ferrell along to make things a little more interesting.

But Blades isn’t a serious attempt at a narrative. The film occasionally attempts to talk about deadlines (for figure skating competitions), but the timeline accelerates to fit the pace. Blades is only ninety minutes and it probably could have shaved some of the love story between Heder and Jenna Fischer. None of the primary cast exactly gives a performance, just embodies a persona, and Fischer doesn’t have one. She’s boring, if mildly appealing.

It’s also a problem since Heder’s better opposite Ferrell than anyone else in the picture. When he’s on his own, Blades flounders a little.

There’s no reality–internal or otherwise–to Blades. But directors Gordon and Speck are careful to curb the absurdism with real figure skaters cameoing. At the beginning, with William Fichtner and William Daniels both showing up, it seems like they’re going to use character actors to amplify Blades‘s absurdism. But both actors disappear, Fichtner way too soon, and Craig T. Nelson–coaching Ferrell and Heder’s male figure skating pair–is sillier than he needs to be.

There are a lot of good jokes and some great ones. It’s a lot of fun, but Ferrell’s easily the best part of it.

2/4★★

CREDITS

Directed by Will Speck and Josh Gordon; screenplay by Jeff Cox, Craig Cox, John Altschuler and Dave Krinsky, based on a story by Craig Cox, Jeff Cox and Busy Philipps; director of photography, Stefan Czapsky; edited by Richard Pearson; music by Theodore Shapiro; production designer, Stephen J. Lineweaver; produced by Stuart Cornfield, John Jacobs and Ben Stiller; released by Paramount Pictures.

Starring Will Ferrell (Chazz Michael Michaels), Jon Heder (Jimmy MacElroy), Will Arnett (Stranz Van Waldenberg), Amy Poehler (Fairchild Van Waldenberg), Jenna Fischer (Katie Van Waldenberg), William Fichtner (Darren MacElroy), Craig T. Nelson (Coach), Romany Malco (Jesse), Nick Swardson (Hector), Rob Corddry (Bryce) and William Daniels (Commissioner Ebbers).

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Mr. Brooks (2007, Bruce A. Evans)

The scariest thing about Mr. Brooks, ostensibly a serial killer thriller, is what if it’s not an absurdist comedy. What if we’re really supposed to believe Demi Moore is a millionaire cop who’s out to get the bad guys….

Thankfully, between William Hurt’s performance (he gleefully chews scenery like his omnipresent gum) as Kevin Costner’s imaginary friend and then Costner’s silly nasal voice, it’s impossible to take seriously. And I’m not even mentioning when the movie obviously lifts scenes from Manhunter and Silence of the Lambs… or makes fun of Demi Moore being married to Ashton Kutcher.

The first half of the film maintains this absurdist approach—some of the dialogue between Moore and Lindsay Crouse is so funny, it’s hard to believe Crouse could keep a straight face. Unfortunately, writers Bruce A. Evans and Raynold Gideon can’t keep up the farcical nature and eventually feel the need to insert narrative. There’s actual potential, but it’s problematic given the film as it exists so far.

For example, Hurt sort of disappears and Moore becomes prevalent.

Dane Cook’s around too, as Costner’s erstwhile sidekick and Moore’s suspect, and he’s awful. Marg Helgenberger, as Costner’s unknowing wife, isn’t much help either. She sells some of the absurdity in the first ten minutes, but then her presence becomes troublesome. A lot of the plot threads go nowhere.

When it finally gets to the inevitable twist ending, Mr. Brooks has lost the momentum. But, in a certain frame of mind, it’s not exactly worthless.

Knocked Up (2007, Judd Apatow), the unrated version

Once upon a time, I read how what Apatow really does with Knocked Up is make a film about how men need to change to be acceptable for women. I think the article used stronger language. While that aspect of the film is present, it’s an extreme reading. It could just as well be about how a contentless young woman learns there’s something more important in life than shoes. Apatow backs off that aspect in terms of lead Katherine Heigl (she couldn’t have handled it anyway), but does give Leslie Mann (as her sister) a decent arc.

Unfortunately, he eventually loses track of Paul Rudd (as Mann’s husband) on his arc.

The film never really succeeds because it eventually requires the viewer to believe Heigl’s a good person. She’s not a murderer or anything… but good person is a stretch. Heigl doesn’t have any dramatic range (though her comedy timing is surprisingly good) and the romance between her and Seth Rogen, which one might say is essential, fails.

So, instead, Knocked Up is often just really funny. Even when Apatow’s doing his heartfelt scenes, he manages to get in a bunch of dick and fart jokes.

It helps he’s got Rogen, who’s fantastic, and the rest of the supporting cast. Jason Segel’s awesome; Jay Baruchel, Jonah Hill, Martin Starr, all good. Alan Tudyk and Kristen Wiig (especially Wiig) are great in small parts.

Apatow seems to want the viewer to think about Knocked Up, which doesn’t play to its strengths.

1.5/4★½

CREDITS

Written and directed by Judd Apatow; director of photography, Eric Alan Edwards; edited by Craig Alpert and Brent White; music by Joe Henry and Loudon Wainwright III; production designer, Jefferson Sage; produced by Apatow, Shauna Robertson and Clayton Townsend; released by Universal Pictures.

Starring Seth Rogen (Ben Stone), Katherine Heigl (Alison Scott), Paul Rudd (Pete), Leslie Mann (Debbie), Jason Segel (Jason), Jay Baruchel (Jay), Jonah Hill (Jonah), Martin Starr (Martin), Charlyne Yi (Jodi), Iris Apatow (Charlotte), Maude Apatow (Sadie), Joanna Kerns (Alison’s Mom), Harold Ramis (Ben’s Dad), Alan Tudyk (Jack), Kristen Wiig (Jill), Bill Hader (Brent), Ken Jeong (Dr. Kuni) and Craig Robinson (Club Doorman).

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Chronicles of Wormwood (2007) #6

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Ennis winds things up relatively quietly. There’s no return of the various supporting cast members—Joan of Arc doesn’t get a cameo, neither does Danny’s ex-girlfriend—instead, it’s just God, the Devil, the Anti-Christ and Jesus. Oh, and the talking bunny rabbit.

So it’s an intimate affair, lots of dialogue, a little sleight of hand. The problem with the issue—the first half, anyway—is the color scheme. It takes place in Hell, or at least a plain in limbo, and at night. It’s hard to make much out. Burrows’s art does come through, even the part when the reader needs to pay very close attention to something in the background, but it’s a chore.

Otherwise, it’s an excellent comic book. Ennis’s epilogue is full of humor, the kind kicked the series off with; it’s impossible not to enjoy.

Ennis ends on a quietly profound comment about friendship.

Chronicles of Wormwood (2007) #5

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And here’s where Vertigo could have made more sensational news than in its entire history… Ennis’s God is a compulsive masturbator. I’d forgotten.

Burrows really captures the full page reveal beautifully, as well as Jimmy’s reaction to it.

There’s a bunch of great scenes this issue (as usual). Whether it’s Danny beating Judas to death or running into his ex-girlfriend, Ennis is on the top of his game. The ex-girlfriend scene is touching and sensitive and good writing. The Judas scene is a little different. Ennis sets Judas up as an unrepentant jerk (which sort of sells Wormwood a little to Christians, doesn’t it?) and his beat-down is glorious. Ennis learned how to make visceral violence rewarding on Preacher and just utilizes that skill again here.

Jimmy gets a lot of great lines in; he could support his own series.

As the penultimate issue, it works great.

Chronicles of Wormwood (2007) #4

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Ennis is clearly gearing things up here for the finish, which is appropriate, I suppose, as he is in the second half of the series.

The beginning is more of the boys in Hell on their road trip (Jay eventually gets sick) while Satan and Pope Jacko hang out and try to figure out how to get armageddon started. There’s a lot of expository dialogue here from Satan about the history of Christianity. Ennis pulls it off, but he’s basically just on a soap box. It works… it’s just obvious.

Then the boys get back to New York and Ennis introduces another character who figures into the whole apocalypse thing. It’s a side story, one with some really funny details and opportunities to deepen Jay’s character (very sublimely, I’ll add) and give Jimmy some good lines.

The hard cliffhanger exemplifies creating tension without action.

Ennis continues to do great work.

Chronicles of Wormwood (2007) #3

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There’s a bunch of funny stuff this issue—the trip to Heaven has a great punchline—and Ennis gets in an unexpected Marvelman nod….

But for the first time, in his comic about the LAPD beating in half of Jesus’s head and the Anti-Christ being a pretty good guy all around, Ennis starts to get a little disturbing. His images of Hell, which Jacen Burrows handles without aggrandizing, are incredibly disturbing. Ennis knows how to turn the screws without a lot of effort.

Then the finale brings things a little more humorous—with Pope Jacko and Satan teaming up—but it’s not enough to recover the mood.

Even though it’s Avatar and Vertigo would never have the stones, Wormwood feels like a late eighties Vertigo book. It feels like something everyone involved is excited about and assuredly doing great work on.

Though Jay doesn’t get enough lines this issue.