Movie Review: “Hitchcock”

ImageFifty years past his heyday, and thirty years after his death, the world still knows Alfred Hitchcock by reputation, even if you can’t get the kids to check out his classic movies. “Hitchcock,” a dark and dazzling bio-thriller about the making of “Psycho,” could change that.

It’s a fanciful film buff’s delight, a grim yet glittery corner of Hollywood history given a “Hollywood” treatment. No, it’s not the literal truth, but as they’ve said since John Ford’s day, “When the legend becomes fact, print the legend.”

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Movie Review: “Transformers, Dark of the Moon”

 

All the technical prowess of “aliens invade” thrillers, from “Independence Day” through “Battle: Lost Angeles,” and the best comic actors money can buy serve “Transformers: Dark of the Moon” well. The funniest, best-executed film in the Earth-protecting robots-that-look-like-cars-and-trucks series, “Moon” delivers the popcorn in gigantic fist-fulls of fun.

It’s as head-slappingly stupid as ever, a product placement action film with a Camaro as a hero. But Michael Bay’s cartoon-come-to-life co-opts NASA history and re-decorates Chicago with a gusto as over-the-top as any manic Shia LaBeouf rant. Hey, what’s an actor to do when all the best lines go to robots?

”I just want to matter,” says young Sam Witwicky (LaBeouf), a two-time planetary hero reduced to begging for work from the likes of John Malkovich. He needs a D.C. job because he has traded the bombshell girlfriend played by Megan Fox for a higher end model (Rosie Huntington-Whiteley) who wears short, tight clothes and only has one scene in which we note that she’s a model, not an actress.

The Autobots are ever vigilant, though there are those (Bill O’Reilly of Fox News among them) who want them exiled. If you have any recollection of the old TV cartoon, you know that those darned Decepticons are never quite vanquished. This time, there’s a buried spaceship on the Moon, a NASA cover-up and the revival of an ancient leader, Sentinel Prime, discomfitingly voiced by the great Vulcan, Leonard Nimoy.

Hearing Mr. Spock repeat lines from “Star Trek” movies in robot form is only the second most tone-deaf thing here. Having real-life lunar explorer Buzz Aldrin on hand to legitimize the bogus NASA history is the first.

But as Sam hurtles from D.C. to the Kennedy Space Center to piece together this alternate version of the Space Race, he meets an array of great character players — from the returning John Turturro (an ex-CIA conspiracy buff), to Frances McDormand, as a new intelligence chief. Yes, Malkovich steals his scenes. Unless he’s in them with the hilarious Ken Jeong of “The Hangover” movies.

“It is CODE PINK,” Jeong’s character shrieks in warning, “as in FLOYD.” Yeah, he’s making a “Dark Side of the Moon” joke.

Jeong’s hysteria isn’t topped until we hang out with the great Alan Tudyck (“3:10 to Yuma”) as he slings a fey Dutch accent as a fixer/assistant to Turturro’s conspiracy buff.

“Moon” builds to a robot battle royale that eats up the third act. But Bay, learning from the last film’s digital blur, slows down the action to let us see the gears grind and pulls off some epic stunts to go with the effects — paratroopers swooping into Chicago in wingsuits.

Yeah, the story is one big “God in the Machine” tale, heroic but hapless humans wait for robot rescue. It’s all spectacle and too much of it at two and a half hours. The sound effects don’t match the visuals in scale, and 3D adds only depth, not gimmicks. The finale is so protracted that one might hope that  maybe Hollywood will be shamed into not foisting another “Skyline” or its ilk on us for a few years, that we’ve seen the last of the Transformers.

But then, after you’ve made billions off a cheesy 30 year-old cartoon designed to sell toys, shame doesn’t figure into it

MPAA Rating: PG-13 for intense prolonged sequences of sci-fi action violence, mayhem and destruction, and for language, some sexuality and innuendo.

Cast: Shia LaBeouf (Sam), Rosie-Huntington-Whiteley (Carly), Patrick Dempsey (Dylan), Tyrese Gibson (Epps).

Credits: Directed by Michael Bay, written by Ehren Kruger, produced by Ian Bryce, Tom DeSanto, Lorenzo di Bonaventura, Don Murphy. A Paramount release. Running time: 2:30

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Movie Review: “Beginners”

We meet Oliver as he is cleaning up his father’s bungalow and dumping Dad’s prescription pill supply down the toilet.  His father has died, and we can see in Ewan McGregor’s face that this is but the latest blow to a guy who hasn’t been happy in a very long time.

Maybe his father was the same way. But in flashbacks, we see Dad (Christopher Plummer), in his 70s, having a chat with his son. He comes out to the kid.

“I want to explore this side of myself,” he declares. “I want to do something about it.”

He — and his son after him — we come to see are both “Beginners” at this business of finding, keeping and cherishing love. “Thumbsucker” writer-director Mike Mills has made what in other hands would have been a farce — Dad discovering his sexuality at an age when only little blue pills can make that sexuality viable. “Beginners” is more of a melancholy exploration of love, loss and discovering one’s emotional availability or lack of it.

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Movie Review: “Hope Springs”

You’ve never seen Meryl Streep and Tommy Lee Jones quite like this.

As old marrieds facing “intensive” couples counseling over their comatose sexual relationship, two of America’s finest screen actors are by turns silly, befuddled, awkward and confused.

2half-star

And “Hope Springs,” the new comedy from the director of “The Devil Wears Prada” and scripted by a “Game of Thrones” writer is all the more amusing for it. Seeing the best in the business act out the no-eye-contact body language, the embarrassment of talking about life’s most intimate details, and alternately grump or whimper about it gives this fluffy comedy a tiny dose of gravitas.

It’s funny, but it’s not the farce you might expect when you learn Steve Carell is the frank, soft-spoken couples counselor that Kate (Streep) insists that she and Arnold (Jones) visit up in Great Hope Springs, Maine. Carell doesn’t go for laughs. In even tones delivered with barely a hint of humor, he reassures Kate and calms down Arnold.

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Movie Review: “Larry Crowne”

We haven’t seen Tom Hanks or Julia Roberts in a movie like “Larry Crowne” in decades.When you’ve got “Oscar winner” and “blockbuster hits” on your resume, feather-light character comedies fall off your radar.

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Movie Review: “This is 40”

2starsStupid freaking Judd Apatow, with his stupid freaking foul-mouthed and sentimental “Hobbit” length comedies, his stupid freaking insistence on not only peopling them with his old comic cronies, but his wife and cursing kids.

Happy freaking R-rated holidays, America. Here’s your “Meet the Parents” this year — longer and less funny.

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Movie Nation Interview: Gearhead Dax Shepard

 Image

Boy, it sure looks like Dax Shepard is doing all his own crazy, gonzo stunt-driving in “Hit and Run,” the car-chase comedy he wrote and co-directed.

“All me, 100%,” he says.

You know how you can tell? Look in the eyes of his co-star and off-camera fiance, Kristen Bell. Yeah, she’s in the car with him in those scenes. And no, she wasn’t scared.

“Dax has always been in to off-roading, so I’ve logged many hours with him in the car doing crazy tricks,” Bell says. “I know how capable he is behind the wheel but I’m so used to it by now it doesn’t even phase me.”

Shepard is a genuine Hollywood gearhead, a guy who loves his ’67 suicide doors two-door Lincoln so much he co-stars in the movie with it, a racer of motorcycles and dune buggies (yeah, he uses his own Baja racer in the movie, too).

“I’ve had this car thing since birth,” the Michigan native says. “My dad sold cars and he was into dirt bikes. He raced Chevelles in high school. He had this super cool jacked-up truck we’d go to the sand dunes with. His buddies had dune buggies.

“My mom remarried, to an engineer at the Corvette Group at GM. So I’ve always been surrounded by really amazing cars, especially since my step-dad had access to the Corvette Group’s competitive fleet that they could compare themselves to — a Lamboughini Countach, a Lotus Esprit, Ferrari 308. Can you imagine being around those cars as a kid?”

It could scar a boy for life. Shepard, 37, still hasn’t gotten over it.

“I love car chase movies, and there have been some made over the past 30 years,” he says. “But not car chase comedies. Those disappeared with the Hal Needham movies. The ‘Cannonball’ movies, ‘Hooper.’ ‘Smokey and the Bandit’ is one of my favorites. I see that a couple of times a year — seen it hundreds of times.”

So Shepard, star of TV’s “Parenthood,” scene-stealer of “Baby Mama” and heart-stealer (he met Bell) of “When in Rome,” wanted to update the genre.

“I’m this weird mix — an actor, a comedian, a gun owning liberal and a gearhead. I thought, ‘I want to bring ALL those contradictions to a movie and see how it plays.'”

Shepard complains that he’s “too big” for the vintage Triumph TR5 he drives on “Parenthood.” He fell in love with the villain’s car in “Hit and Run,” a Cadillac CTS-V station wagon driven by a murderous and dreadlocked Bradley Cooper, playing the guy Shepard’s character went into witness protection to avoid.

“The fact that we, in the U.S., are making a 550 hp STATION wagon tells me we’re still WINNING. Only a great country could make that.”

And only a “VERY cool, very trusting” fiance would ride shotgun whilst Dax does his donuts, burn-outs and high-speed pursuits in “Hit and Run.”

“We literally drove THROUGH a barn door — blind — and hit a ramp on the other side for this stunt,” Shepard says. “That is not for the faint of heart. And she’s a trooper.”

But Bell, like many of her Hollywood peers, drives a Prius. How does the front-half of the Hollywood couple who nicknamed themselves “Krax,” in the tradition of Brangelina and Bennifer, stand it?

“I very much respect how much Dax is into cars not because I share his love but because I see how happy the hobby makes him,” she says.

And Shepard? He says he knows he’s lucky to have this “ray of light” in his life, and all these friends he could call on whenever he wants to make a good car chase picture.

“I think as people get busy with their Hollywood work, where you have to do so much so strategic plotting in your career — get your quote up, get people to notice you, get good work — to (screw) around with friends for six weeks, driving cars too fast is as close to a working vacation as we’re going to get.”

 

 

 

Boy, it sure looks like Dax Shepard is doing all his own crazy, gonzo stunt-driving in “Hit and Run,” the car-chase comedy he wrote and co-directed.

“All me, 100%,” he says.

You know how you can tell? Look in the eyes of his co-star and off-camera fiance, Kristen Bell. Yeah, she’s in the car with him in those scenes. And no, she wasn’t scared.

“Dax has always been in to off-roading, so I’ve logged many hours with him in the car doing crazy tricks,” Bell says. “I know how capable he is behind the wheel but I’m so used to it by now it doesn’t even phase me.”

Shepard is a genuine Hollywood gearhead, a guy who loves his ’67 suicide doors two-door Lincoln so much he co-stars in the movie with it, a racer of motorcycles and dune buggies (yeah, he uses his own Baja racer in the movie, too).

“I’ve had this car thing since birth,” the Michigan native says. “My dad sold cars and he was into dirt bikes. He raced Chevelles in high school. He had this super cool jacked-up truck we’d go to the sand dunes with. His buddies had dune buggies.

“My mom remarried, to an engineer at the Corvette Group at GM. So I’ve always been surrounded by really amazing cars, especially since my step-dad had access to the Corvette Group’s competitive fleet that they could compare themselves to — a Lamboughini Countach, a Lotus Esprit, Ferrari 308. Can you imagine being around those cars as a kid?”

It could scar a boy for life. Shepard, 37, still hasn’t gotten over it.

“I love car chase movies, and there have been some made over the past 30 years,” he says. “But not car chase comedies. Those disappeared with the Hal Needham movies. The ‘Cannonball’ movies, ‘Hooper.’ ‘Smokey and the Bandit’ is one of my favorites. I see that a couple of times a year — seen it hundreds of times.”

So Shepard, star of TV’s “Parenthood,” scene-stealer of “Baby Mama” and heart-stealer (he met Bell) of “When in Rome,” wanted to update the genre.

“I’m this weird mix — an actor, a comedian, a gun owning liberal and a gearhead. I thought, ‘I want to bring ALL those contradictions to a movie and see how it plays.'”

Shepard complains that he’s “too big” for the vintage Triumph TR5 he drives on “Parenthood.” He fell in love with the villain’s car in “Hit and Run,” a Cadillac CTS-V station wagon driven by a murderous and dreadlocked Bradley Cooper, playing the guy Shepard’s character went into witness protection to avoid.

“The fact that we, in the U.S., are making a 550 hp STATION wagon tells me we’re still WINNING. Only a great country could make that.”

And only a “VERY cool, very trusting” fiance would ride shotgun whilst Dax does his donuts, burn-outs and high-speed pursuits in “Hit and Run.”

“We literally drove THROUGH a barn door — blind — and hit a ramp on the other side for this stunt,” Shepard says. “That is not for the faint of heart. And she’s a trooper.”

But Bell, like many of her Hollywood peers, drives a Prius. How does the front-half of the Hollywood couple who nicknamed themselves “Krax,” in the tradition of Brangelina and Bennifer, stand it?

“I very much respect how much Dax is into cars not because I share his love but because I see how happy the hobby makes him,” she says.

And Shepard? He says he knows he’s lucky to have this “ray of light” in his life, and all these friends he could call on whenever he wants to make a good car chase picture.

“I think as people get busy with their Hollywood work, where you have to do so much so strategic plotting in your career — get your quote up, get people to notice you, get good work — to (screw) around with friends for six weeks, driving cars too fast is as close to a working vacation as we’re going to get.”

 

 

 

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Movie Review: “Hit and Run”

2starsIn ancient times, before the phrases “Global Warming” and “Peak Oil” ruined our fun, Hollywood used to make car chase comedies, automotive epics that were more about burnt rubber than good acting. An aspiring director like Ron Howard could launch his career with “Eat My Dust” or “Grand Theft Auto.” Burt Reynolds could slip on a hat and slip behind the wheel and fans would follow “Hooper” and “Smokey and the Bandit” anywhere.

That’s the tradition “Hit and Run” fits into. Hollywood gearhead Dax Shepard, of “Baby Mama” and TV’s “Parenthood” rounded up his fiance and “When in Rome” co-star, Kristen Bell, and a bunch of their friends, piled into a collection of cars — classic and new — and tore up some California backroads in a movie about, well, tearing up the backrooads between remote, rural California and Los Angeles.

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Movie Review: “The Guilt Trip” treats Babs with kid gloves

ImageFor their latest comic trick, Barbra Streisand and Seth Rogen go for something that neither has been known for over the course of their respective careers – cute. With “Guilt Trip,” they’ve made a holiday comedy safer for Streisand’s audience than for Rogen’s, a mild-mannered movie you won’t be embarrassed to take your mom to.

Well, not too embarrassed.

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Movie Review: “Gone”

1half-starHere’s something they don’t teach you in acting school. When you’re making a movie and running for your life, you need to look like it. You need to go all out, eyes wild with fear, arms flailing.

Look like Pierce Brosnan running from this or that explosion in a couple of Bond pictures, like Franka Potente in “Run Lola Run.”
Try not to look like Robert Redford in “The Natural,” guarded, scared of falling, an old man pretending to be a young man running through a wheat field.

Amanda Seyfried is a manic, paranoid survivor of a “Silence of the Lambs” serial killer in “Gone.” She lived to tell the tale. She’s sure that her sister (Emily Wickersham) has been kidnapped by the same guy, that she only has until sunset before sister Molly is killed.

And not for one second do you believe Seyfried is manic. A fine actress on most occasions, here she’s loping along like the pretty girl scared of mussing her hair and makeup in gym class. There’s nothing in the film — which lacks urgency — or her eyes or physical demeanor that suggests panic, fear, desperation.

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