The A-Team Review

The A-Team

Directed by Joe Carnahan

Released in 2010

When walking into a theater to watch the latest summer blockbuster, your standards for enjoyment are set much differently than they would be if you were seeing, say, Doubt. An explosion or two, or three or four, and a familiar cast of macho men and pretty ladies are all that is really necessary for a hit. Audiences love it when this plan comes together, to paraphrase Col. Hannibal Smith, but critics usually do not. I like to think of myself as not too snobbish in my opinions (I took Iron Man 2 for the glitzy fun it was), but I have to side with the evil pundits on this one. The A-Team is a reasonably fun time with a few particularly sharp action sequences, but it is drowned in many flat attempts at humor, a ridiculously predictable plot, and, most shocking of all, a lack of real excitement. 

To paraphrase Hannibal Smith again, the plot is so banal and predictable that you can always see three steps ahead. That being said, it is serviceable for this brand of brainless cheese. As we all know, this movie is based off the absurd television show of the 80s. The premise of that series, in which four Vietnam veterans are charged of a crime they did not commit and subsequently fight for peace through covert means, is used here. The only edit here is, instead of the Vietnam War, these soldiers served in the Iraq War, which actually ends near the beginning of this movie. Let's bring that detail to life, please. Nonetheless, the A-Team is comprised of four members:  the leader, Hannibal (Liam Neeson); the philanderer, Face (Bradley Cooper); the brawn, B.A. (Quinton "Rampage" Jackson); and the deranged, Murdock (Sharlto Copley). Throughout the film, their status oscillates between heroic acclaim or unjust ostracization by the military. This fluctuation of stature provides a constant conflict, on top of defeating the antagonists, but, in the end, there were one too many double crosses for a senseless flick like this to handle properly. 

As trailers will attest to and the cast alone shows, this is a man's film. At least, that is what I believe. For every scene of B.A. piledriving a fool, you get about five minutes of shirtless Bradley Cooper. This puzzled me, perhaps more than any other aspect of this movie. Sure, the guy is in great shape and is, to quote Hannibal for the third and hopefully last time, "really tan." But, unless you are a bodybuilding monster like an 80s Stallone or Schwarzenegger, a topless male lead will not appeal that much to the masculine crowd this film is meant for. If it is trying to reel in (Steely Dan references are incessant in this movie as well) a female audience, every other aspect of this film, such as Jessica Biel's near useless role as nothing more than eye candy, screams otherwise. The wise middle ground? Try the guinea tee, a la Bruce Willis in Die Hard, for a mix of muscle and moderation. 

Digressions aside, there is still enough masculinity to appease the average action junkie. Liam Neeson chows on enough fat cigars to make J. Jonah Jameson blush, and the ridiculous stunts (assisted by a nagging presence of CGI) are so bombastic that they will appease anyone who only values spectacle. There are many ludicrous explosions, more so than necessary, but that was the point of the original series in the first place. The special effects and action could be better, as all the hand-to-hand fight scenes are shakily filmed in a way that aims for Greengrass' Bourne films but fails to achieve that sense of palpable grit. It should not be this way, as the director Joe Carnahan also did Smokin' Aces, a movie with a more outrageous storyline but some really innovative, spectacular action sequences. 

There are a few noteworthy scenes to mention, however. It will send any physicist to an early grave, but there is a part in the movie when the team is "piloting" a military tank...in the sky...freefalling...reaching terminal velocity......by shooting the cannon at certain degrees. Hannibal barks the angle placements with such timed certainty that you cannot help but laugh at the preposterous premise this scene holds. Their solution is to land in a small lake, where an old couple is using dynamite to fish no less, so learning to accept the nonsensical science, or lack thereof, is mandatory to get through the film. Less egregious is a Dark Knight-esque skyscraper assault in which the A-Team truly fulfills its potential by incorporating grapple hooks, flashbangs, and a low-flying helicopter into one shocking attack. This scene is the one that sticks out in the end as what the film could have been if everything was done with such care.

Unfortunately, said care was not paid to most of the film. The finale throws (literal) fireworks at the audience with its large setpiece and liberal amount of fiery detonations, resulting in an ostentatious display of soulless action. It adds insult to injury when the screenwriters underestimate the intelligence of the audience when they constantly throw a barrage of flashbacks on the screen just to make sure the viewer knows how certain plot twists relate to previous events. It infuriates me when a sleight of hand maneuver that was furtively done five minutes before is interpolated between the unfolding action, only with an added video filter or two to exclaim, "HEY, REMEMBER THIS? Well...you didn't see that move coming did you?" Sorry, but everyone did. Everyone.

The team of four leads are all fine actors in their own right (though I am not too acquainted with Quinton Jackson's acting career), but the material that they are given does not make them particularly compelling or even comical. The mentally ill pilot, Murdock, is positioned to be the key comic relief for the film, but some of his lines simply fall flat. This is no fault to the magnificent actor filling his role, District 9's Sharlto Copley, as he takes bad lemons and attempts to make fine wine. There are welcome instances when his character is legitimately hilarious, such as his Braveheart parody or any teasing badinage between him and B.A..  When the main antagonist, Pike, not only watches but offers assistance to his own bumbling supposed executioner as he struggles with attaching a pistol suppressor, a successful scene of hilarity is made. But a lack of real laughs is an Achilles heel for any popcorn action film as self-aware as The A-Team, and considering some bad lines even repeat themselves (Enough with the toast points, B.A.), it is obvious more effort could have gone into the script. 

Speaking of Bosco "I ain't gettin on no plane!" Baracus, the UFC fighter slides into the vintage mohawk rather well, but he is still a perplexing character. Mr. T's original portrayal of the character included a fear of flying, which is humorously explained in the [very, very long] intro, but this film takes it farther by attempting to make him a pacifist as well. This leads to an odd character progression in which he starts as a cold blooded killing machine, reforms to an enlightened student of Mohandas Gandhi, but then returns to his bloody ways at the end. This makes him a pretty weak character in a sense, and he is not on screen as much as one would expect anyway. I would be lying, however, if I said I did not grin at watching Jackson kick a hapless, capoeira-twirling enemy into a wall about seven feet away. Now that is why I went to see this movie in the first place.

Bradley Cooper is mildly nagging in his dominant role, perhaps usurping Hannibal for on-screen facetime (sorry, could not resist the pun). He was a great fit for The Hangover, but this dude is not cut out to be the Tom Cruise that seems to be the aim here. On the other hand, Liam Neeson continues to put forth so much effort in roles that demand so little, as he did with Taken two years ago. The delightfully tacky line, "I love it when a plan comes together," is repeated a few times, and Neeson continually delivers it with such defined authority that the perpetually delayed Spielberg biopic, Lincoln, in which Liam plays the eponymous president, seems like the best idea of all time (seriously, get on that). 

Overall, The A-Team  is a superficial, fun time at the movies that always feels like it is failing to meet its real potential. Explosions ring left and right, but there is nothing between the ears. In the end, you may feel shocked that you were not actually shocked by any particular scene or plot twist in the movie. We have all seen it before; these are not the droids you are looking for. Adjust your expectations accordingly, for enjoyment can be had here in more than a modest degree, but I pity the fools behind this who did not deliver on all cylinders. 

Final Verdict:

3 Stars Out of 5

Iron Man 2 Review

Iron Man 2:
Directed by Jon Favreau
Released in 2010

"Style over substance." This complaint is often lodged at films that sacrifice an intelligent narrative structure, or even a basic plot, in favor of flashy, eye-catching effects. It is not a compliment for a movie to be described as such, but it is the approach to use when trying to reel in huge audiences. After all, look at Transformers 2:  millions of dollars spent on visual overload while pennies reserved for a senseless story. Now this phrase does not apply to Iron Man 2 but a variation of it: Style over too much substance. That definitely sounds preferable to the former, and it is. The cluttered, unfortunately underdeveloped character plot lines are ultimately just distractions from the energy the fantastic actors and director present. This approach works perfectly fine, and Iron Man 2 ends up a more entertaining, absorbing package than the first.


This sequel picks up exactly where the last left off, when Tony Stark, played with the charisma and attitude that only Robert Downey Jr. can muster, declares to the world that he is, in fact, Iron Man. He becomes a national icon, beloved by the American public and, lacking any modesty whatsoever, believes that this attention is deserved. After all, as he so tersely states, he successfully privatized world peace. In no surprise whatsoever, Stark faces a few new adversaries, both at home and abroad. The United States government is seeking to get Stark's weapons in, supposedly, " the people's hands," to which Tony is vehemently opposed not only because it violates his rights but because no other country is even close to equaling Stark Industries. Cue Whiplash. This Russian brute, whose real name is Ivan Vanko, seeks to destroy the Iron Man due to possibly shameful incidents that haunt the Stark family tree. A failing arms tycoon, Justin Hammer, in an enjoyable, slimeball performance by Sam Rockwell, enlists the help of Vanko to execute the common goal they both share. 

On top of this, Tony deals with the stress of physical atrophy from the machine that is, ironically, keeping him alive, as well as the detachment he is facing from his steadfast support and love, Pepper Potts, played with domineering confidence by Gwyneth Paltrow.  Meanwhile, Lt. Col. James Rhodes cannot tolerate his best friend's self-destructive attitude and decides to make his own decked-out Iron Man after a scuffle.  Yet even stacked atop this is the foreboding emergence of S.H.I.E.L.D., a superhero group led by Nick Fury, the badass motha himself, Samuel L. Jackson. Scarlett Johansson, Stark's new assistant, turns out to be a member of this group under the moniker Black Widow. Obviously, due to the size of this synopsis and the incoherency of it all, the story could have used improvement in editing and less character overload.


The sole flaw of this movie is not necessarily a discordant plot, because it does make sense if you pay attention, but a lack of character development besides the main stars. Iron Man obviously takes centerstage, and there is no lack of the typical superhero sequel middle section in which the protagonist has to overcome emotional and psychological problems, a la Spiderman 2 or The Dark Knight. Whiplash is also prominent throughout, his story being one of pain and vengeance. We see the pain in his character, plus a humorous faux-Russian accent as well. However, other characters like Lt. Rhodes are not as developed as they could have been. Nick Fury appears in merely two scenes, and by now it seems as if the filmmakers are just teasing us to his future involvement in an Avengers movie. Natalie Rushman, Scarlet Johansson in top, sexy form, does not have much prominence to the plot and serves more as eye-candy than anything else. Fine by me, but I will admit it is wasted potential.

The botched character progression is disappointing- because that is something the first did very well- but it is far from fatal. In fact, the movie is so fun overall that these problems are easily overlooked. The reason why Iron Man 2 succeeds so well is because it is full of fantastic, talented actors who are all over-qualified for their roles. Take Mickey Rourke, aka Whiplash, for example. Rourke, who gave one of the finest acting performances in years with The Wrestler, goes beyond what is required, or even expected, for this performance as Ivan Vanko. His Eastern bloc drawl is definitely cheesy, especially as he croons for his bird one too many times, but he brings an emotional depth to the character that is not necessary in a big budget action film like this one. His character seeks to destroy Tony Stark as a personal vendetta, and Rourke conveys this bloodthirsty pain with an energy that only a gifted actor can convey. Pair him aside the star of the film himself, Robert Downey Jr., and you have two actors that are surprisingly alike. Both were hot commodities in Hollywood years ago, but then had a self-destructive period where they disappeared into obscurity. Only in the last four years have these excellent actors, as Tony Stark says of himself in the beginning of this movie, risen from the ashes in "the greatest phoenix metaphor the world has ever seen." The first Iron Man takes the credit for Downey's true return, but now that the sequel contains both him and the other comeback hero of recent Hollywood history, we can enjoy the talents of yesteryear at their top form, today.

Downey Jr. carries the film on his shoulders with ease and grace.  His conservative, playboy character stands in sharp contrast to a more noble hero like Bruce Wayne, but Stark is engaging because he loves himself as much as everyone else does. The opening scene, in which Stark is questioned by a United States Senate committee, shows how Tony believes he is above all others. Senator Stern - a hilarious, sordid and scarily plastic Garry Shandling - demands that the Iron Man suit be transferred to government hands, but Stark associates himself with the observing audience and turns the tables on the interrogators. Downey is a unique, gifted actor who can play with his food before eating it, and all the while with a sly smile. The script, written by Mulholland Drive star and Tropic Thunder co-writer Justin Theroux, gives him some winning lines, but the spot-on delivery is all attributed to Downey. When Tony Stark goes through his internal conflict in the middle of the movie, Downey bares a melancholic spirit, like one who is flying too close to the sun. This performance may not be as shocking or classic as his controversial turn as Kirk Lazarus in Tropic Thunder, but it may as well contain some of his finest acting yet. There's an energy pulsing through the screen when Robert Downey Jr. is on it; the film plays it wise and refrains from taking him off it.

The rest of the cast is stellar, by no means a necessity for a movie of this type. Thankfully, this is a different type of beast. Gwyneth Paltrow is a commanding, occasionally cold, yet commanding figure who, if absent, would leave Tony Stark helpless. Pepper Potts is no longer the naive, bewildered assistant that she was in the first:  she actually bosses Tony around this time. By her side is Happy Hogan, the lovable yet bumbling bodyguard, played by Jon Favreau, also the director.  Watching him struggle to subdue a goon while Black Widow easily clears a room of thugs is an interesting juxtaposition, to say the least. Black Widow, aka Natalie Rushman, aka Natasha Romanoff, is underutilized in her role but nonetheless provides to be a...pleasant sight on the screen. As Stark observes, she is unreadable in her motives, making her an intriguing character. "Rhodey," previously Terrence Howard but now played by a superior Don Cheadle, is given an imposing physical presence and is less of a pushover than the first. In fact, his strict, militaristic demeanor proves to be a main conflict in the movie. However, he still knows how to have fun, and Cheadle, who proved his acting prowess in Hotel Rwanda, is a winning actor. There is no dispute to the mastery of Samuel L. Jackson, who is painfully absent from most of the movie but a scene-stealer when on the screen. John Slattery, the boss from Mad Men, is an insightful father for Tony, revealed in old footage, and Clark Gregg plays a S.H.I.E.L.D. agent who tries to control Stark but learns that trapping a lightning bolt is not a facile matter. The last lead actor is Sam Rockwell, who was so robbed of an Oscar nomination in last year's Moon, and will play a character well even when he is an annoying prick. Justin Hammer, his arms manufacturer persona, is a pathetic individual in all respects but given a humorous, pitiful edge by Rockwell. Summer blockbusters often have a large list of high-profile names on their poster, but rarely do all the actors fulfill their potential and deliver winning performances such as this film.

Typically, the star of the show for many will be the action. The acting is where this focus should be directed but the fight scenes are filmed with confidence and filled with visual wonders. Favreau, who also directed the first, is an excellent director who can balance the demands of action with the quality necessity of character development, even if the screenplay does not deliver on all fronts. The explosions look expensive, but do not carry a moronic aura when surrounded by an absorbing plot and cast of winning players. Michael Bay should take a hint here. This film actually outdoes Bay's vapid Transformers movies with the typical "flashy assembly of armor" scene. In the middle of a French speedway, Tony Stark uses the "Iron Man suitcase" (which curiously is light enough for Gwyneth Paltrow to carry without struggle) to put his metallic exoskeleton on. There is a ridiculous sense of detail and liberal use of clanking sounds, as well as the ludicrousness of the situation, that makes this the key scene for the visual effects crew behind the film. Favreau and the team behind him craft a dynamic, truly badass spectacle of what is really pieces of metal scraping against each other. Again, Michael Bay, take note.

Iron Man 2 may not bring that fresh, vivid guise that critics praised for the original, but it delivers with excellent acting and tons of more fun. What more is there to ask for a huge blockbuster like this? This may not be an equal to The Dark Knight as far as superhero sequels go but it ups the ante in every department, usually all to the film's benefit. It is unfortunate that Theroux's screenplay does not contain enough room for all the characters to properly flesh out, but Favreau and the actors take what they have and make something genuinely magnetic.

Final Verdict:
3.5 Stars Out of 5

Kick-Ass Review

Kick-Ass:
Directed by Matthew Vaughn
Released in 2010

Ever wish to fill in the shoes of your favorite superhero? Imagine holding the ability to swing from building to building like Spiderman or using your wealth and intellect to fight crime like Bruce Wayne.  Well, after a viewing of Kick-Ass, these wishes may wane as this somewhat realistic take (note the somewhat) on superheroes is unforgiving in its depiction of vigilante crime fighters. From the first scene to the last, Kick-Ass delivers a unique, hilarious, violent and occasionally shocking take on the often-cliched superhero genre.


Ironically, the film starts out with perhaps the most routine high school plot out there:  an unimpressive, though handsome and compassionate, teen named Dave Lizewski (Aaron Johnson) has the "superpower" of being invisible to girls as he deals with hormones, bullying and awkward situations. His lame friends are Evan Peters and the new Jonah Hill, Clark Duke, from Hot Tub Time Machine. He has a crush on the pretty girl - Lyndsy Fonseca, also from Hot Tub - but it does not help that she thinks he is gay. Thankfully, this does not remain the main storyline for long as Dave decides, for almost no emotional reason at all, to become a superhero. He buys a green and yellow scuba costume online and seeks to help those who are ignored by bystanders when they need help most. His moniker? Kick-Ass.


So begins the kinetic, and sometimes disturbing, riot this film becomes. Dave becomes an Internet sensation as a video of him sloppily fighting a few thugs becomes a hit on YouTube. He begins to take requests by those who need help, but he has one particular target held above the rest. When trying to "kick ass" in order to impress the girl of his dreams, Dave runs into the real stars of this movie, Hit Girl and Big Daddy. Hit Girl, the remarkable Chloe Moretz who will be recognized from (500) Days of Summer, viciously - and really unnecessarily - slays a room of goons with a double-edged sword after dropping the C bomb. All the while, a childish chanting tune plays in the background to provide a queasy juxtaposition.  Big Daddy provides support from afar, and the character is captured by none other than the brilliant Nicolas Cage. After this particular event, a millionaire crime boss, played by Mark Strong, perceives these misfit heroes as legitimate threats to his drug ring. His spoiled son, Christopher Mintz-Plasse  - forever McLovin' - dons a costume himself and tries to get Kick-Ass on his side in order for his father to dispose of this nuisance. The plot dips and dives from this point to the end, making for an entertaining, if thematically inconsistent, ride.


The content at hand may shock some with its dark tone and liberal use of violence, not to mention pervasive language. Completely inexperienced and naive Kick-Ass tries to fight off some gangsters only to end up in the hospital. The film does not portray it too comically either; you are left feeling somewhat nauseated. The equally stupid gangsters are portrayed in a different light, as every misstep of theirs usually ends up in a bloody mess but is played off for worthwhile laughs. The actions of Hit Girl and Big Daddy lay somewhere in between. Every time they take the screen, awesomeness is guaranteed to unfold. Sometimes it is comical, such as the first appearance of Hit Girl, or sometimes it is a brisk, well-choreographed slice of action that can be seen when Big Daddy disposes a group of mobsters in record time. The violence is certainly exaggerated, but not over-stylized a la Kill Bill, to provide a proper, concrete disconnect between the viewer and the action on-screen.  These scenes all oscillate in tone and purpose, making the movie a rough, bumpy wooden roller coaster instead of a smooth, comfortable steel one. That is fine for a young, blasé youth like myself, but this practice tends to polarize viewers, the Coen Brothers' Burn After Reading as an example. Wanted, from 2008, pulled off this style better than most, blending comedy with ruthless violence, but it lacked the charm of either of these two films. Take one, leave the other, apparently.

The greatest point of contention for many in this film is the star of the show herself, Hit Girl. The adorable Chloe Moretz steals the show as the foul-mouthed, guiltless killer who was raised by a loving father who forgoes Barbie dolls for butterfly knives.  She is a riot in every scene, and though much of her draw comes from the shock value of what she is doing on screen, she certainly has talent on her own. She has the ability to be simultaneously menacing and cute at the same time, and I am sure she will headline her own film very soon. Nicolas Cage, the actor who is great even when he is terrible, is the obsessed, troubled father who cares for his daughter, even if the two only talk about the obscure names for famous firearms. When he dons his Batman-like costume, he speaks with an indisputable Adam West cadence that is both hilarious and a reminder that, no matter how  kick-ass these superheroes may be, they are ultimately a bunch of comic book geeks. Truly, the film is alive with these two stars on the screen.


The rest of the cast is solid, if unremarkable. Kick-Ass himself, Aaron Johnson, provides an uninteresting narration but delivers a worthy performance. His trials and tribulations, both with and without his costume on, are overbearing throughout, and he convincingly conveys this deep pain. While his pseudonym is the film's name, he is not really the leading character, instead acting as the vehicle to fit in every other character's story around him. The antagonist, Frank D'Amico, is a soulless villain who is hard to root for, but the performance by Mark Strong is certainly better than his super cheesy turn in Sherlock Holmes. He does not cease to chew the scenery, but a more interesting character, one who is intertwined with Big Daddy's past, makes this a far better performance than the bland Lord Blackwood. Christopher Mintz-Plasse, who will never live up to his immortal role of McLovin, disappoints as he barely has any notable lines, nor is he too interesting as Kick-Ass's wealthy counterpart, Red Mist. Kick-Ass is an entertaining package, but upon analyzation, it is not hard to notice that the film nearly grinds to a halt when Cage or Moretz are not on the screen.


Kick-Ass will, and already has, offended many and been condemned by family groups and critics alike. Roger Ebert himself stated that this film is "morally reprehensible." Nah. The film relies on shock value, certainly, and can get very, very dark at times, but the only problem that this ultimately creates is a constantly vacillating shift in tone. Hit Girl, near the end, gets brutally beaten by D'Amico, making for another disturbing scene, but this just reveals the film's haphazard pacing, not the demonic intentions. There is no reason to castigate the  ethics behind the movie (named Kick-Ass by the way) because I can state with 100% certainty that no one without a severe preexisting mental condition will turn into an abhorrent cursing maniac, or a perverse, bloodthirsty killer. We Americans are a jaded bunch. With the Internet, we can see anything we want, free of charge. Kick-Ass should not prove too disturbing to a generation that can watch the uncensored 9/11 attacks on YouTube. To those complaining about the "morals" behind this film, lighten up. Kick-Ass may have problems of its own, but it is too much fun to be blacklisted by a cranky few.

Final Verdict:
3.5 Stars Out of 5

Hot Tub Time Machine Review

Hot Tub Time Machine:
Directed by Steve Pink
Released in 2010

Simplicity is underrated. Films with titles like Eternal Sunshine of the Spotless Mind or Precious: Based On The Novel Push By Sapphire can be clumsy and lead to confusion. Confusion leads to thought, and who wants to think when seeing a movie? Thankfully, the film with the best name in years, Hot Tub Time Machine, is here and allows you to turn off your brain for about 100 minutes and revel in the mindless hilarity. 

The story is, as one would think, fairly self-explanatory. Four dudes (John Cusack, Craig Robinson, Rob Corddry and a newcomer, Clark Duke) are experiencing a nadir in their once-rich lives. John Cusack is Adam, whose girlfriend just dumped him, Craig Robinson is Nick, a hopeful musician who settled down too quickly, Clark Duke is Adam's geeky nephew, and Rob Corddry is the reckless alcoholic, Lou, who shows a surprising disregard for his own, as well as his friend's, well-being. They decide to take a weekend off at a ski resort and have a crazy party in a mystical hot tub, which, to the audience's complete surprise, transports them through time. The new year is 1986, and the guys, with the exception of Clark, who was not born yet, realize that they have to replicate the exact events they did over 20 years ago in order for the "space time continuum" to remain intact and....actually, nevermind, this information is not necessary. Too much thought. Anyway, they first try to adhere to the past but realize that doing so took them to their miserable current existence, so they decide to change things up as a result. The writers do not even attempt to logically explain the science behind the time travel and it is better off because of this. Quantum physics is not what one should expect when going to see a movie called Hot Tub Time Machine.

To put it in layman's terms, this movie is funny. The opening has a eclectic Hangover vibe before it eventually develops as a crude cross between Superbad and Back To The Future. Speaking of that time travel classic, Crispin Glover (the dad from Back To The Future) makes a welcome appearance as the hotel butler Phil. In the present day he is missing an arm, leaving him a vile, offensive brute, but mysteriously has the appendage in the past. The group witnesses Phil run into several close encounters that could result in an avulsion. Lou's disappointed reaction when Phil turns out to be safe is one of the best parts of the whole movie. The laughs come quickly and rank in the upper echelons of recent R-rated comedy fare. 


The cast shows a dynamic comedic range that may provoke thoughts of The Hangover's leading men. Cusack is the straight man, Robinson is the troubled married man, Duke is the nerdy, spineless geek, and Corddry is the outrageous, mentally-troubled buffoon. The combination works wonders, thankfully, as they all have a share of hilarious scenes. John Cusack is, and has always been, a terrific actor and he seems to be overqualified for this role. There are scenes when he convincingly emotes the deep melancholy of his character, and he may follow with a winning comic line delivered with sharp cadence. This role certainly also seeks to remind the audience of Cusack's role of teenage icon in the 80s with such films as Say Anything and Better Off Dead. It succeeds.


The rest of the cast is equally bright. Craig Robinson, the often-harassed Darryl from The Office, shines as a noble yet weak-willed married man who must cheat on his current wife with a girl in the past. Technically, that is not cheating is it? Chevy Chase literally pops out of nowhere for a few scenes as the prophetic "Repair Man" who seems to be the Doc Brown to the group's Marty McFly. Chase, whose physical appearance and movements have made him as much of an icon as his extraordinary comedic timing, does not have many memorable lines but his mere presence only helps the film in the end. Crispin Glover is a pleasure to behold as well, and, with his other recent film Alice In Wonderland raking in hundreds of millions at the box office, it is great to see such an interesting and, daresay it, forgotten actor back in the spotlight. That leaves us with the star of the show, Rob Corddry. I have been a huge fan of Rob since he started on The Daily Show with Jon Stewart, so it is great to see him get a big role that shows the world his superb talent. "Lou" is eccentric throughout, whether it be resorting to hiring hookers upon stepping into the room or shooting projectile vomit at peaceful squirrels. Lou also seems to be the one character to take advantage of their situation and current knowledge by placing inordinate bets on obscure events or trying to impress others with his forebodings of the future. At one point he drunkenly shouts "John Lennon will get shot" before realizing that has already happened.

Considering it takes place in the 1980s, there are countless references to that decade shown throughout. The way these clues stack up to the initial revelation of a time switch is rather ingenious, but, for the rest of the film, some of these nostalgiac tidbits seem tacked on.  As Adam walks into a room to meet his smokin' girlfriend in a tight, furry jumpsuit (and it is worth mentioning that, like any R comedy nowadays, there are handfuls of hot women, clothed and topless, here), David Bowie's "Modern Love" plays (an interesting song choice considering the title) and a Duran Duran Rio poster is seen briefly afterwards. This scattershot piling of references actually makes for a superb soundtrack, led by Motley Crue's "Home Sweet Home", but does end up feeling disorganized. This is barely a complaint, however, as anyone who lived through the 80s or appreciates the decade will notice the liberal allusions placed within.

In conclusion, Hot Tub Time Machine is not original or groundbreaking in any way besides in that it embraces its inherent simplicity. The scientific plausibility of the events that occur is briskly ignored, as it should be. The title itself eschews metaphors or romantic imagery and gets straight down to business. What is here is a hilarious, raunchy time warp with an excellent cast of characters. The script is strong for the most part, though The Hangover and Anchorman can lay claim to more "classic" nonsensical quotes. Do not expect the rapid-fire, witty screenplay a la In The Loop either. Nonetheless, feel free to join the dudes in the glowing hot tub. The time will be eventful and you'll ache from laughing.  Just do not drink the water. There's no way it can be good for your health. 


Final Verdict:
3.5 Stars Out of 5

Alice In Wonderland Review

Alice In Wonderland:
Directed by Tim Burton
Released in 2010

Who can possibly create a reimagination of Lewis Carroll's beloved Alice's Adventures in Wonderland story and the subsequent 1951 Disney animated film? Tim Burton, of course. It seems etched in stone. Atop Mount Sinai there is probably a lost tablet foretelling the day when Burton would direct a new Alice. Look at any of Tim's previous work, whether it be Edward Scissorhands, Big Fish, Beetlejuice, or even Batman, and traces of Lewis Carroll's tale can be found. So why do I feel disappointed by Burton's latest work? I share an inordinate love for the man's catalog of films, more than most. However, like 2012 on the Mayan calender, not every event God portends is meant to be great. 

Now, comparing the new Alice in Wonderland to the apocalypse is harsh. This movie is good. It is a solid entry in the usually-disparate month of March, and its huge box office draw so far is encouraging for the director whose last big success was the shoddy Charlie and the Chocolate Factory (this movie is better than Charlie, rest assured). It is not as impressive as I hoped for, however, and that can be blamed on a few aspects. I am going to break into list format, a first for a review of mine, and list the 3 problems with this movie:

1. 3D. What used to be a juvenile accessory to add incentive to see such masterworks like Fly Me To The Moon and Open Season in theaters is quickly turning into the norm. After the most successful film of all time, last year's Avatar, showed the world how to properly make 3D work, every movie now believes throwing 3D glasses on their patrons will equally throw butts into seats. Avatar was beautiful; the 3D helped enhance the experience by adding depth and never relied on cheap cliches like tossing hats at the screen to remind the audience that this was not something that could work (at least not yet) at home. In contrast, Alice In Wonderland is a 3D film with no use for this extra dimension. The added dimension desaturates the color, lessening the impact of the excellent work gone into the art design, shown by the not-so-bright foliage of "Underland" (that is what the world is actually called). Unless studios are going to go all out, scrap 3D.
2. CGI. Computer animation is a wonderful thing. Look at the beauty Pixar has been able to capture time and time again with this colorful, advanced medium. The Harry Potter and Lord Of The Rings films have also successfully merged live action with digital effects, crafting a believable, though fake, world. Similar to recent George Lucas and Steven Spielberg works, Alice suffers from an over-reliance on CGI. Beautiful environments are rendered unfortunately prosthetic as seams in the animation show. As the film progresses, it becomes apparent that the only real objects on the soundstage are the actors themselves. 
3. A lack of focus. In a movie like Alice in Wonderland, the first true acid trip in cinema form, this complaint may come as elitist and unnecessary. Nevertheless, this film straddles between an adult psychedelic tale and a children's action film, as the final action scene will attest. Watching Alice wander around Underland, encountering all of the strange citizens and dangers, is entertaining to a point. There is a lull in the middle that should not be in a story of such hypnotic energy, or else one that is under 2 hours long. Then a final battle scene comes out of nowhere to inject some energy, but does it fit in context? I am not so sure.

Thankfully, everything else I have to say about this film is positive. First off, the cast is stellar. Johnny Depp is the Mad Hatter, the signature Wonderland resident who will slip from a soft accent with a lisp to a rich Scottish accent depending on the level of aggression he is aiming for. Depp is a consistently excellent actor and watching him act, literally, insane is a pleasure. Helena Bonham Carter, who has been in nearly all of the recent Burton (her husband) films, works for her slot as she plays the Red Queen. More silly than menacing, the Queen has a huge, "bulbous" head and is obsessed with cutting off every enemy's head. A bit dim-witted herself, the Queen is an entertaining character and given a fair treatment by Carter. Anne Hathaway is the peaceful White Queen, and perfectly acceptable in her role. Nothing amazing from her but it is hard to draw up any legitimate complaints. The elusive Crispin Glover plays the Knave of Hearts, basically the Knight to the Red Queen. Glover is a fascinating actor considering he is known for his quirky behavior and strange cadence but, like many unusual actors, he is an excellent performer. Let's see more of this smart, yet creepy, dude.

The voice talent behind many of the digital characters also draws from the finest in the English crop. Everyone loves Alan Rickman, and he is the prophetic Blue Caterpillar who usually reminds the audience that this film had a drug-influenced motif all the way back to the 1951 animated film. Stephen Fry, the Brit with that very memorable voice, lends his pipes to the role of Chesire Cat, the diaphanous feline whose floating face will always haunts children. Timothy Spall (Peter Pettigrew from Harry Potter and The Beadle in Sweeney Todd) is the loyal dog Bayard, and Michael Sheen is the expeditious White Rabbit. Matt Lucas, the raunchy, baby-faced English comedian, is both Tweedledee and Tweedledum, and the CGI that powers his appearance is both hilarious and disturbing. Last but not least, Alice is played by a relatively unknown actress, Mia Wasikowska. Mia is beautiful and really looks like Alice; the casting was perfect in that sense. She could have been more emotive, but I enjoyed her grown-up take on Alice.

The story itself is technically a sequel to the original story, as an older Alice revisits the land that she visited as a young girl. In the Victorian world she calls home, she is currently forced to marry a lord on status, and not love, alone. The charming recreation of Victorian England starts the film out strong, and, of course, she falls down that rabbit hole one more time. Her destiny is told to her outright, as she must slay the vicious Jabberwocky (voiced by a booming Christopher Lee). What follows is very similar to the original tale, such as the various character encounters and trippy aesthetic feel. Tim Burton could have gone farther with the vibe of Alice's original tale that was caught in song by Jefferson Airplane's famous "White Rabbit." Whether it is the PG rating or focus on a younger audience (again, this is in 3D), the mature feeling of the original is somewhat lost. 

In the end, we all knew that Tim Burton was going to do Alice In Wonderland. Some of us just believe it could have been done better. Style reigns over substance, and while that could be acceptable in this story that relies so heavily on visuals, the 3D ends up spoiling the artistic merit. Perhaps a viewing of this film in two dimensions would cure this feeling, but it certainly leaves a bad aftertaste. Still, after saying all of this, I enjoyed this movie. Any fan of the story or just Tim Burton himself will find something to like here. The cast is solid and, deep under the artificial layers, there is a beautiful world of flora and fauna. To add to this, last night I rewatched Where The Wild Things Are. This update on a children's classic combined deep symbolism and its fascinating visual style to create the equivalent of a graphic poem. Alice has its attractive aesthetics, crippled as they are, but is missing its lyrical core. I just wish Alice's fall down the rabbit hole was, ironically, deeper.

Final Verdict: 
2 Stars Out of 5

Shutter Island Review

Shutter Island:

Directed by Martin Scorsese

Released in 2010

For five decades now, Martin Scorsese has directed some of the finest films of all time. Mean Streets, Taxi Driver, Raging Bull, Goodfellas, Casino, and The Departed are his most notable accomplishments, and his influence has affected filmmaking worldwide. Now, in 2010, Scorsese has released his latest triumph, but any evidence of his signature style is nearly stripped. Shutter Island is a psychological thriller in the vain of The Shining or Memento and even has traces of One Flew Over The Cuckoo's Nest and Mulholland Drive. The result is a captivating film that will not appeal to the universal audiences Scorsese usually receives but stands as one of his most unique and ambitious accomplishments yet.

Based off the novel of the same name by Dennis Lehane (who has had a lucky streak in Hollywood with this, Gone Baby Gone and Mystic River all getting the silver screen treatment), Shutter Island follows a winding narrative structure that does not resolve until the eye-opening conclusion. The beginning synopsis is not that complicated, however:  Teddy Daniels (DiCaprio) is a federal marshal joined by his new partner Chuck (Mark Ruffalo) to investigate the disappearance of an inmate at the ominous Shutter Island, a house for the "criminally insane." Located 11 miles into the Boston harbor, the island is overseen by Dr. Cawley, a composed yet freaky Ben Kingsley. He believes that the patients can be cured through attention and a healthy environment rather than heavy doses of drugs. However, Teddy sees through the smokescreen and suspects something else is up. A doctor with possible ties to the Nazis, played by Max von Sydow of The Exorcist fame, and a downright creepy warden, given that aura by Ted "Buffalo Bill" Levine, set Teddy off to uncover the truth. Telling much more about the story would venture into spoiler territory but, rest assured, this is a film you will want to see twice. 

Set in 1954, the film quickly becomes a psychological-centered tale once Teddy's mind serves as the stage for much of the action. Teddy is prone to migraines and sea-sickness, and usually recalls his experience as a concentration camp liberator in World War II when he is impaired by these ailments. Disturbing flashbacks of heaps of dead bodies, as well as fresh Nazi corpses, haunt his memories. The increasingly hostile weather on the island serves as a huge obstacle on top of this and the gap between reality and imagination unpredictably widens. The scene atop the cliff is particularly memorable for both serving as a branch in the story as well as a showcase for neat film techniques. Freeze frame images and brisk editing give these scenes a nightmarish quality, a technique more akin to Stanley Kubrick than anything Scorsese has done yet. Even if you are familiar with Scorsese's work, his name will probably not come to mind if you view this film without any knowledge of the forces behind it.

Nonetheless, the directing is the force behind perhaps the legendary director's most distinctive work yet. While not a horror film in the sense of Kubrick's Shining, the unnerving atmosphere and grim images certainly cast a tense aura over the entire story. Marty, to my surprise and petty disappointment, does not include any long, tracking shots a la Goodfellas, a technique that was popularized in Kubrick's aforementioned film 30 years ago. He showed his unparalleled mastery at this form in the classic mobster film, and considering those shots naturally draw suspense, an incorporation of the tracking shot into Shutter Island could have been both a nostalgic homage but, more importantly, the making of a classic thriller scene. Alas, this qualm is very minimal as it only applies to idiosyncratic movie buffs like myself, and the directing overall is stellar. Scorsese has always been able to delve deep into the soul of his characters, forming a personal connection between the viewer and the protagonist. He uses this to his advantage here, but also relies on the provocation of the senses to connect to the viewer. Some excellent sound design accompanies the most harrowing scenes, and, to contrast, beautiful picks by Gustav Mahler and Lou Harrison plant the film in its time during the seemingly "normal" sections. The haunting main theme by Polish composer Krzysztof Penderecki, who, ironically, composed the iconic soundtrack for The Shining, guarantees that the final scene will stick in your head for some time.

The acting is excellent overall, though Leo's performance is getting the most attention. In the beginning he speaks in his imperfect Boston accent, but thankfully his dialect does not remain the focus; his true acting ability does instead. I cannot think of any role that was more complex or nuanced than this one, even including The Aviator, and it may be safe to say that this is his finest achievement yet. He grows convincingly frustrated at the stalemate of an investigation he is presented with, and conveys true loss when needed. Leo is almost never off the screen and, even those who usually dislike his work, will find his presence welcome. Meanwhile, Ben Kingsley does what he does best and chews up the scenery. However, this time around it is more urbane than some of his recent work and he is a menacing delight to behold. One line he speaks (and you will know what is upon hearing it) shocks you like cold water but, you have to admit, you love it. John Carroll Lynch, the lovable husband in Fargo but also the suspected serial killer in Zodiac, is the Deputy Warden and convincing as an arrogant authority figure who does not need much more than his word to get work done. He finds himself, funnily enough, in the middle of those two memorable roles, for this film here. Watchmen's Rorschach, Jackie Earle Haley, shows his intimidating mug for a tense scene that starts shining a light on the whole story. Finally, Michelle Williams, the talented young actress, plays Teddy's wife in many of the flashbacks and hallucinations. She is excellent as the diaphanous figure of a spouse, especially once the difference between those two types of scenes becomes muddled. All the performances together are superb, though Leo's will be the only one that will be particularly remembered.

If there was one problem I had with Shutter Island more than anything, however, it was its marketing campaign. Simply put, the trailers give away a little too much, as the conflict is not established until a considerable amount of time in. This is not the filmmaker's fault, and the delayed release schedule is most likely to blame. The marketing team had to saturate the public with an amount of revealing promos to draw attention, after all. Nevertheless, this con is separate from the film's quality itself. Shutter Island is, like its setting, insular in Scorsese's catalog. He has not done a thriller of this type or caliber before, and, while it still is a strange offering from the master of high-class, yet accessible films, it is a first-rate offering. The story takes you on a ride that dives, loops and corkscrews until the final scene. Your heart races and you need to catch your breath. But, like any great roller coaster, you cannot wait to get on it again.

Final Verdict:
4.5 Stars Out of 5

Mass Effect 2 Review

Mass Effect 2:

Developed by Bioware

Released in 2010

Now, I love video games more than most but I am usually reluctant to ever publish a comprehensive review of any title. I spend more than the average number of hours with a gamepad or mouse and keyboard in my hands but I still feel that games are miles away from the nuanced art forms that are literature, music and, of course, film. Every so often a few games will come by and challenge this notion: Bioshock, Braid, and Metal Gear Solid 4 are just a few to name. However, the majority of games out there, ones that I appreciate no less, like Modern Warfare 2, are polished, extremely tight shooting games that value style over narrative substance. Saying all of these seemingly inane opinions of mine, I love Mass Effect 2. 

Mass Effect 2 is not a game that will revolutionize the medium in any significant ways. Rather, it takes its ambitious yet flawed predecessor's core and fleshes it out with a bevy of new improvements. The result is a very memorable experience that is the automatic lock for Game of the Year 2010 until something very, very impressive tries to knock it off its pedestal. 

The first Mass Effect had an incredibly engaging storyline and rewarding combat but was hampered by a wide gamut of small, but souring, flaws. The inventory was a mess, and no one will speak kindly of omni-gel and the efforts needed to navigate the clunky menus. Technical problems also plagued the original, starting at texture pop-in and glitches and going as far as game-ending crashes. The side mission structure was repetitive as well, as the tank-like Mako was the only means for transportation on boring, desolate planets.

Thankfully, the sequel not only eliminates all of these problems, but comes up with enjoyable alternatives.The inventory system is practically gone; all weapon and armor switches can be made on the ship or before a mission. The Mako is scrapped in favor of a single loading screen that launches you straight into the action. Side mission variety is also improved:  many trivial quests are present but they are all different with unique environments and objectives. The first title was often given a pass on its problems for its epic story, but there are no need for excuses here. 

As a Bioware game and the sequel to the game that launched this console generation's ultimate role-playing tale, Mass Effect2 is expected to have an above-average storyline. Fortunately, what is here is a gripping, cinematic science fiction experience that is greatly aided by its motley crew of characters. Leading is Commander Shepard from the first title, and the import of a Mass Effect 1 character to the sequel strengthens the narrative structure as all choices from the first carry over to the second (it is expected that the second will do the same for the third). After a dramatic opening reminiscent of 2009's Star Trek film, Shepard is put through an intense trial but brought back into action not too long after. He works for a company that is not the noble yet hidebound Alliance, but a more secretive and, let us say, illusive branch.

Most missions in this game revolve around assembling a powerful, eclectic team to fight the new threat. Miranda, the genetically "perfect" leader; Grunt, another lovable Krogan; and Thane, a master assassin with a conscience and case of physical atrophy, are all members of the new team. The best of all new teammates is, hands down, Mordin Solus. A Salarian (skinny, typical alien appearance), Mordin talks in quick, terse statements, and every discussion with him usually usually ends in a chuckle. Two chats on histrionics and interspecies intercourse left me with a guilty grin, in particular. On top of these characters, old flames reappear, all in a welcome manner. The story of Mass Effect 2 should satisfy fans of the original as well as the unacquainted.

Why Mass Effect 2 succeeds so well, however, is because it does not merely rely on cutscenes to convey its story. Like the original, a dynamic dialogue system takes up a significant portion of the game's time. Extensive motion capture and very accurate lip-syncing make all the characters feel alive, complementing the excellent voice acting in the process. Martin Sheen, Yvonne Strahovski (from the TV series Chuck), and Seth Green all play characters with a lot of screen time in addition to the dozens of other talented actors that worked on this title. Martin Sheen's character, "The Illusive Man," sports a surprising likeness to the veteran actor, and his gravel voice does not sound too far off from Apocalypse Now. All of the humans, aliens, and curiously deformed creatures benefit from the motion capture that give them an emotional weight, rendering them as caring, scary or maybe even a mix of both. Think of the work here as Avatar on a smaller scale. The impressive aspect here is that the control is in our hands for nearly every action the character makes.

Comparing Mass Effect 2 to a film is not totally off, however. After any mission, it only seems proper to converse with all the inhabitants of the ship, getting to know their histories and feelings for the mission ahead. The term "video game" suddenly did not apply anymore; this was more of an "interactive cinematic experience." The interactive part is something film cannot achieve. Games like this one are showing the true advantages to the medium that many still frown upon when motion control is not slapped on. Getting lost in a deep, distinct world like Mass Effect 2's star-spanning cosmos is something that only video games can properly convey, and few do it as well as Bioware's latest.

Of course, the story and universe to explore are rich and detailed, so how does the rest of the game stack up? For the original, the positives ended around here. This is not the case with the sequel. The RPG nature of the first has been stripped down to a barely recognizable, yet very tight, third-person action game. Ammunition is not unlimited this time around, which at first presents itself as a nuisance but turns out to be an intelligent alternative that gives firefights more of a sense of urgency. Enemies are smarter this time around, and cover is absolutely necessary if you want to get through any tougher difficulties in one piece. The whole title feels much more like an action game this time around, even when the few RPG elements have been tremendously improved upon.

The need to update character stats is not as necessary this time around; small aspects like a rifle scope's drift are already handled and do not need any useless upgrades. Upgrades do play a major part in developing a tough protagonist and resilient squad, however. Improvements to weapons' damage, accuracy, and capacity will give your team an advantage, and enhancing the Normandy (the space shuttle that you call home) is highly recommended. In order to pay for these boosts, materials in the form of three real-life elements, Platinum, Iridium, and Palladium, as well as the mysterious Element Zero, will need to be scavenged from scanning planets. This system can be extremely boring and derivative (basically you hold a button and move a reticule over a planet until the controller vibrates), but I seemed to dump a few hours on this system without a second thought. The flaws in Mass Effect 2 are few, but this is certainly one of them. Minigames are used to hack safes, doors and important data, and these are repetitive but enjoyable enough to not feel like a trial. Overall, the gameplay in Mass Effect 2 is lightyears ahead of anything that reared its head in the first. Finally, we can praise this series for more than its ambition alone.

In the end, Mass Effect 2 ranks along the likes of Resident Evil 4 in terms of drastically improved sequels. The qualms of the first game are gone and, in the process, a satisfying action game emerges. The dialogue system has made changes for the better, and the world is so detailed that it is tempting to list the richest science fiction epics as Star Wars, Star Trek, and then Mass Effect. There are many stories to witness throughout the world. One recurring minor storyline in particular stuck with me. A male and female in the Normandy's Crew Quarters cabin sit a single table throughout the game, and you can check in periodically to hear their story. The male is a father and wants to eliminate the alien threat as it puts his family to risk at home. Listening to this story of woe is touching, even if it is as minor as side stories go. Small details like these can only be conveyed through video games, and Mass Effect 2 represents everything that is great about the medium in one absorbing, near-perfect package.

Final Verdict:
5 Stars Out of 5