Aaron

Will Ferrell shoots….and kinda scores

Kicking & Screaming won’t take any space on the ‘great sports films’ rack, but it should provide families with some easy laughs and some rainy day diversions.  And if nothing else, it’ll provide moviegoers with the all important tetherball fix we’ve so desperately been lacking.

Kicking & Sreaming
2 & 1/2 Stars

Will Ferrell doesn’t exactly break cinematic ground with Kicking & Screaming, but as yet another entry in the ‘kid sports’ genre, it’s certainly a little unique.  Not nearly as blue-collar and sarcastic as The Bad News Bears (which gets its own update this summer from Richard Linklater and Billy Bob Thorton), K&S provides a lot of unexpected laughs.

Scream, Dracula, scream!

Ferrell plays a meek and embittered vitamin supplement store owner who just can’t measure up to his hyper-competitive dad (Robert Duvall), who just happens to coach the little league soccer team his son plays on.  After Duvall trades Ferrell’s son to another team, Phil decides to coach the perennial losers in an effort to one-up his old man.  Phil brings in the help of Mike Ditka, who has been warring with his dad for years, to get his coaching skills up to par.  By definition and federal mandate, hilarity then ensues.

Put rather simply, Kicking & Screaming is The Mighty Ducks Play Soccer; same idea, same ‘coach becomes win-obsessed jerk’, and same hokey finale.  Except that in this version, the kids are really nothing more than afterthoughts to the comedic force of Will Ferrell, who almost assuredly ad-libbed a good portion of his performance.  You’ll walk out of this movie remembering only Will Ferrell and Mike Ditka (who just steals every scene he’s in). 

There are some inspired moments with Ditka and Duvall, who bring a gleeful malice to their interactions as bickering neighbors, especially to their confrontation over who’s the better coach, but in the end this is Will’s show.  No one does over-the-top reactions like Ferrell, and his moments of lunacy are enough to make you forget just how flimsy the rest of the film is.  It’ll be interesting to see how this effects his steamroller momentum in Hollywood, but I can’t imagine it’ll put too much of a dent in it.  Judging from the audience of soccer kids at the screening, it’ll be a hit with the younger crowd.  After all, there’s nothing kids like more than seeing adults make fools of themselves, and Ferrell is blissfully unafraid to be a complete buffoon.

Kicking & Screaming won’t take any space on the ‘great sports films’ rack, but it should provide families with some easy laughs and some rainy day diversions.  And if nothing else, it’ll provide moviegoers with the all important tetherball fix we’ve so desperately been lacking.

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Danny the Dog

Action fans should be sated by the sheer brutality, and less-visceral seeking filmgoers should find a lot to enjoy with the film’s emotional heart, but Li has a long way to go before he can be judged by his American output.  Overall, Unleashed should provide action fans with some solid, if fleeting, summer enjoyment.

Unleashed
2 & 1/2 Stars

Jet Li, unlike Jackie Chan, hasn’t had a solid American release since his journey to our silver screen, and frankly he’s due.  While he doesn’t possess the charisma or easy charm of some of his Asian ambassador co-horts, Jet Li’s sheer physical prowess and humble attitude should translate easily with American audiences.  Sadly, Unleashed doesn’t exactly live up to the potential he’s shown.  Fortunately, it’s a sight better than previous efforts, if only due to the attention and care brought to the film by writer/producer Luc Besson, and co-stars Morgan Freeman and Bob Hoskins. 

Jet Li says “Arf”

The premise of Unleashed is unique enough to set it apart from the rest of the ‘unwilling hero’ genre that chokes the action film market.  Li stars as Danny, a vicious and unstoppable killer whose been trained to be little more than an attack dog by his low-level mob owner/uncle Bob Hoskins.  Until he’s let loose on whatever target Hoskins has picked, Danny is a meek man-child who doesn’t understand the world around him, but instinctively longs for a better life than the one he’s living.  After an accident, Danny finds his way to Morgan Freeman’s Sam, a blind piano tuner who lives with his teenage daughter Victoria (Kerry Condon).  Sam & Victoria tend to Danny’s wounds both physical and psychological, and try to get him accustomed to the world at large, but Danny’s old life comes back to haunt him as Bob Hoskins relentlessly tries to get back his most prized possession. 

In all actuality, were you to replace Li with Van Damme, Speakman, Seagal, or any other martial arts star, this film’s plot could be easily switched with any number of late 80’s / early 90’s fight flicks.  Tortured hero finds peace only to be dragged back into a life they’ve desperately tried to escape?  That’s about as original as a sunrise, but what sets Unleashed apart is the care paid to Danny’s rehabilitation, and the respectability lent the film by Freeman.  (As an aside, what is it with African-American Oscar winners going for an easy action flick as soon as the Oscar is in their hand?  Halle Berry did it with Die Another Day, Jamie Foxx is starring in a Top Gun-meets-War Games action flick (Stealth) this summer, and Lou Gossett, Jr. went from Officer & A Gentleman to Jaws 3-D.)  Freeman’s performance lends the 2nd Act of Unleashed more respectability than it probably deserves, but for an action film this piece manages to carve out an emotional core that is sorely lack from similar efforts, which makes the 3rd Acts descent into type all the more disappointing.  But until that point, the interaction between Danny and his newfound family is both endearing and uncommon, if a little creepy.  Victoria’s less than platonic interest in Danny is a bit baffling, and none too uncomfortable upon reflection.

The action sequences are among the best Jet Li has been able to produce with an American studio, which might be due to the involvement of Yuen Woo-Ping, the famed fight choreographer.  Director Louis Leterrier finds a perfect balance of brutality and grace in Li’s physical performance, and let’s the camera pull back enough to enjoy the sheer visceral impact of every kick, punch, head-butt, and body slam.  To be sure there’s no shortage of jump cuts and quick edits, but more than not the camera lingers on every hit, which drives home just how impressive Jet Li remains, even at the age of 43.  Similarly, the camera work on Unleashed is above the norm, with Luc Besson’s influence seeping through in every frame with subdued color work and striking camera movement.  Had a little bit more care been shown in how the last act played out, Unleashed might have been able to really distinguish itself from the current slate of punch-out films, but as it is Li will have to settle for better than average.

Action fans should be sated by the sheer brutality, and less-visceral seeking filmgoers should find a lot to enjoy with the film’s emotional heart, but Li has a long way to go before he can be judged by his American output.  Overall, Unleashed should provide action fans with some solid, if fleeting, summer enjoyment.

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The Grudge: Unrated Director’s Cut

This is a rare case where I’ll say the re-make is better than the original, and Columbia TriStar really opened up the floodgates for this release.  Why they couldn’t put this version out originally, I’ve no clue outside of purely monetary reasons, but The Grudge: Unrated Director’s Cut should keep fans happy, and might be enough to convert those of us who didn’t give it a go the first time around.

The Grudge: Unrated Director’s Cut
3 Stars

Hollywood has opened Pandora’s Box with its recent slate of Asian Horror remakes.  Time will tell if fan’s appetites can stomach the upcoming Dark Water, but with the recent release of Ring 2, and the upcoming sequel to the Grudge remake, there seems to be no end in site of slick horror films showcasing creepy kids and women with long, black hair and bad posture.

I didn’t catch the Grudge re-make in the theaters, as I’d had an iffy reaction to the original (Ju-Oh).  So news that the Sarah Michelle Geller fueled remake would be utilizing the same sets, ghostly actors, and director didn’t really get me excited.  After sitting down with the upcoming Unrated Director’s Cut, I’m comfortable in my decision to stay away from the theater version, but I wasn’t wholly unhappy with the atmospheric thriller.

The Grudge tells the story of one very bad house.  Seriously, this place makes Amityville House look like Disney World in comparison.  Anyone who encounters the cursed house soon finds themselves contending with the murderous spirits of its previous occupants, and there ain’t nobody who’s a match for a cat-screeching little boy with pitch black eyes.  The film tells the stories of each of those poor souls who’ve walked in the wrong doorway.  Geller plays an exchange student who’s internship as a social aid worker brings her into contact with the home, and it’s through her that we learn the stories of each of the house’s victims who have all fallen before the unstoppable rage of it’s ghosts.

Plotwise The Grudge is paper-thin, but this is a movie more concerned with atmosphere and sheer creepiness than telling a cohesive story.  So while it certainly does the job in dispensing out the heebie-jeebies, you’re left feeling like you missed an integral part of the plot, when it wasn’t there to begin with.

This is a rare case where I’ll say the re-make is better than the original, and Columbia TriStar really opened up the floodgates for this release.  Why they couldn’t put this version out originally, I’ve no clue outside of purely monetary reasons, but The Grudge: Unrated Director’s Cut should keep fans happy, and might be enough to convert those of us who didn’t give it a go the first time around.

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Who knew the middle east could be boring?

  • Title: Kingdom of Heaven
  • IMDb: link

With today’s geo-political climate, releasing a big budget epic about the Crusades seems like a most misguided endeavor, regardless of the intentions. No amount of revisionist moralizing can lessen the damage wrought by the Crusades, and an accurate portrayal would surely alienate a good chunk of the movie going audience, but never let it be said that Hollywood has ever backed down in the face of accuracy.

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Wax on, Wax off

  • Title: House of Wax
  • IMDb: link

All in all, House of Wax is a better class of stupid-but-fun horror romps. Characters are dispatched in inventive (and cringe-inducing) ways, and director Jaume Serra doesn’t pretend to be making a landmark suspense film. Rather than bombard you with crappy music that telegraphs every scare, the film uses its score with no small degree of style by randomly giving you silence and music, so that you don’t know what’s going to happen. It worked well enough to make me jump more than once, and that’s no mean feat.

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