Diary of A Wimpy Kid: Rodrick Rules

The whole Wimpy Kid gang is back on the sequel to last years hit. This time around, Greg (Zachary Gordon) is pushed to get closer with his brother, Rodrick (Devon Bostick.) In the meantime, there’s a new girl at school (Peyton List) who Greg desperately tries to impress. This chapter rides heavily on the comedic chops of its ensemble cast, and like the first installment they are very successful. Larger roles for Bostick and the parents (Rachel Harris and Steve Zahn) add a more adult level of humor to the adolescent brand used otherwise. That isn’t to say the child actors don’t hold their own. Gordon carries the film in a way that few 13 year olds could. He’s likeable yet realistic and even manages to show some growth between the two films.

The plot is episodic in nature, and at times seems like it would be better suited as a television show. The subplots tend to overpower the main themes, but it doesn’t weaken the movie because every scene is really funny. The script even allows the audience, mostly children, to learn at the expense of the characters. Greg repeatedly bosses around his best friend, Rowley (Robert Capron), and shows how mean it is. These moments don’t provide much for the adult audience, but kids should learn something, in my opinion.

The occasional integration of the illustrations from the original books proves to be a nice touch. It also shows how vague situations are brought to life with great success in the script. The sequel’s story arch is a bit less focused than the original, but the plot is less cut and dry. The Rodrick character is often the stereotype of a teenager with a crappy band and vulgar stench, but he becomes a developed character in the film’s second half. Rodrick’s upgrade means less screen time for Rowley, but these complaints are an attribute to how likeable all the characters are. Let’s see if Diary of A Wimpy Kid can pull off the rare feat of a successful trilogy. (9.0 out of 10)

The Lincoln Lawyer

Why Matthew McConaughey ever wastes his time with cheesy romantic comedies is beyond me because he has proven once again that he has a knack for the legal drama. The Lincoln Lawyer is his first lawyer flick since A Time To Kill in 1996 and both are quite successful. This film follows a tricky case where a rich man (Ryan Phillippe) is accused of beating up a prostitute. But as the case evolves, McConaughey finds a connection to an old murder, which puts everyone around him in danger.

With the oversaturation of legal dramas currently on television, the twists and turns in the case lose a certain something. But The Lincoln Lawyer’s strength is the ability to create tension in the characters. McConaughey is a convincing lawyer, father and generally more likeable than he is in some other performances. Marissa Tomei and William H Macy give support like one would expect from two Academy Award winners. Ryan Phillippe however, has some stumbles. There are points where he seems to be just reciting his lines with no attempt at realism. Or maybe he is supposed to sound like that and Phillippe is acting out a person acting. Either way, the immediacy with which the audience grows to hate his character means he must be doing something right.

The script’s fast pace works well with the actors involved and they have no trouble keeping up. I doubt the real world of high stakes court cases plays out with the theatrical twists and turns like it does here, but it’s a movie and I realize that. The use of everyday swearing adds authenticity to the dialogue because admit it, people swear a lot. Since the movie needs to be rated R because of all the violence, a few “F bombs” here and there doesn’t hurt anybody. A pretty F-ing good movie if you ask me. (8.8 out of 10)

Mars Needs Moms

With the funny title and concept, one would assume that this animated feature from Disney is a light-hearted film. In reality it is Disney’s attempt at light-hearted, with dead parents, political preaching and subliminal themes. The story is about Milo, voiced by Seth Green, who sneaks aboard a spaceship to rescue his mother, who has been kidnapped by aliens. Turns out the citizens of Mars need to harvest the motherliness from Earth women because their women make bad parents. Then there’s the whole issue of how the males of their species are shunned into the pit of the planet that is made up entirely of garbage. So, the women rule under the lead of an old hag looking alien called the Supervisor (Mindy Sterling.) So, Milo tries to rescue his mom with the help of the only other human on Mars, Gribble (Dan Fogler.)

I know that is longer than my usually synopses, but I think it’s worth it because the concept is just so weird. The surface theme of appreciating your mother is misguided throughout. Milo’s own selfish wants are the only thing pushing him forward with the mission. Okay, so maybe the gender equality point is what’s most important in the film. I don’t think so. The men all look like stoners and have no desire to do anything except dance and the women only work. Plus, the latter are all rail thin with big asses. They’re cheap stereotypes.

So, Disney turns to their go-to gimmick, a dead parent. I won’t say whose it is, but I couldn’t help rolling my eyes when it happens. If it weren’t for some incredible looking animation and a fairly charming resolution, the film would be a total wash. The overall problem with Mars Needs Moms is that another re-write could have helped the themes along and made the jokes funnier. It’s fairly obvious that the look of the movie was the main focus though, and if that’s the case, then it’s a great success. (4.8 out of 10)

Sucker Punch

There are always a lot of critics of Zack Snyder’s films. They tend to be violent, over the top, and most important, tremendously loyal to the source material. But there are only a handful of directors who can create films as epic as Snyder and Sucker Punch backs that up. The film tells the story of a group of abused girls in a mental institution, their attempt to escape and the fantasies they create to escape the brutal reality. As diverse a plot as that is, it actually proves to be a bit forced, seesawing between relentless action and crawling monotony. The action scenes that play out as self-sustaining mini-movies are epic and interesting. I would rather see any one of them in a full-length feature over the weird theater storyline that is the basis for this film. But before I compliment these scenes too much, they are essentially unnecessary fights that take up time more than they further than plot.

One of the main issues that is not always addressed in comic book movies is the use of one-dimensional characters. While some, like Peter Parker, are emotionally deep, others only have one personality type. Every player in Sucker Punch is just that, basic. Their only changes are terribly predictable. I am all for sticking to the original story, but apparently something got lost in the transition.

Visually, the film looks amazing. However, the unique look Snyder creates seems to vanish for periods of the film. While 300 and Watchmen, which are both Snyder films, use shadows and visual effects to become favorites of comic book fans, Sucker Punch only dabbles in these methods and looks like a copy. The biggest impact this film will have on my movie going experience is that for the first time in six months there won’t be a Sucker Punch trailer before 90 percent of the features. I don’t think I’ll miss them. (7.0 out of 10)

Limitless

Bradley Cooper’s versatility is put on display in the cross-genre vehicle, Limitless. Cooper’s character is a down in the dumps writer until a miracle drug reverses his fortunes by activating the unused portion of his brain. He then makes money, fixes his relationship and inevitably gets in to life threatening trouble. Cooper is very capable in this lead role and is able to keep his character likeable even when he is making poor decisions. This helps to keep the audience’s attention through the points that the film gets a bit repetitive and slow.

As strong as Cooper is, some of the of the actors have trouble playing second fiddle. I’m looking at you at Robert De Niro. While his performance may be better than some of his recent films, it’s basically a generic role that is acted out with no particular brilliance. But like I said, this is Cooper’s movie through and through. The majority of the plot is like an offshoot of Wall Street, except for the whole sci-fi drug element. Now, for the most part this is an interesting combination. However, all the scenes where Cooper is going through withdrawal and collapsing on the ground get to be a bit much. One or two would have sufficed, but they keep turning up.

The whole film gives off an uneasy feeling, and the resolution never quite gels with the themes. The ending is quite rewarding for the audience, but it’s also debatable. Did he or didn’t he? Is he lying or not? No spoilers here, but they’re definitely some points to think about during the end credits. The other gimmick that proves more of a distraction than a benefit is the narration. When the voice over says nothing that is not already obvious from the movie itself, then it shouldn’t be there. Even Cooper couldn’t turn unnecessary narration into something worthwhile, but he did make Limitless a success. (8.3 out of 10)

Beastly

You know the line from the classic song, “Tale as old as time.” Well apparently someone thought that tale needed updating. Beastly is a modern remake of Beauty and the Beast, which follows a good looking snob, Alex Pettyfer, who gets transformed into a fugly snob by a witch, Mary-Kate Olsen. He then has one year for someone to love him or he’ll stay fugly forever. Enter Venessa Hudgens, who is the unrealistically nice character forced into the unrealistic situation of living with Pettyfer when a drug dealer threatens her life. It is all one big fugly, unrealistic mess. Every plot update comes off as forced and loses the edge the original story has. For example, the original story has a rose, which loses its petals as time passes. This story has a tattoo that will bloom roses as time winds down. It’s a forced attempt to be hip and it fails miserably at that.

With respect to the target audience, which is apparently teenage girls, there is hardly an attempt to be relevant. The script repeats the film’s theme over and over as if the audience would not be able to pick it up on their own. Yes, looks aren’t everything. At the beginning the character believes they are. At the end he realizes they aren’t. Everyone gets it. The movie would have done better by developing the characters more thoroughly.

Never has an actor saved a movie more than Neil Patrick Harris does in Beastly. He plays the blind tutor, who teaches Pettyfer that love is blind… how subtle. But he has a half-dozen laugh out loud moments and many others that break the awkward tension. To end on a positive note, the resolution is well done. I found myself actually being hooked for the first time in the 85-minute film. Young adult movies do not need to tip toe around the casual movie going audience. Beastly is like a poor man’s Twilight without the drama. I would have enjoyed it as a TV movie, but it’s not worth the ticket price. (3.9 out of 10)

Paul

British comedy superstars Simon Pegg and Nick Frost team up once again in their first collab with some of America’s best jokers. Paul has the duo visiting the states for Comic-Con and then, during a post convention road trip, running into an alien on the run from the US government. Though because this is a comedy, the alien smokes, swears and is voiced by Seth Rogen. Pegg and Frost’s characters then escort Paul, the alien; to a place he believes he will be safe. All the while, federal agents, played by Jason Bateman, Bill Hader and Joe Lo Truglio, are on their trail.

The film’s structure is a road story with multiple intertwining storylines. The linking is very basic however. All of those plot points result in another angry person chasing after the RV’ing Englishmen. Being that the film does not grow to the level of plot or character complexity that the Pegg and Frost’s other features do, I have to say that Paul is not as successful as Shaun of the Dead or Hot Fuzz. The difference in director may be a contributing factor. But the positive attributes make it much more than your typical, generic comedy.

Pegg proves once again he is strong comedic lead by providing the emotional basis for the movie and the most likeable performance. Frost steps up his usual dopey sidekick role into a multi-layered complement to Pegg. The script, written by the duo, is relevant to an American audience while maintaining the wit more common to British humor. The frequent use of pop culture references give the fan boy viewers added laughs without alienating the casual moviegoer. The added contributions of Rogen and a very funny Kristen Wiig give Paul the potential for serious lasting power. But it is odd how even comedians are putting out alien movies this year. (8.6 out of 10)

Red Riding Hood

In Catherine Hardwicke’s first directing gig post Twilight she takes on the classic fairy tale Red Riding Hood with a supernatural twist. Warner Bros has pushed the project as a movie exactly like Twilight. That’s pretty much what it is. Amanda Seyfried plays the protagonist who gets mixed up in the mystery of the murderous werewolf who haunts the town. Then Gary Oldman’s character, a fanatical clergyman, is brought in to handle the situation. He only makes things worse by causing a finger-pointing hunt for the wolf. Then almost every scene brings about the death of a non-essential character.

It is not completely accurate to compare Red Riding Hood to Twilight. Both may be cheesy with poorly developed characters and an unrealistic love story, but one is based on a really old story and the other a new book. But in actuality what is different about Red Riding Hood is the theater like set that the entire movie takes place in. With the use of green screen all over the place in movies one would think an actual set would be refreshing. It’s not, at least not in this movie. And what is with the short sleeve costumes being worn in the apparent “snow”? I am getting picky here. Let’s go to some more fundamental flaws. Seyfried and Oldman both give static performances and no other actor can be credited with more than just reading their lines out loud. The whole thing is like a weird play.

The sci-fi twist on the basic story is interesting at times. The climax does bring about tension and drama. I would even claim there are some likeable characters. But the whole thing has a hard time steering clear of laughable. The film’s best attribute is that the running mystery has a decent resolution. But even if it turned out that Darth Vader was the werewolf, it couldn’t save this movie. (5.5 out of 10)

Rango

Cartoons go western in Nickelodeon movies latest, Rango. Johnny Depp stars as the title character, a pet chameleon that gets lost in the desert. Then through a series of lucky breaks and lies, he gains the trust of a small settlement town and is named sheriff. His first task, solve the mystery of the water shortage. Depp is able to successfully voice the confused character to a childlike innocence. Being that Rango is the main character, it helps that he is the most complex personality. Though that is no excuse for the lack of multi-dimensional support. Every other ugly, deformed critter has a handful of funny lines and is a bit slow. It’s all quite generic.

Much more impressive is the lifelike animation. More so with the landscapes than the characters, Rango is probably the best looking animated feature in recent memory. It’s very dreary, but good-looking. I hate to be a broken record when talking about cartoon features, but this is one of those movies that is more concerned with drama than appealing to its target audience, children. Characters die, smoke cigarettes and swear. I don’t underestimate the ability of kids to understand a complex plot, but there is just no need to put these elements in a movie whose target audience is still learning their multiplication tables.

Rango is a well-written movie but is quite slow moving. It is by no means long, but it certainly feels that way. The desert setting is the main reason things drag along. But then when answers finally seem on the horizon, the protagonist goes on a weird trippy trek through the desert where he meets a Clint Eastwood character and the story takes a preachy dig at urbanization. The film constantly appears to be on the verge of something special, but it ultimately falls short as weird cartoon for adults. (7.0 out of 10)

Battle: Los Angeles

Even though there are a lot of alien invasion movies this year, Battle: Los Angeles has stood out since its first trailer, promising both realism and an epic approach to the concept. It stars Aaron Eckhart, as a retiring Marine roped into fighting again when there is a sudden invasion of mechanical aliens. He is then paired up with a team attempting to save a group of civilians. This aspect does seem a little cut and dry. It’s more like a video game mission than a major motion picture story. But the actors provide a level of depth that makes up for the simplicity of the plot in Battle’s first half.

While most of the main actors have been in other big budget movies, very few are well known names. However, their ability to come together in this film makes me wonder why studios ever drop money on the famous names. Eckhart’s rough-around-the-edges moments have such a realistic feel that the audience can’t help but admire him and sympathize. However, it is hard to believe that throughout this tense fight he has the time to figure out the secret to defeating the invaders. In the context of the film it makes perfect sense though. The script never has a cheesy inspirational speech which films like Independence Day boast. Battle is more concerned with doing the military justice in their portrayal, which I believe they do.

The fight scenes are gritty and painful. Situations constantly became claustrophobic and look very similar to the released footage of the battles in the Middle East. I’m sure a real soldier would have some problems with its authenticity, but I didn’t notice any. It’s apparent that the film is successful because the aliens are never the most important aspect on display. Since the audience has (probably) never seen an alien invasion it is hard to view one as practical, but the aliens do look plausible. Battle: Los Angeles is one of the most realistic alien movies ever made. It belongs beside District 9 at the top of the heap of contemporary science fiction and even in the same conversation as some first-rate war epics. (9.0 out of 10)

Take Me Home Tonight

The whole obsession with the ‘80s has never really appealed to me, especially in the context of a movie that takes the most memorable aspects from the decade and selectively forgets the rest. Take Me Home Tonight does that, selecting the songs and fashions that stand up the best in 2011. Luckily the film resolves to accomplish more than ‘80s clichés and develops some characters well. Topher Grace stars as a college graduate afraid to commit to a career. When he runs into his high school crush (Teresa Palmer), he lies about his job in order to impress her. A big Labor Day party provides the backdrop of an impromptu four-year reunion, where the former classmates get together and try to impress.

The bulk of the film is at the party with all the stereotypical class splits present, jock, nerd, prom queen etc. The generic party moments weaken the character development and create a general lull in pace. Take Me Home just can’t get away from the clichés. But once the script gets past establishing the party, the characters develop into mostly likeable and funny players. In addition to Grace and Palmer, Anna Faris and Dan Fogler each give one of their funniest performances and Chris Pratt contributes, as well.

After his flat performance in Spiderman 3, many critics questioned Grace’s ability to carry a movie. The risk was never taken in an action blockbuster setting, but he handles this campy comedy with ease. In order to prevent him from partaking in any of the ridiculous material, he is teamed with Fogler, who plays his best friend. But did Fogler’s character need to be on drugs the whole movie? No, in fact I thought it hurt the performance. Not only did he have to attempt to be funny, he had to simulate the effects of cocaine. I guess the writer thought there might as well be another party movie cliché in there for good measure. (7.5 out of 10)

The Adjustment Bureau

Matt Damon stars as an ambitious congressman facing supernatural opposition in this very original, high concept thriller. When Damon’s character discovers mysterious men altering a friend’s mind, he is exposed to a behind the scenes look at how humanity operates. He then learns that he is not meant to be with his new lady friend (Emily Blunt) and drastically tries to prove them wrong. Based on the Philip K. Dick short story, Bureau is one of those rare movies that give over-saturated moviegoers a well-executed, unique story. I would put it just a step behind Inception in the realm of sci-fi creativity.

As cool as the plot is, there are some holes. There are instances where a solution could be easily solved. For example, Damon’s character’s inability to find Blunt’s character for months at a time doesn’t really make sense. He’s a famous political figure; she could just call his office. Somehow that never crosses her mind. This hole doesn’t make or break anything, but just lowers the level of authenticity a bit. In terms of action, there are too many chase scenes. It’s not so easy to run in fancy suits and shoes, but you would think the cast is wearing track shorts for the amount of times they’re sprinting after each other.

The film has a swift pace for an intellectual plot consisting of very little fighting. The nonverbal acting of the bureau members makes for an ominous mood throughout. In fact, the first half has incredible tension. But once the audience learns about the bureau, that tension drops, which is to be expected. John Slattery, Terence Stamp and the other men in the dapper suits give the movie the feel of a classic drama that fits well with Damon’s contemporary acting chops. Religious undertones add to the mystique of the final product without alienating any portion of the audience. The Adjustment Bureau toes the line between preachy and campy without becoming either. It’s the most unique film of 2011…so far. (9.2 out of 10)

Hall Pass

Owen Wilson has not been very consistent in his movie roles over the past few years. I would even go as far as to say that he may be washed up. But in Hall Pass, he is teamed up with a fresher face, Saturday Night Live’s Jason Sudeikis. The duo provides strong timing together, as well as individually. While the jokes are mostly immature in nature, they work surprisingly well for the adult actors. With Sudeikis being 35 and Wilson 42, they don’t have the teenage appeal other actors have. They do just fine though.

The film focuses on two couples, Wilson and Jenna Fischer, along with Sudeikis and Christina Applegate. After years of the men oogling women, the wives give their husbands the titular hall pass, which gives a week off of marriage. But they quickly find that they’re not the ladies men they remember. Similar to the male leads, the wives have good chemistry. They show off their “rom com” chops in addition to the bathroom humor. Plus, I’m always happy to see a member of The Office in something else. Fischer’s character is a natural progression of Pam on The Office. Though it still shows that she can branch out.

Hall Pass isn’t a revolutionary comedy. It’s formulaic in nature and awkward at times. Its most redeeming quality is at the most basic level. The jokes are funny. It may not seem like much, but a lot of comedies can’t deliver. Wilson has returned to form as his usual character that falls between the straight man and the joker. A few more roles like this and he’ll be back at the height he was after Wedding Crashers in 2005. I look forward to seeing Sudeikis and Fischer work their way up the comedic ranks. They show in this effort that they can hold their own. (7.0 out of 10)