28 Mar 2007

Arrested Development: "Reign Over Me," "Pride," "The Hills Have Eyes II," and "The Last Mimzy"

By Mike Schulz

Adam Sandler and Liv Tyler in Reign Over MeREIGN OVER ME

Even though I have yet to enjoy Adam Sandler in, well, anything, I applaud the comic's attempts to stretch beyond the mumbling, hostile, stunted-adolescent shtick he's employed in such comedies as Click, 50 First Dates, and Mr. Deeds. I'd applaud them more if the films he chooses to stretch in - Punch-Drunk Love, Spanglish, and the current Reign Over Me - didn't wind up every bit as confused and unsatisfying as his comedies are.

21 Mar 2007

Future Imperfect: "Premonition" and "Deep Sea 3-D"

By Mike Schulz

Sandra Bullock in PremonitionPREMONITION

Note: Plot details will be revealed, so here's the Spoiler Alert for those of you who haven't seen the film, and for the two or three of you who haven't seen the film's previews, which give away the entire movie.)

Hollywood entertainments, in general, aim so low that it's disheartening to chastise one for aiming relatively high. But the psychological thriller-cum-melodrama Premonition is infuriating precisely because of its lofty ambitions. For a goodly stretch of the film - nearly the entire first hour - the plotting is clever enough and the direction (by Mennan Yapo) suggestive enough to keep you focused and alert; you're eager to solve the movie's many mysteries along with its heroine. But I left the auditorium frustrated and a little bit angry, and still haven't figured out exactly whom to blame this on.

14 Mar 2007

Graphic? Yes. Novel? No.: "300," "Amazing Grace," and "Black Snake Moan"

By Mike Schulz

Gerard Butler in 300300

Whatever its problems, and they are myriad, you can't say that Zack Snyder's 300 doesn't give you plenty to look at. Adapted from Frank Miller's and Lynn Varley's graphic novel, the film - which follow s the ancient Spartan army in a wildly violent, self-sacrificing battle against Persian forces - is filled with memorably outré images: an enormous tree and a 20-foot-high wall, both composed entirely of corpses; a triad of elephants, backed over a cliff, that plunge to their deaths; the sky blackening with what appear to be locusts, instead proving to be the incoming trajectory of thousands of steel-tipped arrows. In 300, Snyder shows a remarkable gift for graphic-novel composition, and continually keeps your eye engaged. Too bad the same can't be said of your brain.

07 Mar 2007

Pigs in a Blanket: "Wild Hogs" and "Zodiac"

By Mike Schulz

Martin Lawrence, Tim Allen, John Travolta, and William H. Macy in Wild HogsWILD HOGS

I try. Honest to God, when sitting in a crowded auditorium, watching a charmless, lazy, ridiculously unfunny movie such as Wild Hogs, I try to get on the audience's wavelength and figure out what it is that's making them howl with laughter.

28 Feb 2007

And a Little Child's Movie Shall Lead Them: "The Bridge to Terabithia," "Breach," "Music & Lyrics," "Reno 911!: Miami," "The Number 23," and "Ghost Rider"

By Mike Schulz

AnnaSophia Robb and Josh Hutcherson in Bridge to TerabithiaIn order of bearability ...

21 Feb 2007

Nominees and Wannabes: Eight 2006 DVDs That Received - or Just Missed - Oscar's Attention

By Mike Schulz

Ryan Gosling in Half NelsonI consider myself an Academy Awards completist: Prior to the annual Oscar telecast, I want to see as many of the nominated films as I can. But I'm also a lazy completist - I want to see these movies so long as I don't have to drive really far. (This is why, to my disappointment and discredit, I'll be watching Sunday's telecast without having viewed Little Children, Venus, and The Good German.)

Thank goodness, then, for DVD.

14 Feb 2007

Heavy Duty: "Norbit," "Hannibal Rising," and "The Messengers"

By Mike Schulz

Eddie Murphy in NorbitNORBIT

Eddie Murphy's latest latex comedy, Norbit, is an unusual mixture of abject stupidity and sheer genius. If you've seen the previews - and is there anyone left who hasn't? - you've pretty much gleaned the plot, which finds our nerdy, titular hero (Murphy) trapped in matrimonial hell with the punishing, frighteningly obese Rasputia (Murphy again), and yearning to win the heart of his one true love (Thandie Newton). From beginning to end, director Brian Robbins' movie is formulaic, repetitive, obvious, and not nearly as hysterical as it wants to be. It's also one of the few comedies of recent years to be touched with something approximating brilliance.

07 Feb 2007

Smother's Day: "Because I Said So," "Catch & Release," and "Epic Movie"

By Mike Schulz

Diane Keaton and Mandy Moore in Because I Said SoBECAUSE I SAID SO

I adore Diane Keaton, but after sitting through her torturously affected performance in Michael Lehmann's Because I Said So, I'd be hard-pressed to explain why. Playing the meddling, overbearing mother of Mandy Moore's chatterbox caterer - a single woman for whom Mom is desperately acting as matchmaker - Keaton has the unenviable task of playing an abjectly hateful character, a woman so hell-bent on micro-managing her daughter's life that she makes everyone around her miserable.

31 Jan 2007

A "Scandal"-ous Waste of Skill: "Notes on a Scandal," "Volver," "Smokin' Aces," and "The Hitcher"

By Mike Schulz

Cate Blanchett and Judi Dench in Notes on a ScandalNOTES ON A SCANDAL

In Richard Eyre's Notes on a Scandal, Judi Dench appears to be having an amazingly fine time playing an evil harridan. Why does the movie itself have to be such a dud? In the film, Dench portrays prickly history teacher Barbara Covett, who becomes pathologically obsessed with Sheba Hart (Cate Blanchett), a younger colleague in the art department. (As Barbara's last name suggests, Eyre's film, based on the novel by Zoë Heller, won't be much concerned with subtlety.) When Barbara discovers that the married Sheba has been carrying on with a 15-year-old student (Andrew Simpson), she uses the knowledge to surreptitiously gain Sheba's trust, in the hopes of turning their friendship into something more, shall we say, Sapphic. Subsequently, threats are made, careers are jeopardized, relationships are destroyed ... and why oh why isn't the movie more fun?

24 Jan 2007

No Guts, No Glory: "Letters from Iwo Jima," "The Last King of Scotland," and "Pan's Labyrinth"

By Mike Schulz

Letters from Iwo JimaFor devoted movie hounds, and those who enjoy getting caught up with potential Academy Award nominees, this past weekend was an embarrassment of riches, as Davenport's Showcase 53 presented the local debuts of Clint Eastwood's Letters from Iwo Jima, Kevin Macdonald's The Last King of Scotland, and Guillermo del Toro's Pan's Labyrinth. Of course, the wide(r) release of these three films makes good business sense - what better time for such specialized works to attract audiences if not the weekend after the Golden Globes and before the announcement of 2006 Oscar nominees? (Showcase 53 and Moline's Great Escape Theatre also, wisely, brought The Queen back to area screens - seriously, folks, it's so much fun! - and Great Escape re-opened Babel.)

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