The Electric State

Directors: Anthony Russo and Joe Russo
Starring: Millie Bobby Brown, Chris Pratt, Ke Huy Quan, Stanley Tucci, Woody Norman, Giancarlo Esposito, Jason Alexander, Holly Hunter, Anthony Mackie, Woody Harrelson, Jenny Slate, Alan Tudyk, Brian Cox, Hank Azaria, Colman Domingo, Billy Gardell
Running Time: 128 min.
Rating: PG-13

★★½ (out of ★★★★) 

It's hard to pretend critics' knives weren't already sharpened for the Russo brothers' latest big budget action spectacle, The Electric State, before it was seen. Chalk that up to the "Netflix Effect," where the streamer's fondness for pumping out easily disposable popcorn fare gets blamed for all of entertainment's ills, specifically the sharp decline in theatrical releases. But wishing a film you detest had a wider reach is wild, especially when these titles seem ideal for Netflix's fast food menu style of streaming. You can either take it or leave it, which is the whole point of having options. 

Based on Simon Stålenhag's 2018 illustrated novel, its most glaring flaw is a concept that would have probably worked better as the series many assumed it was after seeing those trailers and commercials. Not as unwatchable as you've heard, it plays like a rushed, far inferior counterpart to Amazon's recent Fallout adaptation, which possessed a gripping human element sorely lacking here. But all the complaints about this being one of the most expensive movies ever made is silly once you realize that statistic will inevitably be topped by something worse in a matter of months.

It's 1994 and the war raging between humans and robots for the past four years has ended, leaving society a post-apocalyptic wasteland where semi-comatose humans are entirely reliant on the Neurocaster virtual reality headsets that helped win the battle. Successfully used for combat drones, the technology stuck around and caught on with the public, allowing them to physically check out while these electronic surrogates live their lives. 

With robots now outlawed and banished to the forbidden "Exclusion Zone," teenager Michelle Greene (Millie Bobby Brown) is visited by a big headed yellow bot named Cosmo (voiced by Alan Tudyk), who's based on a popular cartoon character. But she'll soon discover that inside this steel can is the uploaded consciousness of her gifted younger brother Christopher (Woody Norman), presumed dead in a car accident. 

Escaping her abusive father Ted (Jason Alexander), Michelle and Cosmo join up with military vet turned smuggler Keats (Chris Pratt) and his wisecracking robot Herm (voiced by Anthony Mackie) to find Christopher. Hunted by mercenary Marshall Bradbury (Giancarlo Esposito) as they head toward the Exclusion Zone for clues, Michelle hopes to reunite with her brother. But Neurocaster creator and evil tech mogul Ethan Skate (Stanley Tucci) needs him for more nefarious purposes that could jeopardize humanity's future. 

For better or worse, the Russo's Marvel offerings proved their penchant for efficiently delivering huge, effects laden extravaganzas even when the script's an overstuffed mess. This is one of those, but at least you wouldn't know it from the opening, which details the circumstances and background of this post-war society through documentary style newsreel footage. In fact, most of the world building in its first hour is done well, promising potential we keep waiting to arrive. 

The story dips when flashbacks meant to establish the close bond between Michelle and Christopher feel squeezed in and strangely executed, as their affectionate displays seem laid on unnaturally thick for teen siblings. Whether these scenes are Michelle's rose colored recollections of Christopher or intended to suggest knowledge of his impending doom, they're bizarre, much like Jason Alexander's character, who hovers between being an actual threat and a dimwitted comedic foil.

While Pratt will undoubtedly be accused of playing a variation on his Star-Lord from Guardians of the Galaxy (with some Han Solo thrown in), business does pick up once he's introduced, though not necessarily because he and Brown share such great chemistry. It has more to do with robots Cosmo and Herm, who make a more entertainingly worthwhile pair. 

The group's arrival at the Exclusion Zone represents the film's creative peak, with all the banished bots congregating in a run down mall they've converted into a semi-functional society comprised of colorful characters like Brian Cox's Popfly (a takeoff on the Cincinnati Reds' Mr. Redlegs mascot) and Jenny Slate's Penny Pal letter carrier. But the real star is bespeckled, top hat wearing Mr. Peanut, who Woody Harrelson voices as the wise, soft spoken war vet who signed a peace treaty with President Clinton in an unintentionally hilarious Gump-like scene. He's the bots' leader and may be called to action again, whether he wants it or not.  

MCU writers Christopher Markus and Stephen McFeely sprinkle in politically relevant themes involving the dangers of technology and government overreach, but those familiar messages get muddled amid the bombastic adventure. Much of the last act is driven by the big reveal involving Tucci's evil CEO, and though his intended use of Michelle's brother is obvious even by wacky sci-fi standards, he and Esposito do give the film's two strongest human performances, adding needed dimension to their sneering villains. Key Huy Quan also briefly shows up in a fun role as a doctor who allegedly holds all the answers Michelle's seeking.

Despite creating a retro futuristic alternate 90's world brimming with possibility, The Electric State can't help but feel like a giant AV project assembled from parts of movies that cover similar terrain. Allusions to Edge of Tomorrow, Ready Player One, Five Nights at Freddy's, and even Stranger Things are all noticeable in a picture that isn't the total abomination you've heard, but problematic in important spots. Even with a packed cast of surprisingly huge names in unexpected roles and impressive effects, we're still only left with a mildly painless watch that's biggest offense is its unoriginality.                                                           

Fly Me to the Moon

Director: Greg Berlanti
Starring: Scarlett Johansson, Channing Tatum, Woody Harrelson, Ray Romano, Jim Rash, Anna Garcia, Donald Elise Watkins, Noah Robbins, Christian Clemenson, Colin Jost, Victor Garber
Running Time: 132 min.
Rating: PG-13

★★½ (out of ★★★★)

Reactions to Greg Berlanti's Fly Me to the Moon could vary based on whether you feel all its contrasting elements eventually converge into a somewhat successful film. Anyone looking for a biographical drama on the 60's Space Race will find that plot ceding the spotlight to a fluffy throwback romance in the vein of a Rock Hudson/Doris Day movie. As an inoffensively lightweight rom-com it's a fairly well made effort that looks and feels how you'd imagine studio executives view this era, for better or worse. 

Clocking in at just over two hours, it feels much longer, which could be due to Berlanti juggling multiple balls in the air before landing on the snappy farce teased in its trailers. With a narrative that revolves around advertising, Rose Gilroy's script does deliver what's publicized, as you can easily envision a pitch meeting describing this as Mad Men meets Apollo 13. Or more accurately, Apollo 11. Ironically, everything involving a faked moon landing is the most intriguing aspect, even if it's sometimes treated as a bigger obstacle for the romance than the space program.

It's 1968 and NASA has an image problem, failing to secure funding in the Space Race with the Soviets following the Apollo I disaster. As Kennedy Space Center launch director Cole Davis (Channing Tatum) prepares for the upcoming Apollo 11 flight that will put the first men on the moon, deceitful New York advertising executive Kelly Jones (Scarlett Johansson) is blackmailed by President Nixon operative Moe Berkus (Woody Harrelson) into revamping NASA's public relations office. After some initial flirtation, her and Cole soon clash when Kelly starts making sponsorship deals and hiring actors to play scientists in media appearances. 

While Kelly's new initiatives result in increased funding, the nation's attention remains on a raging Vietnam War. With the agency's entire future now riding on Apollo 11, Kelly plans to broadcast the moon landing on television despite Cole's skepticism about placing a camera on the spacecraft. Moe loves the idea, but has a back-up plan few but Kelly and her assistant Ruby (Anna Garcia) are privy to. As the launch approaches, Kelly must decide whether to tell Cole the entire truth or risk undermining everything NASA's team has been working toward.

Going just by its description, you'd figure this would have the potential to be a fairly exciting take on the Space Race. But it's goofy in a tone reminiscent of Jerry Seinfeld's recent Unfrosted, which would be fine if this were about breakfast treats rather than sending the first men to the moon. Add to that a sullen Cole's guilt over the recent Apollo 1 tragedy and suddenly there isn't a whole lot to laugh about. 

NASA needing some serious PR assistance makes for a believable hook, as does the involvement of Harrelson's Nixon operative. But whatever credibility those ideas carried on paper quickly dissolve once the emphasis is put on Kelly and Cole's "will they or won't they" relationship. The pair's early scenes together do work though, especially when she infuriates him with a constant stream of product tie-ins. The script drops not so subtle clues that lying and manipulation come easier to Kelly than most, even by cutthroat Madison Avenue standards. Since Cole basically despises every idea she has, we know their constant bickering will wear out its welcome before he finally comes around. 

It's a while before we get a sufficient explanation about Cole's state of mind, making his interactions with Kelly a bit exasperating. If that's not enough, she's also hiding something significant from her past, resulting in disagreements, misunderstandings and manufactured crises before the inevitable launch. Johansson and Tatum are just fine, and while few could claim their chemistry is off the charts, they each deliver exactly what's required given the scope of these roles.

Harrelson lends a mischievous sarcasm to the bureaucratic Moe, squeezing a little extra out of a supporting turn that's more worthwhile than expected. Once the shuttle launches, this takes off in way it didn't before, treating us to a spirited performance from Jim Rash as the flamboyant director put in charge of filming this staged production should the real mission fail. A film solely focused on a fake moon landing would probably be less far fetched than what we see here, but at least the approach is different and leads into a suspenseful split screen finale.

Unfortunately, Berlanti pays only so much attention to the details before declaring what he really thinks the story's about. Those more interested in the mission itself should probably prepare themselves for a breezy diversion that isn't particularly interested in going beneath the surface. But during the moments it strikes the right balance, Fly Me to the Moon shows glimmers of what could have been under the best of circumstances.

Champions

Director: Bobby Farrelly

Starring: Woody Harrelson, Kaitlin Olson, Matt Cook, Ernie Hudson, Cheech Marin, Madison Tevlin, Joshua Felder, Kevin Iannucci, Mike Smith

Running Time: 124 min.

Rating: PG-13

 

★★½ (out of ★★★★) 

It's easy to imagine the sports comedy Champions passed through half a dozen hands before landing on Bobby Farrelly's desk, likely the last stop in finding the most efficient, least problematic way to bring this to the screen. A long way from There's Something About Mary, it's constructed as a feel-good project that bends over backwards not to offend or court controversy, which is ironic coming from one half of a filmmaking duo who pioneered the most popular R-rated comedies of the 90's. Farrelly's solo directorial debut is noticeably safer, but in trying so hard to be sweet and harmless, it ends up sacrificing the laughs.   

This isn't exactly a subject that can go for the jugular, but as a mainstream family picture centering around a somewhat sensitive issue, you sense the hesitancy. And a run time north of two hours (like the 2018 Spanish film from which it's based) seems overindulgent, especially when much of it is taken up by montages hammering home the same point. So even with a likable cast, an ideal lead, and a satisfying enough result, it can get irritatingly repetitive. Too sincere to work as a vulgar comedy, but containing just enough crude humor to blunt the emotional drama, this just never quite connects like it should. 

When Iowa J-League basketball coach Marcus Marakovich (Woody Harrelson) is fired after shoving his friend and head coach Phil (Ernie Hudson) during a heated game, he hits the bar to drink away his frustrations. While driving home he rear ends a police car, resulting in him being sentenced to 90 days community service with a basketball team called the Friends, made up entirely of players with developmental disabilities. 

After initially showing little interest in guiding this team and using former assistant coach Sonny (Matt Cook) to land him an NBA coaching job, Marcus slowly warms up to the idea, taking an increased interest in the players' lives. This includes the aquaphobic Johnny (Kevin Iannucci), whose older sister Alex (Kaitlin Olson) he awkwardly knows from a recent one night stand.  But even with the injured Cosentino (Madison Tevlin) returning off the bench, their star player Darius (Joshua Felder ) refuses to play, jeopardizing the team's hopes of making Special Olympics, as Marcus' future and career hang in the balance.

Baring the usual hallmarks of athletic underdog stories, the movie at least knows what it is, even poking fun of Marcus' casual dropping of "the 'R' word" in describing the team. You knew this would come up and screenwriter Mark Rizzo wisely acknowledges that discomfort right away, while letting us know this guy just can't take a hint. And since Harrelson isn't exactly associated with characters who coddle or inspire, it helps in establishing Marcus as a hot tempered, bombastic blowhard. Of course, the whole point is that none of these players need coddling, but a little guidance and motivation, for which their irresponsible coach also seems woefully unsuited. 

The setup runs into trouble in trying to mix raunchy humor with uplifting details about how self sufficient these disabled people are off the court, somewhat condescendingly assuming viewers will see them as Marcus does. In what comes across as an effort to deflect any potential backlash, we get a montage where Cheech Marin's rec center manager Julio runs through the all the players' personal achievements. You appreciate the intention, but it's the film's first really clunky sequence, with more to come, including one that pounds us into submission with Chumbawamba's "Tubthumping." The big subplot involving Darius's reasons for sitting out works, but they really drag the mystery out, only beginning to culminate as we enter the last act.

Harrelson's cranky charm and the cast's overwhelming likability is a saving grace, with supporting players like Ernie Hudson and Kaitlin Olson investing more into their respective characters than flimsy descriptions imply. While Marcus' relationship with Olson's sarcastic Alex does contain manufactured complications, it's fine for what it is, even if fans of her TV work on Always Sunny may be frustrated she's not given something better to do here. Still, it's great to see her in a big screen comedy role, which feels overdue.  

Champions has one of those endings where victory can't be achieved entirely on the court, and compared to others in the genre, it's suitably handled. The real dilemma comes in how long the movie takes to get there, leaving blinking signposts along the way telling us how to feel. And for all the recent criticisms over bloated running times, you really do notice it in a comedy like this. If the jokes aren't hitting or the tone seems off, an extra half-hour or twenty minutes can be especially problematic. Considering that, it's a pleasant surprise this isn't far worse, making you wonder if a tighter version of the same material would more closely resemble the superior sports comedies it's trying to emulate. 

Kate

Director: Cedric Nicolas-Troyan
Starring: Mary Elizabeth Winstead, Miku Martineau, Woody Harrelson, Tadanobu Asano, Jun Kunimura, Michiel Huisman, Miyavi, Amelia Crouch, Ava Caryofyllis, Gemma Brooke Allen, Kazuya Tanabe
Running Time: 106 min.
Rating: R

★★★ (out of ★★★★) 

Netflix's Kate may as well be the intersection where Crank meets John Wick meets Kill Bill, but director Cedric Nicolas-Troyan's explosive, over-the-top, high octane thriller also serves as Mary Elizabeth Winstead's rite of passage into full-fledged action star. There were hints of it in Birds of Prey, but now the actress takes the next logical leap in what's been an unexpectedly adventurous career arc that seems to paint further outside the lines with each passing role. And much like Charlize Theron and Scarlett Johansson, who both frequently alternate between giving powerful dramatic performances in smaller films and taking ass-kicking action parts that diversify their portfolios, Winstead is just as perfect a fit for this genre. As for the film itself, it's the very definition of a "love it" or "hate it" affair, as certain fans will eat it up while others may slightly cringe at how derivative it is of some titles that preceded it. 

Troyan proudly wears his influences on his sleeve and if there are points where you wish things were a little less predictable or tidier, that's mostly offset by what he gets right, from the visuals to the sensationally choreographed fight sequences. But it's Winstead who carries it, bringing a Ripley-like tenacity to the title part that's only enhanced by another performance that's just as good, enabling both to pick up the slack when the narrative starts playing itself out. They also take one of the more tired action tropes and elevate it,  leaving viewers contemplating all the creative possibilities for the inevitable sequel or spin-off that must already be in the planning stages. There's a lot to like here, but where it earns most of its stripes is in the commitment to go all out with the kind of inspired lunacy an action vehicle like this requires.     

When Kate (Winstead) was orphaned as a young girl, mentor and father figure Varrick stepped in, training her as a member of his elite team, as she developed into an expert assassin. Now, complications arise when she's in Osaka to kill an officer of the dangerous yakuza syndicate, as a child is unexpectedly accompanying the intended target. Kate's decision to take the shot anyway and complete the job leaves her in emotional distress, vowing to Varrick that she will only do one final mission before calling it quits and retiring. But after experiencing dizziness and unable to hit her mark, Kate soon comes to the harsh realization she may have been poisoned by a mysterious man named Stephen (Michiel Huisman), whom she hooked up with at a hotel bar. 

The toxic cocktail of choice was apparently Polonium-204, a radioactive agent that will kill Kate within 24 hours, as all clues lead to the Kijima crime family being behind the poisoning. On a desperate mission to find the reclusive Kijima (Jun Kunimura) himself, she kidnaps his niece Ani (Miku Martineau) while injecting herself with stolen hospital stimulants to keep going. With the clock ticking away, Kate sets her sights on extracting revenge, unaware of the many emerging roadblocks that could jeopardize that.   

While you could quibble about its originality, there's little room to deny this as a visually stimulating experience with an almost dizzying array of neon and blacklight coming at you from all directions to create this kinetic, propulsive nighttime Tokyo atmosphere. Early on, an exhilarating car chase through the busy streets evokes an aesthetic straight out of TRON: Legacy or Speed Racer. It's only when you get into the mechanics of the plot when Umair Aleem's screenplay exposes itself as treading over some familiar territory, but even that's done fairly well, as Winstead's intensity and the maternal connection Kate forms with Ani more than making up for those shortfalls. 

There are echoes of The Professional and probably dozens of other titles featuring a hitman or assassin as reluctant child protector, but there's something about how this one develops that really elevates the story, with Kate's hard exterior slowly cracking the more she sees of herself in this kid. Part of that's Winstead, but young newcomer Miku Martineau is a spunky revelation as Ani, peeling back the layers of her tough, outwardly rebellious character to show she's not quite as in control as she thinks, disregarded in much the same, sad way as Kate. Harrelson isn't incredibly involved until the last third of the picture, but leaves a sufficient enough impact with the screen time he's given.

With Kate as fixated on finding her favorite energy drink as she is hunting Kijima, amongst Winstead's many accomplishments is her ability to infuse as much deadpan humor into the material as possible. Say what you will about the 24-hour poison plot but there's a reason it's used so frequently in action films. When executed right, it works, helping here to give a sense of real-time immediacy to the events, aided in no small part by two wildly choreographed fight scenes that stand as the film's anchors. One in a restaurant, during which Kate battles a gang of yakuza, and another thrilling apartment fight with flamboyant assassin Jojima (Miyavi), both leading her closer to Kijima and possibly some answers. Of course, the answers she finds may not be what she was looking for.

This all does start losing some steam as it approaches a somewhat predictable, but still undeniably exciting finale carried by the Kate and Ani dynamic, not to mention a lot of gunfire and hand-to-hand combat. If nothing else, it's the genre film most likely to appear atop Quentin Tarantino's favorites of the year, which is less a testament to enduring quality than it being the exact kind of in-your-face female-driven action escape he'd likely overpraise. But this case, he'd kind of be right, with eye-popping visuals, some great fight scenes, and a coolness factor provided by Winstead's performance that powers Kate to a far less disposable level than most of the other action junk we're used to being served. 

Solo: A Star Wars Story

Director: Ron Howard
Starring: Alden Ehrenreich, Woody Harrelson, Emilia Clarke, Donald Glover, Thandie Newton, Phoebe Waller-Bridge, Joonas Suatamo, Paul Bettany
Running Time: 135 min.
Rating: PG-13

★★★ (out of ★★★★)

Sometimes it pays to go in with reasonably low expectations. Such is the case with Solo: A Star Wars Story, the latest in what was planned to be a long line of spin-offs (or "anthology" films) for the franchise, keeping audiences satiated between 2017's The Last Jedi and whatever comes next. Unfortunately, Disney miscalculated just how much recovery time fans would need following that polarizing experience, and despite the enormous success of the previous spin-off, Solo flopped, at least by Star Wars standards. As someone who was never behind the idea of these stand alones (thinking it would lead to oversaturation), but pleasantly surprised by Rogue One, I still entered this with heavy reservations.

From the questionable casting of the younger version of its title character to originally appointed directors Phil Lord and Chris Miller being fired, to hardly a postive word being spoken or written about the project, it really felt safe to assume the worst this time. What I got instead was an extremely enjoyable entry into the franchise's canon, whether taken on its own or compared to the three other entries since Disney bought the property from George Lucas.

While Solo definitely isn't flawless, it's hardly deserving of the vitriole it's received. And if part of that stance truly has to do with expectations, the other half may stem from it just feeling right to get a comparitively low stakes outing after The Last Jedi. That's not to say it's uneventful, but rather all the weight and emotions surrounding Star Wars as a cultural enitity doesn't rest on its shoulders as it did with that film. Even for those who greatly admired what Rian Johnson was trying to do, there's still no denying it's kind of an ordeal. One made by someone who, for better and worse, was ambitious enough put his own stamp on it.

Contrast that with Solo, where Ron Howard is most definitely hired to do a job, a reliable last minute fix due to unforseeable creative issues. He was chosen because he's safe and Disney knew he would deliver a timely, inoffensive, workmanlike piece of mainstream popcorn moviemaking. And you know what? He does. That this a compliment speaks to the film's efficency, immersing us in a simple story that works, sprinkled with familar characters and a consistent tone. The guy knows what he's doing, and after all the thematic heaviness offered up in the franchise, it works as a fun diversion, while peeling back additional layers to the mythology that feel surprisingly organic and necessary.

Taking place ten years prior to the events of A New Hope, a young Han Solo (Alden Ehrenreich) and his girlfriend Qi'ra (Emilia Clarke) flee the planet of Corellia, he escaping on an outgoing transport while she's captured and detained before boarding. Han vows to return to her, but after his expulsion from the Imperial Flight Academy, he falls in with a ragtag group of criminals on Mimban led by smuggler Tobias Beckett (Woody Harrelson).

Han soon finds himself recruited by Beckett and his wife Val (Thandie Newton) to join pilot Rio Durant and a Wookie named Chewbacca (Joonas Suotamo) on a mission to the steal heavily desired hyperspace fuel, coaxium, for scarred Crimson Dawn crime boss Dryden Vos (Paul Bettany). But when best laid plans disintegrate and Vos threatens their lives, their only chance at survival rests on a dangerous job on the planet Kessel.

Enter smooth-talking, two-faced smuggler and pilot Lando Calrissian (Donald Glover), whose reliable Millenium Falcon will provide the means of transportation, while his navigationally gifted droid co-pilot L3-37 (Phoebe Waller-Bridge) rides shotgun. Unfortunately, Han's biggest problem might be Qi'ra, who's now Vos' top lieutenant, and far enough removed from their time together on Corellia to give him pause about where her loyalty lies.     

For all the fuss about Rogue One lacking the legendary opening SW crawl, it's ironically present again here in a film many believe is undeserving of it. It's a small detail to point out (as if there's ever such a thing when talking Star Wars), but a sign that they were positioning this entry to be a big deal, with every intention of having it creatively hold up against the franchise's best. It doesn't, but comes closer than you'd think, while requiring an adjustment in perception in how we view the title character.

Whenever Harrison Ford's performance as Han Solo is discussed by fans, the conversation always comes back to that one scene in The Empire Strikes Back when he's being taken to his carbonite tomb and dryly responding to Leia's sudden declaration of love with a cocky,"I know." For years it's been held up as the ultimate anti-hero move, with Ford's brilliant improvisation exposing Lucas' writing deficiencies. That scene came to stand as the essence of what Solo should stand for and it was understood the actor stepping into Ford's shoes would have to posess that same rebellious charm and sarcastic spirit. In other words, good luck.

The problem with those expectations is that he's not that Han yet. He will be, and the strongest aspect of Solo is how you start to see the blueprint of it through this early adventure, which heavily shapes what he'll later become. For the origin story of Solo, the casting of Ehrenreich works to a certain extent, as he slides deeper into the skin of Han as the film progresses. But the story doesn't ride or die with his performance, and it thankfully isn't another Hayden Christianson situation where the actor isn't only miscast, but wooden, with the material he's given accentuating those weaknesses. 

While the first hour is full of fun little Easter eggs and character cameos and introductions, it isn't until about halfway in where the adventure really starts to rev up. The biggest relief is that the healthy balance of CGI with more practical effects Abrams and team have taken in the new series carries over here. There's a sense of fun surrounding this adventure that not only supplies an entertaining backstory to Han's first encounter with future sidekick Chewbacca, but a rebellious mentor who provides the template for what he'll eventually become, a romance threatened to be torn apart by a formiddable villain, and of course Han's infamous card game with Lando for the Millenium Falcon.

All is of this is solidly presented by Howard, making for an engaging space romp that calls to mind some of the more memorable scenes that took place on that ship and in the Cantina in A New Hope. Everything can't be gloom and doom all the time, so while the action is kept light and the narrative stakes lower than other installments, the thrills come from tracking these previous incarnations of familar characters. It's a small luxury, but one we weren't afforded in Rogue One, which fought and impressively won an uphill creative battle in getting us to care about an entire set of new characters embarking on an ill-fated mission.

While willing to accept a lot of this succeeds despite rather than because of Ehrenreich's performance, the same can't be said of Donald Glover's. On paper, his casting already looked promising, but on screen the Atlanta star becomes Lando, delivering a smooth, comic tour-de-force that's every bit what we've imagined the brash, younger version of the character to be. You can even see shades of Billy Dee Williams in it, as well as an ability to come through in some of the more dramatic moments such as a particularly involving one with an injured L3-37. He and Han's adversarial partnership might be the one big element in this story that successfully tracks with the original films. While I wouldn't go as far as to say it enhances the characters' "later" scenes together in The Empire Strikes Back, it does solidly support them. Even as strange as it is to consider that Ford and Williams were practically as young as Ehrenreich and Glover are now when they filmed them.    

As Qi'ra, Emilia Clarke gamely walks the line between her character's loyalty to Solo and her responsibilties to the sadistic Vos, with whom her survival rests. Originally meant to be depicted as a motion capture alien, they chose the right direction in using a facially scarred Paul Bettany, who has more presence than any technological effect. So does the biggest name in this, Woody Harrelson, who avoids the Samuel L. Jackson trap of making his role feel like a cheap Star Wars celebrity cameo, bringing some much welcome unpredictabilty and zaniness to Beckett.

Toward the third act, the plot takes a few turns that aren't only suprising, but make sense. They also go a long way explaining the type of smuggler and person Han becomes without flat-out explaining it, a flaw that sinks most prequels. There's also a major cameo that adds something and avoids serving as a distraction on the level of Leia's CGI appearence in Rogue One, which became more about technology than story.

In Solo, nearly everything comes down to the story, and one's reaction largely depends on what we wanted to know about the title character's past and how much of what's revealed matches or detracts from the info we already had. Or, more accurately, how pissed off will everyone get?  It's a shame to put it that way, but if The Last Jedi tought us anything, it's that. A closer, more objective look reveals that Howard and writers Jonathan and Lawrence Kasdan have a firm grasp on the Solo character, taking the series back to its roots in much the same way the The Force Awakens did. But as we're continuing to learn with this franchise, actual quality can become irrelevant in the face of fans' heightened wishes and desires.

The Hunger Games: Catching Fire

Director: Francis Lawrence
Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Donald Sutherland, Elizabeth Banks, Lenny Kravitz, Stanley Tucci, Philip Seymour Hoffman, Jena Malone, Sam Caflin, Jeffrey Wright, Amanda Plummer
Running Time: 146 min.
Rating: PG-13

★★★ ½ (out of ★★★★) 
 
Having never read The Hunger Games series on which the films are based, the big question I had going into its first sequel, Catching Fire, was exactly how Hunger Games co-champions Katniss Everdeen (Jennifer Lawrence) and Peeta Malark (Josh Hutcherson) would end up competing again. I mean, they won, right? Isn't it over? This installment spends the good part of an hour explaining how that's possible, setting up the circumstances surrounding her forced return and giving much needed attention to fleshing out the dystopian society mostly ignored in the preceding installment.

After seeing the original, I remember having a conversation with someone more familiar with the franchise and asking what was up with all those ridiculous costumes. "It was in the book." "It's the future." Those answers sum up my problems with the first film in a nutshell. This one has a scene where a female tribute, sick of all the pageantry, just strips naked in an elevator. That's the difference. All I asked of the first film was that it take seriously its premise of a reality game where contestants are fighting for their lives and that it not take concessions to get a PG-13, needlessly sanitizing the material so it plays better for the masses.

While this still certainly isn't a bloodbath, it's a big improvement that actually contains some ideas. For all I know they could still be watering everything down, but at least it doesn't FEEL that way this time and those compromises aren't as noticeable on screen. There's a concerted effort to explore the moral implications and fallout from the first film to reach beyond the usual YA audience. Francis Lawrence takes over for Gary Ross as director and while he's a workmanlike filmmaker without a particularly distinctive cinematic voice or visual style (probably a plus for tackling a tentpole franchise), he nonetheless does a excellent job bringing this world to life, proving himself worthy of an encore.  

A year removed from being declared co-winners of the 74th Hunger Games, District 12 golden girl Katniss and baker's son Peeta must now embark on the victor's tour across Panem's districts, as per the orders of President Snow (Donald Sutherland), still enraged over the fact they both outsmarted him, escaping the games with their lives. But now Katniss' job is simpler: Show the world her staged romance with Peeta wasn't a televised ruse to defy the Capitol, but real relationship that will continue long after the games have ended. For him, that's clearly true. For her, it's a little more complicated, as her boyfriend Gale (Liam Hemsworth) is patiently waiting for her back home, even as both their families' lives continue to be threatened by President Snow.

With Katniss and Peeta joined again by dissheveled mentor Haymitch Abernathy (Woody Harrelson) and kabuki-like chaperone Effie Trinket (Elizabeth Banks) on their victory lap, the one thing they can't do on this tour is give the districts hope, which could rally the already disgruntled citizens into rebelling against the Capitol. Fearing that's exactly what's happening, Snow enlists newly appointed Gamemaker Plutarch Heavensbee (Philip Seymour Hoffman) to destroy Katniss. His master plan: Hold another Hunger Games.

The idea that there would be an "All-Star Edition" of the games that include previous winners from all the districts just so Katniss and Peeta could be thrown to the wolves (or in this case, killer baboons) in the arena again is inspired. Why they're being forced to compete again and how it ties into their influence as celebrities inciting a social rebellion is certainly more compelling than anything in the first film, where it seemed as if there was no danger or stakes at all. Much more than before, they're targets that Snow wants killed or at least made into examples to crush the public's spirits.

It helps that this time there's an hour of build-up getting to know this world and dealing with the fact that these two competed on a reality show where kids killed each other for entertainment. They must have opinions and feelings on that, so it was nice to finally get them. And see legitimate threatening danger in the form of Peacekeepers (basically stormtroopers with flamethrowers) led by a scary Commander Thread (Patrick St. Esprit) baring down on the districts to "keep order." We even see a public lashing. The actual Hunger Games mean nothing without context or a sense of why they're happening. In the first 60 minutes the material finally earns its popular comparisons to Shirley Jackson's "The Lottery" while strangely invoking new ones like Fahrenheit 451 in its depiction of a politically oppressive dystopia. Too much set-up? Maybe, but it's time well spent considering how little we got in the first film.

That the possibility exists that Woody Harrelson's drunken Haymitch, a former winner, could again be competing if called as tribute speaks to the unpredictability surrounding this outing. A key difference this time around is that they're not battling each other, but a government forcing them to go at it again despite promises to the contrary. Some new faces include the cocky Finnick (Sam Caflin) and District 7's outspoken, but dangerous Johanna Mason (Jena Malone). And due to the new format there are middle-aged tributes (played by Jeffrey Wright and Amanda Plummer) and even a senior citizen (Lynn Cohen) competing, all of whom have every right to be more furious than before at being there.

While the games itself was the highlight of the last film, but they're improved upon here with crisper CGI and the absence of a shaky cam that previously defined the action sequences, making many of them difficult to decipher as Ross went out of his way to avoid showing any kind of graphic violence. And considering this outing isn't helmed by a director known for visual wizardry, everything still looks much better than its predecessor, as the booby trapped tropical setting for the arena is staged well, but more importantly, feels dangerous. Katniss and Peeta have no idea who they can trust or what's lurking around the corner and that the screenplay (co-written by Slumdog Millionaire scribe Simon Beaufoy) has some thematic meat on its bones this time around only bolsters the suspense.

Now entering this installment with the "Academy Award Winner" title in front of her name, Jennifer Lawrence manages to give a performance that far surpasses her stellar work in the previous entry, only this time doing it in a really good movie. Freed from the shackles of having to carry sub-par material on her back, she now shows us what she can do with Katniss when she's written well and a meaningful story surrounds her. Unsurprisingly, the results are astounding, especially in that opening hour as she experiences a painful internal struggle about what she's done and its implications for Panem. If Lawrence is this good now and the franchise many worried would imprison her career and waste her talent has just turned the corner creatively, how much better can she get? It's almost a scary thought. Here there's much less to elevate, and yet, she still elevates it.

In the face of Lawrence's acting dominance, it's almost a backhanded compliment to say Hutcherson seems more assured as Peeta with each passing minute in the franchise, but he is. That they're taking a slow burn approach to his relationship with Katniss is a relief to those worried that narrative aspect would move to the forefront. It's even more subtle and restrained this time, carrying none of the YA baggage you'd associate with movies of a similar ilk and permanently killing all comparisons to garbage like Twilight. Liam Hemsworth still feels like the third wheel as Gale, but the cliffhanger ending hints that's soon about to change. More impressive is newcomer Caflin as Finnick, whose allegiance to Katniss and Peeta is constantly in doubt, even when his bravado isn't. Jena Malone, makes a tough, sexy Johanna, with the aforementioned elevator introduction perfectly setting the stage for a bold character whose intentions are also up in the air.

That The Hunger Games: Mockingjay-Part 2 will be the final listed screen credit of Philip Seymour Hofffman no longer feels like the travesty many have feared, as he gives a smart, subtle performance as Gamemaker Plutarch that's obviously a major upgrade from Wes Bentley's Seneca Crane from the previous installment. What's funny is how it seems like he just rolled out of bed and is put in no effort at all, until you realize it was a very deliberate choice for him to play it this calm and collected, further solidifying his ability to invisibly slide into any character. What was initially deemed a "sellout" role is instead revealed as an opportunity to appreciate whatever screen time remains of our greatest actor.

Elizabeth Banks still annoys as Effie, as I've come to terms with the fact that I'll just never care for this character or the actress's over-the-top approach to her, especially sticking out as a nuisance in this more serious entry. The opposite is true of Stanley Tucci's manic TV host Caesar Flickerman, who again is a highlight and a comic diversion that works because Tucci makes sure something twisted and sadistic breaks through. The script should also be credited for finding pupose for Lenny Kravitz's Cinna this time out, making his brief role count for something that reflects the themes of the story.

The first film may have been a slight misfire but it was never dull and a joy to assess because of its potential. And now that potential comes much closer to being completely fulfilled here. In an era where big money franchises don't have to creatively deliver to make bank, this one does and has ideas to go along with its action.  Movies are only getting unjustifiably longer and more bloated, so the fact this one is 146 minutes and doesn't waste any of them shouldn't be taken lightly. I'm still curious what would happen if the creative handcuffs were totally removed but they go as far as they can within the confines of a PG-13, recognizing and correcting nearly all of the previous film's problems. The only remaining concern is that movies like this tend to have a ceiling of quality and this may have hit it. Let's hope not. That it's been called The Empire Strikes Back of the series may be slightly overstating matters, but I get it. Catching Fire leaves us hanging and wanting more.
         

The Hunger Games

Director: Gary Ross
Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Lenny Kravitz, Stanley Tucci, Donald Sutherland
Running Time: 142 min.
Rating: PG-13

★★ ½ (out of ★★★★)

It's generally a rule to judge a movie for what it is rather than what it isn't, but the highly anticipated The Hunger Games, based on Suzanne Collins' bestselling young adult novel, might be the rare exception. The problems with this film are all in what it isn't. Having not read the original novel, I wouldn't even attempt to speculate how "faithful" director Gary Ross' adaptation is to the source material. Like all adaptations, that point's irrelevant unless you've read it. I have no idea how much or how little of what Collins wrote got lost in the finished product or what was cut, changed or added, but what ends up on screen doesn't quite connect for one reason: It has a premise that must be taken seriously to succeed and the filmmakers didn't do it. All its other problems stem from that. Of course, when the book was optioned producers saw dollar signs, which had to greatly diminish the chances of this story being told the way it needed to be.

Some movies can get away with cutting corners and watering everything down to pander to the masses but this clearly can't. Not a post-apocalyptic reality show battle to the death that takes place in a dystopian future. It's too high concept to be simplified and still work. But it's entertaining and features an unbelievable performance by its female lead. I just wish the movie had the guts to go as far as Jennifer Lawrence does, even as I hesitate associating the word "guts" with her choice of a project this safe. We're also dealing with a concept we've seen executed before (and occasionally much better) in similarly themed movies like Battle Royale, They Shoot Horses, Don't They?, The Running Man and The Condemned. What I can't recall is it ever being treated so sunny. It's probably one of the oddest match-ups of story and and tone you'll find in the genre and I can't say I felt that the two leads were seriously in danger at any point. And even if they are, Ross goes out of his way to make sure we don't see it. Or even feel it. Luckily, it's is able to fall back on some its dumb, over-the-top decisions by telling a story about greedy executives making dumb, over-the-top decisions for the sake of popular entertainment.

The story takes place in a future nation called Panem where boys and girls aged 12-18 are recruited to participate in "The Hunger Games," a televised annual event where the chosen two "tributes" from each of the twelve districts fight to the death until there's a single victor crowned. In a lottery (referred to as a "Reaping") selecting the participants, terrified 12 year-old Primrose Everdeen's (Willow Shields) name is called, prompting her older sister Katniss (Lawrence) to volunteer in her place as tribute. Joining her as the male tribute from District 12 is Peeta Malark (Josh Hutcherson), a baker's son with few skills who harbors a secret crush on Katniss. Together they're trained for competition by hard drinking former champion Haymitch Abernathy (Woody Harrelson) and must not only physically defeat their opponents from the other districts in the battle arena, but win over corporate sponsors and audiences that can help give them a much needed advantage in the the Games. Watching over it all is the diabolical President Snow (Donald Sutherland), whose "Gamemaker" Seneca Crane (Wes Bentley) manipulates the rules to provide maximum entertainment. Katniss and Peeta's only goal is to survive.

The film's prologue is clumsy on a number of levels, chief among them the fleshing out of this futuristic world. It's hard not to watch the Reaping ceremony sequence and not be reminded of Shirley Jackson's classic short story "The Lottery," which Collins must have taken direct inspiration from in writing the novel. But it's basic conceit of a lottery in which citizens are randomly chosen for death is where the similarities end. All the potential terror of that scene is muted by Elizabeth Banks' ridiculous appearance as District 12's escort Effie Trinket. She looks and sounds so silly it's impossible to take a word she's saying seriously, much less the announcement that these teens are essentially being sent to die with a backstory and explanation for the Games that's mostly left unclear or partially developed. The garish costuming and make-up is a constant problem and distraction throughout that's not just limited to Banks. Perhaps as an effort to remain true to the source material or hammer home the idea of the future as an overproduced spectacle, everyone's dressed for Halloween. But the real reason is because it's set in the future and in the future people must dress weirdly. At least that seems to be the extent of it, whether the choice is germane to the story or not.

As much that goes wrong in the set-up, it's made up for when Katniss and Peeta arrive at the Capitol to train and we get genuine insight into how the Games work and what's required to win. Katniss is considered a favorite early on with her hunting and archery skills, but her steely determination and no-nonsense attitude proves to be a hurdle in gaining the favoritism of corporate donors who can provide life-sustaining supplies in the arena. Aside from her sacrifice for her little sister, you could say she lacks what would be described in reality TV terms as the "likability factor." Peeta, on the other hand, is a charming schmoozer despite possessing very little physical skills that will help him excel. Initially stand-offish, their trainer Haymitch and eventually shows them some of the tricks of the trade and in one of the film's best sequences, they're both interviewed by blue-haired Hunger Games host Ceasar Flickerman (Stanley Tucci), whose hilariously broad style of questioning kind of resembles Martin Short's Jiminy Glick. Whether true or not, their narrative begins to take shape as "the star-crossed lovers" of District 12. There's no doubt Peeta would like it to be, despite Katniss' sort of boyfriend Gale (Liam Hemsworth) anxiously waiting for her back home.

There's genuine suspense in the arena when Ross realizes his movie has to stay out of its own way because Lawrence can take care of the rest. The only true distraction is when he seems to bend over backwards to preserve the PG-13 rating by cutting as fast as possible during the action scenes, making it extremely difficult to make heads or tails out of what's happening. I understand it's based on a teen novel and I'm not asking it be a bloodbath, but it's kind of  insulting how obviously any depiction of violence is avoided. If a future society's warped enough to hold such an event and televise it, something tells me it wouldn't be sanitized and censored not to offend viewers. It's only fair a movie based on that idea be held to the same standard. Nolan's Batman trilogy was rated PG-13 and no one accuses those films of wimping out, so it's not too much to ask for a happy balance that would have delivered on the story's violent premise without affecting its commercial prospects, which were always admittedly strong no matter what. Ross probably wasn't the right director to do that, though there's no telling how much pressure he got from the studio to tone it down. Judging from the end result, probably a lot.

The supposedly grueling elements in the arena don't play nearly as much of a factor as we were led to believe early on. No one appears to be in danger of starving, dehydrating, and everyone sure looks clean considering they're in a battle to the death that's been dragging on for days. I never thought Katniss or Peeta would die and not just because they have to make the rest of the installments either. We should have at least felt the possibility a little. The one brief moment where you really do involves a showdown with District 2's female tribute Clove (Orphan's Isabelle Fuhrman). It lasts only a minute or two, but it doesn't feel sanitized in the slightest. The fire and intensity this girl has in her eyes leaves no doubt she's willing to kill Katniss at any cost and will likely relish every second of it. The motivation of the attack, the editing, the girls' performances, and the ending of the sequence is unforgettable, encapsulating everything the rest of the film should have been but wasn't. The implication that many of Katniss' opponents (led by Alexander Ludwig's villainous Cato)  have been prepared at an early age to accept their destiny to participate is one of the script's strongest ideas, as is the discussion about just how entertaining this telecast should be for the public. Sutherland's President Snow wants to give them someone to root for but takes issue with having them root too much, suspecting that Wes Bentley's Gamesmaker may instead be dishing out "hope." 

All the controversy surrounding Jennifer Lawrence not looking right for the part is pretty ridiculous. No, she doesn't look like she's starving (in other words she's a pretty, normal sized 22 year-old girl) but who really cares? When you have the opportunity to cast the best actress available for the part, you do it. No questions asked. Forget about her being the least of the film's problems, the conviction and gravitas she brings to Katniss is the sole reason this even comes close to working. There are many times when the story strains to be taken seriously and seems too juvenile but Lawrence refuses to go there. She takes this dead seriously and imbues the picture with more passion than it frequently deserves. Initially confused as to why an Oscar nominee would even take on a project like this, she answers my question by turning her into a character that feels stronger and smarter than it must have originally been conceived as. That said, I'm still kind of disappointed she took the part, if only because she's so clearly too talented for this. The last thing we need is this franchise to swallow her career whole much like Twilight did to the formerly promising Kristen Stewart, who's now basically just a human ATM machine. Just the mere mention of Stewart's name in relation to any kind of serious acting invokes uncontrollable laughter because of her association with that series. The best news coming out of this is that Lawrence gives you hope she can overcome that stigma.

Josh Hutcherson more than holds his own as the vulnerable Peeta, even if everyone in the picture seems to take a backseat to Lawrence and her command over the screen. Hemsworth's hardly in the movie at all, though I have the awful feeling his role will increase  in unwelcome ways over the course of the next film or two. Pointless Victorian costuming aside, Harrelson and Tucci are superb in their roles, especially Tucci who brings an undercurrent of phoniness and menace to his TV host that seems absent in the rest of the script. Lenny Kravitiz is gold in his relatively brief scenes as stylist Cinna, knowing the injustice of what's happening but cleverly playing the system for his tributes' benefit. Bentley has his juiciest supporting role in just about forever, making the most of his limited screen time as Seneca. Any of Elizabeth Banks' efforts are undone by the fact she's essentially playing a party clown.

Possibly the best subplot overall, involves 12-year-old District 11 tribute Rue, well played by Amandla Stenberg. In a relatively short amount time this character makes a big impact and her makeshift alliance with Katniss is one of the few elements of the film that really clicks emotionally. I'm tempted to say Ross could have shown more scenes of how viewers reacted to the competition, but given how lazily this future was depicted it was probably a wiser move not to. After a strong middle section, the movie really flies off its rails in the last act as the constant changing of the Games' rules is presented sloppily enough that at best it feels like plot manipulation, and at worst, deux ex machina. The Truman Show this ain't and the idea that these Games are "controlled" only rears its head at the most inopportune times, complete with some really bad CGI animals that could give Twilight a run for its money.

Through all this, we do care about these two characters, even if the ending has me seriously worried the entire story will soon be going the sappy tween romance route. They got away with it this time by incorporating it as a plot point in the Games themselves but now it seems inevitable that angle of the story will take center stage. I'd feel more comfortable recommending this installment if there seemed to be more potential moving forward, but that's a real long shot considering how this went. But at least the movie doesn't misrepresent itself. It's exactly what it says it's going to be from the beginning. It's better than expected and  not exactly another Twilight, despite the studio and media doing whatever it can to play it up as such. The ideas are there, even if they're merely implied rather than explored. It's a near-miss, albeit a fascinating one worth talking about. This is what happens when commercial concerns impede on the creative process.  Forget about a sequel. They should just go ahead and remake this one right now. Get a different director, slap on an R rating and just go to town. Like the Games depicted in it, The Hunger Games is all about overproduced entertainment at the expense of emotions, perhaps coming much closer to its story origins than was even intended.       

Rampart

Director: Oren Moverman
Starring: Woody Harrelson, Ice Cube, Ned Beatty, Ben Foster, Anne Heche, Sigourney Weaver, Robin Wright, Brie Larson, Steve Buscemi, Cynthia Nixon, Jon Bernthal
Running Time: 108 min.
Rating: R

★★ ½ (out of ★★★★)

I spent half the running time of Rampart wondering when the main character would bite the dust and the other half wondering why I didn't want to see that happen more. It's a frustrating film with isolated flashes of greatness and an electrifying lead performance, starting off as a focused character study, before unraveling as an overplotted mess. It's a compelling mess to be sure, but goes in a bunch of different directions when it really just needs to be going in one. The result is an effort that occasionally impresses but ends up being muddled by bureaucratic and political nonsense, too often tying the film up in as much red tape as its main character.

It's Los Angeles circa 1999 and LAPD officer Dan Brown (Woody Harrelson), is a 24-year veteran of the Rampart division, which is recently reeling from scandal. He's also a racist, mysogynistic, homophobic, corrupt, womanizer with anger management issues serious enough to have earned the nickname, "Date Rape Dan" (for when he allegedly murdered a date rapist in cold blood). Now with video footage surfacing of him assaulting a suspect within an inch of his life and his department under a microscope, his troubled career is called into question by assistant district attorney Joan Confrey (Sigourney Weaver) and Internal affairs investigator Kyle Timkins (Ice Cube) who both are just trying to avoid further embarrassment.  He could have been set up, but that point's almost irrelevant when you consider he'd do something like this anyway, and has. His home life isn't much better, as he's living with his two spurned ex-wives (Anne Heche and Cynthia Nixon) who are sisters. With each he shares a daughter, the eldest of which (Brie Larson) can't stand him. Plagued by scandal and personal demons, Dan's reached the breaking point and must now confront his failings head on or risk losing his job, and possibly his life and family.

Early on, it appears this is going to be a brutal character study of a protagonist who's actually the antagonist. The opening scenes set that stage as Dan verbally abuses a female officer and roughs up a suspect. A portrait of a racist cop out of control with seemingly no conscience or remorse for his actions brings to mind 1992's Bad Lieutenant or its recent New Orleans-based remake starring Nic Cage. But then the film seems to back off that. Then a little more. Then a lot. By about the midway point, the screenplay gets so lost in its corruption plot (which never pays off in a meaningful way), that we almost forget who the story is really about. Worse yet, we keep hearing what a terrible human being this guy is but there just isn't enough evidence presented on screen to support it. He's supposedly this monstrous deadbeat dad, yet most of the scenes he shares with his family aren't nearly as destructive as you'd expect given how much of a ticking time bomb he is on the job. Most of these home scenes work though, at least until they're interrupted by the machinations of what feels too much like a police procedural.

Though the movie frequently seems to lose its grip its the main character, Harrelson doesn't. He can pretty much do anything and they should have let him, rather than just shoehorn the actor into the kind of formula cop movie we've seen far too often. Moverman previously directed him to a supporting actor nomination in 2009's war film, The Messenger, a far more focused effort that knew exactly what it was and where to go. But what's stranger is how he and crime novelist James Elroy's script seems to be in complete conflict with the directorial style and execution. It's shot in almost a frenetic, hand held, docudrama-like way that wants to bring us onto the streets of L.A during the 90's, yet the screenplay is far more conventional than that in how it incorporates familiar elements of dirty cop movies.

Robin Wright plays a suspicious defense attorney Dan starts sleeping with, and while it's a substantial supporting role well played by the great actress, I'm glad I'm not being quizzed on its purpose.  The legendary Ned Beatty also appears as a retired dirty cop who still has his hands in everything in the city, making the most of his intense scenes with Harrelson. A bearded Ben Foster is wasted as a wheelchair-bound homeless man while Steve Buscemi cameos. And doing a complete 180 from her recent turn in 21 Jump Street, an almost unrecognizable Brie Larson goes head to head with Harrelson in the emotional family scenes as his rebellious daughter, but even that sub-plot's impact seems diluted amidst everything else. And Heche and Nixon's sibling ex-wives spend most of the movie admonishing Dan or threatening to kick him out the house.    

It's always a shame when a movie that should be a home run falters, especially when it comes at the expense of skillful performances that deserved top notch material. If any of this feels like a gripping character study it's due to Harrelson, who provides enough gritty realism to convince us we're watching the movie we really wanted to see instead of the one onscreen. Officer Dan Brown isn't the kind of character you can just plug into a formula plot and expect a thrilling result. He's difficult, requiring a challenging script. You'd figure an independently financed production would have the leeway to take some risks, so it's especially disappointing to see a small film playing it so safe with a hot-button issue like police brutality. On the acting front Rampart definitely delivers, but most of its failings stem from spoon-feeding us more plot than was even necessary.

The Messenger

Director: Oren Moverman
Starring: Ben Foster, Woody Harrelson, Samantha Morton, Jena Malone, Yaya DaCosta, Steve Buscemi
Running Time: 113 min.
Rating: R

★★★ (out of ★★★★)

The Messenger presents itself as a film exploring the war in Iraq without a political agenda and from a completely objective viewpoint. It even takes a similar character-driven approach as The Hurt Locker in choosing to narrow its focus. Whereas The Hurt Locker followed a bomb diffusion unit into the line of duty, this film trails two men assigned to the Army's Casualty Notification service at home, given the thankless task of alerting soldiers' families of their deaths. It's obvious this scenario greatly increases the chance for emotional button pushing and there's no mistaking that The Messenger very clearly has an agenda, no matter how well hidden (and it's pretty well hidden).

Can an impartial film ever be released on this topic? Doesn't just deciding to bring a project like this to the screen imply that that some kind of stance has already been taken? Possibly, but this one did as good a job as possible in making me not think about that because I was so absorbed in each of the notification scenarios, as difficult as they were to sit through. These scenes of family members reacting (each so differently) to the news and witnessing the circumstances surrounding them is compulsively watchable in a fascinating, yet disturbing way. It's at least an aspect of the war we haven't seen depicted yet and had the entire film focused just on those it would have been perfect, but unfortunately the script loses its way a little in the third act by trying to pile too much on. Still, thanks to mostly good writing and two excellent performances, it's one of the the stronger efforts dealing with the effects of war at home.

The "Messenger" of the title is Staff Sergeant Will Montgomery (Ben Foster), who after returning home injured from Iraq, is partnered with the abrasive Captain Tony Stone (Best Supporting Actor Nominee Woody Harrelson) and must learn the ropes of this thankless task. Angry and traumatized from his experiences in Iraq, Will doesn't jump out as the ideal candidate to be informing families that their loved one died in combat but it's actually for that reason that he's the ideal candidate. The most fascinating aspect of the job is how it takes a certain level of emotional detachment and strength of character to deliver the news, as well as handle the inevitably unpredictable reaction to it. There's a specific protocol that has to be followed that seems cold and contradicts everything you'd want to do in that situation, but in hindsight may be the most effective method of relaying the tragic information. The very qualities we'd expect would make someone good at this (like sensitivity) are actually a recipe for disaster and a few of those disasters are narrowly avoided during Will's initiation. We find out what happens when the "N.O.K." (next of kin) isn't home but someone else is, why it matters where the messengers park their car and that using the words "died" or "killed" is mandatory.

These scenes are the ultimate test for an actors playing the next of kin, as well as for Foster and Harrelson. If you really think about, what scenario could possibly be a bigger acting challenge than this? As a father who has the exact nightmare of a reaction we've been fearing since the start of the film, the great Steve Buscemi reaffirms why he's one of the best actors around today in a span of barely three minutes. But it's widow Olivia Pitterson (Samantha Morton) who ends up being the most difficult recipient to watch, mainly because she almost appears to be taking the news well (or as well as can be) compared to everyone else. Of course, "well" only means differently and that's what initially draws Will to her. At least, we think. One of the smartest aspects of the script is how we're not given a clear-cut explanation for the attraction and are left to ponder for ourselves why these two damaged people have forged such a connection and whether it's morally right that they have. It helps that Morton has never been better than in this, with her casting an against-type choice you wish studios would have the guts to make more often. The relationship really doesn't go anywhere and maybe the whole point of it is that it can't. Still, it doesn't generate much excitement and results in long takes that give the film a familiarly self-concious "indie" feel.

As the running time wore on I was never bored but found myself wishing the whole film centered on just the notification scenes. Everything involving Tony's alcoholism and womanizing and Will's emotional scarring from the war just isn't as interesting or truthful as what came before. The acting and writing is way too strong for it to play as cliche but it doesn't get to that real, raw place the earlier scenes did. In showing how victims' families react to the news I gained insight I didn't have but when the focus shifted to Will and Tony it almost felt like the script was forcing insight on me I had already gotten (sometimes poorly in other films) and didn't need any more of. A sub-plot involving the distance that grows between Will and his engaged ex-girlfriend, Kelly (Jena Malone) could have been more of that but isn't because Malone is an actress capable of doing a lot with minimal screen time and it results in the film's most unintentionally truthful (if totally sensationalistic) scene involving a laughable toast by her clueless fiancee.

Foster has already proven in films like Alpha Dog that he can command the screen with ferocity but now he shows us he can do the exact opposite and give a muted, more quietly intense performance in a character driven drama and still hold the audience's attention with just as much precision. This performance seals his standing as one of his generation's most promising actors and had it not been such a competitive year in the lead actor category he would have definitely found himself among the five nominees. Harrelson (strangely resembling and sometimes channeling a young Robert Duvall) is just as strong in the most fully realized dramatic role of his career and an impressive close to a year that also saw him give a great comedic turn in Zombieland. Another less-skilled actor could have easily made this character a walking stereotype.

First-time director Oren Moverman's script may have issues but the two actors share such great chemistry that there are long stretches where you hardly notice. Ironically, had it taken a procedural approach in focusing on the notifications all the way through (much like The Hurt Locker did with bomb diffusion) and developed the drama organically from it, the film would have played even better. But wanting to like the movie more than I did isn't exactly a backhanded compliment. It's at least intelligently written and performed, showing a needed restraint that's been lacking in some of the awful, heavy-handed issue pieces this genre has produced the past few years. That this, The Hurt Locker and Brothers were all released in the same year and each took a different take on the war without resorting to the usual shameless tactics can only be seen as an encouraging sign. The Messenger would easily rank second best among them.

Zombieland

Director: Ruben Fleischer
Starring: Woody Harrelson, Jesse Eisenberg, Emma Stone, Abigail Breslin, Amber Heard
Running Time: 81 min.
Rating: R

★★★ 1/2 (out of ★★★★)

Filmmakers never really know for sure how well they've cast a movie until it's up there on the screen. They have a script and maybe even certain actors in mind for specific parts but once the camera starts rolling there's no telling what will happen. The apocalyptic comedy Zombieland is an example of the best possible scenario, where special chemistry exists between the actors that couldn't occur if even just one of those performers were replaced. On paper, it appears to be a solid line-up of four talents, but nothing that would have you thinking they've assembled a "dream team." But it is. This wouldn't work as well as it does without their complete commitment to making these characters ones we enjoy getting to know and hang with.

Tempting as it is to give them all the credit for how fun this is, doing that would overlook how adept director Ruben Fleischer's debut feature is at re-energizing a familiar concept with fresh, innovative ideas. Working from a smartly conceived script from Paul Wernick and Rhett Reese he takes one type of movie that's been beaten into the ground (the zombie film) and adds another that's been equally played out (the post-apocalyptic adventure), but only by adding the third (the road trip comedy) do the special qualities in all of them start to really shine through. It's a toss-up determining whether this comedy is more fun for viewers or the actors starring in it, including one celebrity who has the cameo of the year, if not the decade. Given how smart the entire film is it's no surprise that this usually reclusive actor would agree to appear in it and boy does he ever make the most of the ten minutes he's on screen, turning an already wild time into one of the most enjoyable cinematic experiences all year.

The movie opens in a post-apocalyptic zombie-plagued America with nerdy college student Columbus (Jesse Eisenberg) on his way home to Columbus, Ohio to find out if his parents are still alive. As a loner with many phobias and no friends who spent his Friday nights guzzling "Code Red" Mountain Dew and playing World of Warcraft, Columbus has always played it safe. It's that approach and a list of rules he's come up with that helps him survive the zombie attacks that have claimed everyone else. After losing his car along the way he hitches a ride with Tallahassee (Woody Harrelson), an unhinged lunatic hell bent on finding Twinkies and willing to kill any zombie in sight to get them. Then the odd pairing really meet their toughest competition in con-artists Wichita (Emma Stone) and Little Rock (Abigail Breslin), a pair of sisters determined to make it to the supposedly zombie-free "Pacific Playland" amusement park in Los Angeles.

The movie is so smart in how it creates this desolate, zombie-ridden world right from the awesome opening Metallica title sequence and Columbus' rules for surviving the wasteland known as "Zombieland, U.S.A." What's so impressive about these rules is that they're not only funny, but they actually make sense (i.e. RULE #1-CARDIO) and propel the story forward in a meaningful way. When adherence to a rule by any character occurs during the course of the film title cards pop up in inventive ways in the background letting us know. The use of voice-over narration and flashbacks in a zombie comedy is practically unheard of but it's incorporated perfectly as both effectively convey the bumbling, neurotic Columbus' insecurities and give us a valuable background information on the zombie plague. One flashback featuring a brief, but extremely memorable Amber Heard appearance just might be the most exciting sequence in the film. But even that pales in comparison to the big celebrity cameo that isn't exactly a well kept secret.

Even though many other reviews have given it away and it's practically public knowledge at this point I won't spoil this legendary actor's identity on the off chance of pissing anyone off who wants to completely remain in the dark. But I will say that the more I think about this actor's appearance the more I realize what a genius choice it was to have him appear and how no one else would have had the same effect. He certainly isn't the biggest name and from what I heard wasn't even the first choice to do this, but because he's a celebrity that we imagine would be the most fun to meet, we can share in the characters' excitement of seeing him for ten minutes in the type of comedic part we wish he'd take again. And what's so surprising is that this part ends up being that of himself...or at least how audiences have long perceived him to be like in real life. The cameo is brilliant in its self-awareness and the final line he gets off put me in a state of pain from laughter. We're even treated to him spoofing one of his most famous roles in a film I was unsure I wanted to see a sequel of. After this, now I'm sure. I want a sequel to it. Some directors waste big name, talented actors for over two hours but here Fleischer has this one for only ten minutes and milks every last second of those for maximum entertainment value.

He may not be the lead, but it's Harrelson who's the star, being given the opportunity to cut loose and go completely bad-ass in ways hasn't been able to do since the days of Natural Born Killers and Kingpin. The role fits him like a glove and only a good actor could have played it because as the story wears on he's called upon to give the character of Tallahassee real purpose beyond just finding his favorite snack cakes, which isn't easy when you also have to go over-the-top as a crazy man also. When I say none of these actors could be replaced in their roles I'm specifically referring to the inevitable, but groundless accusation that Jesse Eisenberg is always playing a poor man's Michael Cera. It's a silly theory that somehow gained traction based on nothing. I'll admit I had my doubts about Eisenberg at first but now it's getting to the point where the string of quality films are too numerous to just write it off as him lucking out and stumbling onto good scripts. While it's true he's played the same "type" of character in a lot of these outings (and isn't asked to stretch much more than that again here) there's an underlying dramatic sincerity to all of his performances that make his characters relatable and realistic. This movie feels as much like a coming-of-age movie as a zombie comedy or a wild road trip and makes an interesting companion piece to his other amusement park movie, the under-appreciated Adventureland. Just the sight of how uncomfortably nervous he looks killing zombies is worth the price of admission.

Those only familiar with smokey-eyed Emma Stone as the hottie in Superbad will be surprised to discover she makes Wichita a lot more than that and proves to be a really talented comedic actress with great sarcastic timing. As Little Rock, Abigail Breslin makes a seamless transition from child star into pre-teen actress, delivering some of the movie's best punch-lines. The interplay between all the actors feels so natural it's a shock this is the first time they've teamed up and I'd be very surprised if these four performers don't really enjoy what they're doing. It just comes across in every scene. As the film neared its conclusion, just the possibility you won't get to see them together anymore is kind of dejecting. The ending showdown at Pacific Playland is exciting and unpredictable because there really is some doubt as to whether everyone will survive. Besides providing non-stop laughs, the movie succeeds in the effects department as well and never uses the fact it's a comedy to wimp out in delivering just the right amount of violence and gore. It earns its "R" rating.

This is the highest grossing zombie movie of all-time and deserves to be. Supposedly, there's already a sequel in the works that's set to be filmed in 3-D. While I'm not thrilled with that idea (is every movie going 3-D now?) I can at least understand the logic behind using that format in this instance and would probably be willing to see ten sequels with these actors onscreen again together. They're that good. There are many more places they can take take the story and characters in Zombieland and I'm looking forward to the ride. Consider it illegal to have this much fun watching a comedy.

Semi-Pro

Director: Kent Alterman
Starring: Will Ferrell, Woody Harrelson. Andre Benjamin, Maura Tierney, Andrew Daly, Will Arnett, Andy Richter, Jackie Earle Haley
Running Time: 91 min.
Rating: R

*½ (out of ****)

Will Ferrell’s sports act has officially gotten very, very tired. When I reviewed Blades of Glory I said that while I enjoyed it, it was probably the last Ferrell sports comedy I could take. Boy was I ever right. In the basketball spoof Semi-Pro it’s as if all the deleted scenes and outtakes from every Ferrell comedy that weren’t funny enough to make final cut were combined into one movie to torture us all. I don’t think I laughed once during this. There may have been a tiny giggle, but definitely not a laugh. Forget about the shot clock. I was too busy watching the actual clock on my wall, waiting painfully for the very long 90 minutes to pass.

To call this Will Ferrell’s worst onscreen outing is almost too kind as the star really phones it in here in a performance of insufferable laziness and egotism. Come to think of it, there aren’t many other characters in the film worth liking or rooting for either. Like Nacho Libre, which assumed just the sight of Jack Black in wrestling attire could sustain a feature length film, this script believes Ferrell with an afro and dressed as a basketball player is the most hilarious concept ever devised.

Now Ferrell finds himself stuck in the same boat as Jim Carrey and Adam Sandler before him. Rejected by audiences when he attempts to stretch as an actor and do more meaningful work, he feels forced to retreat and act in sub-par comedic rip-offs of his earlier films. The film is so standard and predictable it has me fearing that those claiming Hollywood is all out of fresh ideas may be right. But what’s even more frightening is the notion that there are still many sports left Will Ferrell can attempt to send up in his career.

Somewhat arrogantly, the film picks up in the middle of the action in 1976, expecting us to care what happens to Flint, Michigan’s Tropics basketball team of the American Basketball Association, owned and operated by its goofy star forward Jackie Moon (Ferrell). Plans are put forth to merge the ABA into the proposed National Basketball Association and the Tropics, whose record and attendance is abysmal will not be one of the four teams selected to go and instead dissolve. That is unless Moon can find a way for the Tropics to rise from the basement and become the fourth ranked team in the league.

Moon already has his star player in the showy Clarence “Coffee” Black (Andre Benjamin), but soon he trades up for aging veteran shooting guard Ed Monix (Woody Harrelson) who once won a championship ring riding the bench with the Celtics. Nearly the entire film consists of Ferrell entertaining himself with various sight gags and one-liners (hardly any of which has a thing to do with basketball) until we reach “the big game,” which turns out to not be that big at all because screenwriter Scott Armstrong unwisely decides to throw in a late development that makes the game mean essentially nothing.

The film is filled with jokes that either just fall flat or trail into the distance without a punch line or resolution. The script is so lazy at times it seems as if it’s half-completed. The best example of this a gag involving a poker game and gun everyone believes is loaded. The scene goes on for what seems like an eternity and then just kind of fades away, leaving us wondering what the point of the entire thing was, like a tree falling in the forest. A sub-plot involving Monix’s ex-flame (a completely wasted Maura Tierney) and her sexually curious boyfriend seems like it’s out of another movie…one almost as unfunny as this.

Ferrell wrestles a bear (but you knew that from the trailer), players wear eyeliner and vomit, Patti LaBelle shows up. I thought the horror would never end. There a few funny moments though. All of them are provided by Andrew Daly and Will Arnett as a couple of vulgar, clueless announcers. I wished everyone else would just leave the film and let these guys go back and forth for an hour and a half. That would have been entertaining. The only other actor who escapes with his dignity is Harrelson, which isn’t a surprise since he has experience doing this before in a far superior sports comedy, Kingpin.

The best word to describe Will Ferrell in this is “SMUG.” He has a certain smugness in this role that I haven’t seen from him before and I hope I never see again. He plays the part as someone so full of himself it stops becoming funny and crosses the line into being pathetic. He’s just unlikable and you’re more likely to want to see him get injured and his team lose than root for the guy. He’s played hapless, unlikable losers before but something about this performance really rubbed me the wrong way.

I guess it’s a delicate balance between being funny and unlikable and Ferrell doesn’t quite pull it off this time. It’s like watching an unfunny, stand-up act with a performer in love with his own jokes. He pulled it off in Anchorman: The Legend of Ron Burgundy, which, incidentally, also took place in the ‘70’s. Maybe the filmmakers thought by setting the film in that decade again they could recapture some of that magic except that movie had a clever script that knew how to exploit that setting. This one thinks that wearing polyester and playing Pong is so funny there’s need for little else.

It’s the dubious directorial debut of Kent Alterman who (get ready for this) has produced such films as A History of Violence and Little Children. Speaking of Little Children, an Oscar nominee from that film, Jackie Earle Haley, appears here as a stoned-out homeless man who makes a big half-time shot. THIS is his follow-up role to an Academy Award nomination. It looks like Burt Reynolds finally has some competition.

Perhaps the funniest thing about the movie is that a PG-13, an R-rated and an unrated version of the film were all released on DVD as if it even makes a difference. I saw the R version and can tell you the profanity and vulgarity did nothing to hurt or heighten my enjoyment of the film. A bad script is a bad script no matter how many four-letter words it contains. Although I described this as a spoof it really isn’t. It actually has the nerve to play it mostly straight and expects us to care what happens to these guys. The result is a terminal lack of laughs and a spoof that becomes what it’s spoofing.

I had a choice between renting this and Meet The Spartans and when it concluded I was left with the sinking feeling I may have actually picked wrong. We’ve seen it coming for a while but now Will Ferrell has officially hit the wall and should reassess the direction he wants his career to take. The best news here is that the movie underperformed at the box office so maybe now he’ll get the message and try to diversify a little bit more in his film choices. As a sports comedy, or any comedy, Semi-Pro shoots a brick.