Robin Hood

Director: Ridley Scott
Starring: Russell Crowe, Cate Blanchett, Matthew Macfadyen, Mark Strong, Oscar Isaac, Kevin Durand, Mark Addy, William Hurt, Danny Huston, Max Von Sydow, Scott Grimes
Running Time: 140 min.
Rating: PG-13

★★ ½ (out of ★★★★)

Originally, Ridley Scott's Robin Hood was to be released under the title, Nottingham. That would have been a much better choice, one that at least doesn't conjure up early '90's images of Kevin Costner in the role and a certain Bryan Adams theme song. I wonder if they went for the safer, more obvious title because they feared audiences wouldn't know what it was. The only reason I'm mentioning this is because Scott is burdened with the incredibly thankless task of putting a fresh spin on a tale that's that's been told a hundred times over and can really only be told one way. At least a new title could have created the illusion that things might be different this time and a new approach would be taken. It would be something, because let's face it, any filmmaker will always be grasping at straws with a character as limited as Robin Hood. He isn't exactly deep or multi-dimensional, nor does his legend boast rich narrative possibilities that can go in a million different directions. Other than completely modernizing the story and setting it in the present day you're handcuffed with what you've got. Scott goes the only route he can, the safest and most predictable, and while this qualifies only as average entertainment at best, it's still better than it should be given the circumstances. While he falls short in his obvious attempt to duplicate adventure epics like Braveheart and his own Gladiator, I'll give him credit for perfect casting and some great battle scenes. It's mainly the overly familiar and somewhat uninvolving "untold" story that can't keep pace.

If forced to classify it, this version of Robin Hood could be considered a prequel of sorts, or more accurately, an origin story.  When King Richard (Danny Huston) is killed in a siege, his common archer, Robin Longstride (Russell Crowe) must return to London to inform the Royal Family of the king's death and witness the coronation of the deceased's younger brother, Prince John (Oscar Isaac). The evil, self-absorbed John wastes no time abusing the throne with unfair tax demands and appointment of Sir Godfrey (Mark Strong) as the collector, though he's secretly an agent of the French King using his new position to stir up a Civil War in England.  Upon arriving in Nottingham, Robin assumes the identity of slain knight Robert Loxley (Douglas Hodge), a knight who's dying request was that he deliver a sword to his blind, aging father, Sir Walter (Max Von Sydow). Loxley's also left behind a widow, Marion (Cate Blanchett), who's slow to warm up to her husband's replacement, but of course we know those cold feelings toward Robin won't last long. In fact, we already know a lot of things and that's the problem. The few details we didn't know could have just assumed, not shown to us in a prequel. From a literal standpoint, this portion is "untold," but it's also unnecessary, doing little to add to the legend of Robin Hood or Nottingham, or cause us to re-think our previous perception of the character. We do get some mileage seeing familiar faces in a slightly different capacity like a pre-"Maid" ass-kicking Marion, the somewhat goofy Sheriff of Nottingham (Matthew Macfadyen) before he becomes a major villain, Friar Tuck (Mark Addy) as a beekeeper and Robin's "Merry Men," Little John (Kevin Durand), Will Scarlet (Scott Grimes) and Alan A'Dale (Alan Doyle). But most of the thrills come from the battle scenes which, aside from ripping off Braveheart, are exciting and well choreographed, and the noticeably authentic set, costume and art design. But that should almost be the minimum requirement for a period adventure like this anyway, particularly one helmed by a filmmaker as experienced as Scott.

With both actors pushing past the forty year mark I'm sure many will complain that Crowe and Blanchett are "too old" for these roles. That's nonsense and I commend Scott for going against the grain by casting mature, experienced performers instead of someone like a Robert Pattinson or a Kiera Knightley in a misguided attempt to go younger, which could have easily tarnished the entire film. I'd imagine the pressure from the studio to do that was strong considering this is supposed to be a prequel, but such an approach would have been inappropriate for the material, and this wasn't ever going to reel in the younger crowd anyway. Prequel or not, Robin and Marion should be a man and woman not a boy and a girl and the versions we get here actually come closer their authentic origins in how they look and behave. As played by Russell Crowe, Robin is more of an action hero than he was in the past which I don't take issue with since there aren't a whole lot of other things the character could be at this point that we haven't seen already. But what's most surprising is how likable, funny and relaxed Crowe seems a role that you'd expect to be a Maximus retread and regardless of the quality of the material, he's continues to be an actor who's never given less than a top tier performance in anything. A true highlight is his witty banter and chemistry with Blanchett, who's one of the few actresses (other than maybe Jolie) capable of bringing the necessary elegance and grace to Marion, while at the same time also being believable as a feisty, strong-willed warrior ready to suit up for battle (as she does in the climactic showdown). The long overdue modernization of a character depicted in previous incarnations as merely a damsel in distress is one of the smartest details in the script by Brian Helgeland, who interestingly enough previously wrote and directed A Knight's Tale. Also helping is the presence of not just one, but two formidable villains with Oscar Isaac making an especially slimy and detestable King John.

With barely a 15 minute difference between the theatrical and unrated cut, I viewed the theatrical one and it's hard to regret that decision since a running time of just over two hours feels right whereas two and a half would seem to be unnecessarily pushing it. While it's unlikely an extra scene or two would have made the story feel any fresher or more inspired, I'd almost be curious enough to find out. The film works best as a teaching tool for directors on how to cast properly since this could have easily turned into a total disaster without talents like Crowe and Blanchett carrying it. It was an honest attempt by Scott who's onto something here since there is a joy in watching an old fashioned adventure epic that relies on story and character rather than distracting computer generated effects. I just wish the story were better and I actually cared what happened to the characters. It's a closer call than I expected and judging by the conclusion a sequel almost seems inevitable, or would have been had this made more money and anyone liked it. Maybe they can call that Nottingham.

Winter's Bone

Director: Debra Granik 
Starring: Jennifer Lawrence, John Hawkes, Garret Dillahunt, Lauren Sweetser, Dale Dickey, Shelley Waggener
Running Time: 100 min.
Rating: R

★★★ (out of ★★★★)

If The Hurt Locker and Precious conceived a movie offspring that grew up poor in the Ozarks, physically and emotionally abused by scary townsfolk against the backdrop of an unforgivingly bleak landscape at every turn for over an hour and a half, her name would be Winter's Bone. For better or worse, it's hard not to be reminded of those two films while watching this and even more difficult to decipher whether that's a compliment. While not as exciting as the former or as controversial as the latter, it deals with a timely, hot-button issue in the most depressing way possible, to the point that many viewers will probably be wanting to reach for razor blades when it concludes (if they can even make it that far). And to put icing on the cake, it's directed by a woman. Saying this project has "Oscar" written all over it would probably be an understatement.

Every year it seems there's a little seen, low budget independent film that cleans up on the festival circuit and critics everywhere begin championing it as their "cause." What starts as an underdog (or "slumdog" in some cases), can overnight turn into a film we're sick of hearing about. They often feature a nominated performance from a complete unknown, marking the arrival of a major new talent, whether their name is Carey Mulligan, Gaborey Sidibe or Jeremy Renner. This time we get one from a newcomer and another from one of the best character actors working today. Winter's Bone tells a story as old as the mountains where it takes place, offering nothing new or exciting, but benefits from not doing anything wrong and containing performances that are too powerful to write off, redeeming what's otherwise a depressing dirge to sit through. It's a well directed, beautifully shot acting clinic but nothing more. And that ends up being enough.

Burdened with the responsibility of taking care of her comatose mother and two younger siblings after her drug dealer father disappears, 17-year-old Ree Dolly (Jennifer Lawrence) learns he's put up their Missouri Ozarks home as bail bond. With only a week until they're all kicked out, she sets out on a  treacherous journey to find him that exposes her to the seedy underground of local crime and its dangerous townsfolk, chief among them her own downright scary uncle, Teardrop (John Hawkes). With each stop she's given just enough information to keep going but not enough to quit and the closer she gets to the truth the more she starts to realize some things may have been better left unknown, at least for her own safety and survival. From a narrative standpoint it's clear early on exactly where this is headed, and while there's a fair amount of tension, there's nothing particularly thrilling about how anything unfolds. It's more of a slow burn that builds momentum toward its conclusion. The movie consists almost entirely of Ree's terrifying confrontations with these criminals who could care less how bad she and her family have it because in their minds they have it just as bad, if not worse, and need to do whatever it takes to protect themselves. They hold all the cards, to the point that even the local sheriff (Garret Dillahunt) is too afraid to help her, yet preoccupied about anyone finding out that fact.

Jennifer Lawrence is this movie. She's the driving force, appearing in every scene with her character going through hell in most of them. This is a challenging part on every level and no matter how ordinary the movie plays as a whole, there's absolutely nothing ordinary about this performance and she's earned all the high praise she's been getting for it. Lawrence's gives the film its only inkling of hope by playing Ree as a girl who just refuses to give up and perseveres despite every grueling obstacle put in front of her. While Lawrence acknowledges but effectively conceals Ree's fear, never hinting at even a trace of self-pity, which is essential to her whole story working and us rooting hard for her. She also has to help cover for some of writer/director Debra Granik's more questionable calls, like a third act plot development seemingly more suited to a low budget horror movie than a human drama. There won't be five female performances better than this all year and barring any shocking miscarriage of justice, Lawrence's nomination is a lock, regardless of how few people even see or know about the film.

More doubtful for awards consideration but no less deserving is John Hawkes as Teardrop and anyone who doesn't know Hawkes by name most definitely knows his face by sight ("Oh, it's THAT guy"). A gifted character actor for over twenty years, he's appeared in films like A Perfect Storm, Identity, Miami Vice and American Gangster as well as TV series' such as Deadwood and most recently Lost and Eastbound and Down. And that's only scratching the surface. Mostly known for playing meek, mild mannered minor characters, he's a chameleon in how he can fly under the radar and slide into any role but here he's the most unrecognizable he's ever been, transforming into this monster of a man ready to snap at any moment. Without speaking a word he conveys this quiet rage and menace that's terrifying, but when he does speak, it's even scarier. That this is the only person Ree can depend on (and he's a family member no less) says a lot a lot about the characters populating this story and how poverty has destroyed them. And when you slowly realize Teardrop wasn't exactly who you thought he was, you gain even more appreciation for what Hawkes brought. For me, there's nothing better in movies than seeing a under-valued, hard working supporting actor or actress break through after decades with the perfect part that finally gives them the opportunity to show everyone what they've got. This is that part for Hawkes and few actors could be more deserving.The film's most tensest scene (and Hawke's best) is a road side confrontation with Dillahunt's sheriff that could go anywhere but still ends in a way you wouldn't expect. Fittingly, Dillahunt also played a sheriff in No Country For Old Men, the film this is most comparable to, at least in terms of its depiction of a depressive American landscape. That took a while and a few viewings to really grow on me so at least there's that.

Winter's Bone won't ever be mistaken for a chase film or a mystery of any kind but it's tightly wound character piece driven by dark, gothic elements, as well as its haunting score and impressive cinematography . It's a noirish thriller that makes up for in atmosphere whatever's lacking in actual thrills. I wish I appreciated the film as much as the two performances that carried it, but it's doubtful that could have been possible given the high quality of work put forth by Lawrence and Hawkes. The impression they leave cuts deeper than a story we've seen many times before under a variety of different guises, no matter how timely or socially concious it is. Winter's Bone is technically skillful piece of filmmaking that wears its depressing realism on its sleeve, but I can't help but wonder if maybe we should start receiving awards for surviving viewing experiences this bleak and hopeless.

Get Him to the Greek

 

Director: Nicholas Stoller
Starring: Jonah Hill, Russell Brand, Elizabeth Moss, Sean Combs, Colm Meaney
Running Time: 109 min.
Rating: R

★★ 1/2 (★★★★)

Russell Brand's hedonistic, self-destructive rocker Aldous Snow from 2008's mostly forgettable Forgetting Sarah Marshall probably wouldn't top my list of supporting comic characters I'd like to see spun off into their own film. That he's joined again by Jonah Hill still doesn't do much to raise my excitement level, at least on paper.  On the bright side, neither of them were close to being the most annoying aspect of that film, or even its most unlikable character so thankfully Get Him to the Greek isn't a direct sequel to that. Here again, both actors are far from the problem and do a terrific job fleshing out parts that should have propelled a great comedy. At times it shows glimpses that it could be, but despite being a slightly smarter effort than Sarah Marshall and considerably more ambitious, it suffers from nearly the same exact problem that film had: A tonally awkward mix of comedy and drama. One second this film's a riff on celebrity pop culture, only to turn around the next and actually try to make some kind of serious social commentary on it.  It all comes to a head in a messy third act where you can literally sense two separate movies fighting for onscreen dominance, with neither winning side winning and the audience suffering slightly for having endured the battle. Because of this, and a tired satirical target, it's only sporadically amusing. There are some bright spots but just too much is thrown together in a haphazard way for it to be considered a comedic success.

This time around, instead of playing an obsessive resort employee Hill is Aaron Green, an entry-level talent scout for a major recording company that's rapidly losing money. When his boss, egotistical Segio Roma (a very funny Sean "P. Diddy" Combs) needs a game-changing idea, Aaron comes up with the idea of Aldous Snow (Brand) and his band Infant Sorrow playing a show at L.A.'s famed Greek Theater commemorating the tenth anniversary of their most famous concert. Now Aaron has to travel to the U.K. and find a way to get him there, which is more difficult than necessary considering the hard-partying Snow's 'round-the-clock schedule of sex and drugs. That's only escalated by the depression surrounding his recent break-up with longtime girlfriend, pop star Jackie Q. (Rose Byrne), and his shaky relationship with his estranged father (Colm Meaney). As a longtime fan, Aaron's investment is also personal as he tries to repair the career of a faded rock star who's last single, the politically incorrect and offensive "African Child," was blasted by music critics as the "worst thing to happen to Africa since the apartheid." He also has a relationship problem of his own with a rift growing between him and his overworked live-in girlfriend, Daphne (Mad Men's Elizabeth Moss) who he rarely gets to spend any time with because of her busy schedule.

This entire premise is about as thin as it gets but I was surprised just how much mileage writer/director Nicholas Stoller gets out of it. Maybe too much.  He takes a big risk trying to spoof something that's already a spoof of itself and choosing a starring actor in Brand who's essentially portraying a character indistinguishable from whom we perceive him to be as a celebrity. Try as you might to avoid it, this guy (and many other celebrities like him) are shoved in our faces everyday no matter what channel you flip to or magazine you read and it's puzzling to think why anyone would want to see a comedy revolving around a subject already overexposed to death as it is. This is one of those cases where you have a timely concept but also a stale one since there's no way to possibly approach it from a fresh angle.  And as ridiculous as the Aldous Snow songs and videos are, they're still much less ridiculous than a lot of the pop/rock stuff that's being put out today and probably of higher quality, so what's this spoofing exactly? They're making a joke out of something that's already a big mockery and didn't need much help to begin with.  Far from the most inspired, original idea for a comedy, for a while it at least knows enough not to take itself too seriously, which is when it works best.

The biggest mistake comes when it stops goofing around and actually asks us to feel sorry for Brand's character. This continues the tiresome trend in all these Apatow-produced comedies of trying to teach moral lessons about guys having to grow up and take responsibility. It was much more tolerable in films like Role Models and I Love You, Man which never lost sight of their mission to provide laughs and knew not to take its message seriously. But as he already proved with Forgetting Sarah Marshall, Stoller can't juggle tone at at all so every crude joke seems to be followed by semi-serious scene trying to apologize for it. By the last third of the movie everything completely flies off the rails and turns into a misguided mish-mash of Fear and Loathing in Las Vegas and Almost Famous, even going so far as to crib a scene directly from the latter. The shame is whether they're just playing variations on their own personalities or not, Brand and Hill make a great comedy team and do gel really well together on screen, with Brand proving he's capable of going to darker, more interesting places as an actor if he's called on to do it. This shouldn't have been that time and requests for us to feel any kind of sympathy for such a flimsy, one-dimensional character should have been off-limits. As surprisingly good as Brand is here, he can't be expected to work miracles or act in two entirely different movies at once. Rose Byrne is frighteningly dead-on as his pop star girlfriend but she's another character who suffers in the laughs department because she actually seems respectable compared to current talentless music stars making headlines. Unsurprisingly, Elizabeth Moss is likable and funny as Aaron's girlfriend but Stoller's script undercuts her efforts with a creative decision in the third act so ill-conceived and tonally out of place I had to check and make sure I was still watching the same movie.

At only 109 minutes the film feels overlong, as if many of the jokes were simply repeated to stretch out the running time (How many times do we really need to see Jonah Hill drunk and puking?) Scarier still, when it was over I discovered I actually viewed the theatrical version, not the EXTENDED Unrated director's cut. What more could possibly added to something like this? Why would you want to add anything? And therein lies the problem. So many of these comedies are just too ambitious, trying to do a million things at once when just providing some laughs is good enough. The script does occasionally cut loose and do that really well  (particularly during a "Today Show" sequence and a bad drug trip in Vegas involving Diddy's character) but Stoller's desire to "say something" is always annoyingly present, ready to intrude. But even as messy and unfocused as Get Him to the Greek is, it's still slightly better than Forgetting Sarah Marshall. I'd rather see a likable comedy fail to work as a drama than a depressing drama posing as a comedy.

A Nightmare on Elm Street (2010)

Director: Samuel Bayer
Starring: Jackie Earle Haley, Rooney Mara, Kyle Gallner, Katie Cassidy, Thomas Dekker, Kellan Lutz, Connie Britton, Clancy Brown
Running Time: 95 min.
Rating: R

★★ 1/2 (out of ★★★★)

On the horror remake offensiveness scale, A Nightmare on Elm Street would probably fall somewhere in the middle, ranking below A Texas Chainsaw Massacre, Halloween and Psycho but slightly above Friday the 13th in terms of how many fans a reboot will upset. While the 1984 original was an entertaining, well-made 80's slasher with an unusually original premise for its time, it wasn't scary and with each progressing sequel Freddy Krueger, much like Jason, became less an icon and more a parody. That seems to be reoccurring problem in the horror genre as these franchises continue long past their expiration date, losing all creative steam while the studios beat a dead horse trying to wring every last cent out of them. Saw is the latest victim, and though its seventh installment is being touted as the last, you can bet it'll eventually be back in some form or another. These movies always come back, and that's not necessarily such a bad thing since many love them with a passion so in that sense reviving a long-dormant franchise like Nightmare isn't the worst idea there is. Sure, it's a shameless cash grab, but at least there's a need for creative resuscitation here, unlike the recent remake of that same year's The Karate Kid, which raped a classic story solely for profit. Hardcore horror fans may feel the same way about this but they should at least be grateful the kids aren't pre-teens, it's rated "R," and there's a concerted effort to return the series to its darker, more serious roots. Unfortunately, for all the arguments you can come up with for this remake being somehow defensible, the filmmakers have gone out their way to make it FEEL as pointless and disposable as possible. The same problems that have plagued all the other Platinum Dunes-produced horror remakes like Chainsaw, Friday The 13th, The Amityville Horror and The Hitcher are again on display to a lesser extent, but this does have three big things going for it: A great concept and two very talented actors. The results are decidedly mixed, but better than expected. In the end though, it still doesn't work mainly because these horror remakes are all starting to feel and look the same, adding nothing to what was already there and ineffectively re-executing everything that was done well enough the first time around.

Much of the original story remains intact (save for a few changes) which is a good thing because this is one of the rare slashers powered by a concept so strong that even the 1984 film and its inferior sequels couldn't fully capitalize on it. In a small American suburb, high schoolers Nancy (Rooney Mara), Quentin (Kyle Gallner), Jess (Thomas Dekker), Kris (Katie Cassidy) and Dean (Kellan Lutz) are all having nightmarish visions featuring a severely burned man in a red and green striped sweater and a glove equipped with sharp knives. He attacks only in their dreams and if he kills them there, they die in real life. The key is to stay awake (whether that be with the aid of stimulants or just sheer force of will) so that doesn't happen but Freddy slices through the teens until only Nancy and Quentin are left to discover the truth of everyone's shared past with this man and attempt to defeat him for good. One of the more positive changes the updated script provides is the introduction of the idea of "micro-naps" in which the potential victims fall asleep for 10 or 15 minutes, making it even harder for them (and us as the viewer) to distinguish between what's real or not, which ups the suspense level considerably. There isn't anyone who hasn't dozed off for a few brief minutes or felt so tired that they haven't a clue where they are making so it's a clever twist on a familiar idea.

Giving us as much back story on school caretaker and accused child molester Fred Krueger as possible (even going so far as to come up with with an origin story for his sweater) isn't necessarily a bad idea in theory since he isn't one of those horror villains where the more you know or see of him, the less scary he becomes. He simply isn't scary at all to begin with so no harm done there. But you do have to question the logic of showing and spelling out information what was subtly, but effectively implied in the original films. This can't either but it makes little sense attempting to recreate key scenes, moments and plot points from the original, only with cutting edge computer generated effects. Re-tracing the original film's steps beat for beat but with higher production value is a silly idea that only helps make this feel like the latest inferior sequel in the franchise. This is a problem similar to the one marring the final act of Rob Zombie's 2007 Halloween remake, in which he attempted to faithfully reconstruct and jam John Carpenter's original film into the last third of his, but with more overt brutality. It's almost as if all these filmmakers want to have their cake and eat it too by teasing a new direction only to fall back on recreating scenes from the original (in some cases rather poorly) as some kind of misguided tribute or an attempt to throw a bone at hardcore fans. Last year, Zombie rebounded strongly with the gutsy, unrelenting Halloween II when he strayed as far as possible from the source material, finally breaking free from the genre conventions holding these remakes back. That's a template this could have followed in place of the typical sequel/reboot mish-mash route that was chosen instead. It's also interchangeable with a lot of other recent horror remakes with its slick music video style approach to the material, which diminishes the sense of dread and urgency in favor of making everything look dirty, but high budget dirty.  In other words, it's too polished. Maybe not coincidentally, this was directed by Samuel Bayer, who's first ever directing gig was Nirvana's classic 1991 "Smells Like Teen Spirit" video. Say what you want about Zombie's efforts but at least he captured the visual feel of trashy, low budget midnight drive-in movies.

The biggest hurdle cleared is the casting of Jackie Earle Haley as Freddy Krueger, who steps into the role made famous by Robert Englund after online fans pushed to have him cast. They were right on target, and as much as this will upset loyalists, he's no worse at it than his predecessor. Not necessarily better mind you, but different in a way that's appropriate for the liberties taken with the source material. Whether that more realistic approach (facially looking very much like an actual burn victim) is the right one considering this is supposed to be a horror/fantasy character may be up for debate, but Haley's the right guy for the job considering Freddy is supposed to be more frightening than entertaining. His small stature is a minor issue (he's nowhere near the physical presence Englund was) and there aren't as many clever one-liners for him to deliver, but that's not what's really called for here anyway. Unfortunately the character he's given isn't all that interesting and the flashback backstory, despite playing to all of his strengths as an actor, isn't really developed enough since doing that would mean the writers would have to stray from the predictable horror rules suffocating the picture.

My (and seemingly everyone else's) new favorite actress of the moment, Rooney Mara, gives us a Nancy that's a far cry from Heather Langenkamp's appropriately superficial incarnation over 25 years ago. Sullen, morose, and shy, she's the most withdrawn female protagonist we've seen in a horror movie in some time and pensively looks and acts like she's suffered some great tragedy, maybe one outside of what's actually happening in this story. And whatever that tragedy is I can practically guarantee you it would have made for a better movie than we got here. As an actress, Mara has this interesting look and expression to her face that's inscrutably intelligent, making you think she knows something you don't and if you stare long enough you might be able to figure out what. It was evident in just her few sensational, Oscar-worthy scenes in The Social Network and it's only a little bit of a surprise that the quiet intensity that made her performance there so memorable carry over into this. It's unlikely any studio decision makers completely knew at the time of her casting just how much they got or what would happen with her career so it's unfortunate that she's contractually locked (as is Haley) into appearing in a sequel should it occur. And judging from the final scene, it's a safe bet it will. That this doesn't seem like the worst news in the world for her (at least no worse than Robert Downey Jr. spending the rest of his career in Iron Man purgatory) is a credit to how much she brings to a project that doesn't deserve her talents. Until she takes over the film, Katie Cassidy does a surprisingly credible job early on with a one-note scream queen character and Kyle Gallner seems right at home as the weirdo, emo co-lead opposite Mara. Friday Night Lights' Connie Britton and gifted character actor Clancy Brown are wasted in the obligatory adult roles, as is too often the case in these types of films.

Sadly, the acting all-around is actually better than the original and it doesn't seem to help one bit since no one could decide whether they wanted to make a slasher with cheesy acting faithful to the original or an updated version that takes itself seriously. The result ends up being a fake cheesy slasher taking itself too seriously and I'm wondering if removing some of the goofier horror elements and playing it as a straight psychological drama would have been wiser. With a premise this strong and the acting clearly there to support it, a gripping story could have been constructed centering on dreams and reality as these teens come to grips with a buried childhood tragedy. NOES 2010 feels like it should have ambition beyond just covering the original and if a more realistic approach was the game plan they should have had the guts to go all the way with it since there was real potential to do something interesting here. This near-miss exposes the biggest problem with remakes in that there's always a cause to worry that studios will continue to casually resurrect a beloved title or franchise without seriously considering how.

MacGruber

Director: Jorma Taccone
Starring: Will Forte, Kristen Wiig, Ryan Phillippe, Val Kilmer, Maya Rudolph
Running Time: 90 min.
Rating: Unrated

★★★ (out of ★★★★)

Ever watch a comedy you just know is stupid (and I mean insanely stupid) but find yourself laughing uncontrollably through every minute of it anyway, possibly against your better judgment? Such is the case of my viewing of MacGruber, which could barely hold its own as a comedic premise for 90 seconds as a Saturday Night Live skit, yet somehow, someway works better as a 90-minute feature film. It's unlikely the audience who will get the most laughs out of this have even heard of the '80's action television drama MacGyver and that hardly makes a difference because this isn't really a spoof of that (Richard Dean Anderson surprisingly doesn't even appear). The skits on SNL are and it would be hard to sustain a full length feature comedy spoofing a retro cult show built around one joke. Luckily, this has many jokes, most of which are vulgar disgusting gross-outs that almost always hit their mark. Many will hate this with a passion and find it humorless, which is understandable because what anyone finds funny is so specific to that viewer. Basically, if you liked Hot Rod you'll like this, and if you didn't, then you'll hate it. That makes perfect sense since the same uncredited writer on that film (SNL writer Jorma Taccone) directed this one and it features the same dry but perverse sense of humor. If nothing else, everyone can maybe at least agree on one thing: Val Kilmer is the man.

If not for the hilarious opening credit theme song it would be difficult to tell within first few minutes that this is a comedy because the unusually detailed (at least for type of a film) plot is presented so straight it could easily be mistaken for an actual episode of MacGyver.  Believed to be dead but really retired special ops agent MacGruber (Will Forte) is called back into action by his boss, Col. James Faith (Powers Boothe) when it's discovered his arch-nemesis Dieter Von Cunth (Kilmer) has recently gained possession of a nuclear warhead. The two have a bitter history revolving around MacGruber's deceased girlfriend Casey (Maya Rudolph), depicted in some pretty memorable flashback sequences. To thwart Cunth's plan and stop him from obtaining the pass codes needed to launch the rocket, he assembles a crack team of WWE wrestlers who he accidentally kills with his own supply of C-4 explosives. This ends up being a blessing in disguise since it spares us from seeing these guys attempt to act past a single scene or two and sets up a couple of good jokes later about the ridiculous circumstances surrounding their deaths.  In their place he recruits longtime friend Vicki St. Elmo (Kristen Wiig) and more reluctantly stoic newbie Lt. Dixon Piper (Ryan Phillippe), and leads them into battle against Cunth with a variety of silly strategies that make sense to only him.

The laughs don't fully pick up steam until St. Elmo and Piper are officially added to the team, at which point the script goes on a hot streak of clever jokes and sight gags that don't subside for over an hour straight. Most center around MacGruber's delusional strategy for successfully executing the mission, which includes proudly letting Cunth know he's actually alive, sending St. Elmo into a death trap disguised as himself and using Dixon as a human shield. Just about the only commonality the plot shares with its TV influence is MacGruber's penchant for executing escape plans with common household items since he doesn't carry a gun, though I doubt MacGyver would have ever come up with a use for a celery stick that's as creative or disgusting, not that he'd want to. Phillipe somehow finds a way to keep a straight face through this entire thing while Wiig, the only actress not named Tina Fey or Anna Faris who's legitimately funny, plays St. Elmo with the perfect mix of gullibility and cluelessness.

But with his dry, droll line delivery and deadpan reactions to MacGruber's schemes, it's Val Kilmer who owns the movie, which shouldn't surprise anyone, but will anyway, since no actor has done more and gotten less credit than he has throughout his legendary career. Whether he's American rock idol Nick Rivers in the cult comedy Top Secret!, punching out Tom Cruise on the set of Top Gun (if it's okay with him I'd like to retroactively insert the phrase, "And THAT'S for Katie" after he lands the blow), playing Madmartigan in the '80's fantasy classic Willow, embodying Jim Morrison in The Doors, Doc Holiday in Tombstone, surviving Batman Forever, more than holding his own with Pacino and DeNiro in Heat, trying to outcrazy Marlon Brando in The Island of Dr. Moreau, taking on the role of Simon Templar in The Saint, believably playing a blind man in At First Sight, a tattooed meth addict in The Salton Sea, porn star and alleged murderer John Holmes in Wonderland, protecting the President's daughter in Spartan or playing a gay private investigator opposite Robert Downey, Jr. in Kiss Kiss Bang Bang, Kilmer has never phoned anything in and even this silly role is no exception. Just his presence as the heavy (in more ways than one) is hilarious enough, but as usual he doesn't stop there. Many actors probably would have just cluelessly hammed it up, but not the brilliant Kilmer, who approaches this dead seriously as if he were really a dangerous mercenary in a hardcore action thriller. Because of him, everything Forte does as MacGruber (and he has this goofy character down pat) becomes that much funnier.  This wouldn't have been nearly as entertaining with anyone else as the villain, as the hilarious climactic showdown proves. Here's hoping he soon gets a part (not this) that launches a Mickey Rourke-like comeback because no one's more overdue for respect. He'll be unfairly mocked and criticized for taking this but no one can say he didn't go all out like he always does.

Having seen the unrated cut, not the R rated theatrical one, I couldn't tell you exactly how much further this version goes but it really paid off for them to go as far as possible because nothing would have hurt the film more than holding back on the vulgar humor. Also, bonus points for the very appropriate '80's soft rock soundtrack featuring Toto and Mr. Mister, as well as the year's best graveyard ghost sex scene. Maybe it's faint praise to call this one of the stronger SNL big screen adaptations when it's competition includes Superstar, Stuart Saves His Family, A Night at the Roxbury, The Ladies' Man and It's Pat (which I still say had POTENTIAL as a movie idea), so we'll just call it Lorne Michaels' best effort since Wayne's World, even if it's dumb but clever humor more closely resembles Airplane! MacGruber is the rare TV-to-film spoof that wears out its welcome in smaller doses but benefits from a larger platform for its stupidity to run wild.

Frozen

Director: Adam Green
Starring: Shawn Ashmore, Emma Bell, Kevin Zegers, Ed Ackerman, Rileah Vanderbilt, Kane Hodder
Running Time: 95 min.
Rating: R

★★★ 1/2 (out of ★★★★)

Two scuba divers accidentally stranded in shark infested waters. A publicist trapped in a phone booth, pinned down by a sniper's rifle. A contractor buried alive inside a coffin. A mountain climber trapped under a boulder for 127 hours. Now we can add to that list three snowboarders trapped on a ski lift overnight in Frozen, the single location thriller inexplicably marketed as a horror movie. But whatever genre this belongs in, it still nonetheless represents some of my favorite types of films: Survival stories of ordinary people trapped in extraordinary situations. They often take place within a very condensed time frame, containing an almost palpable sense of urgency and suspense as people are forced to dig deep inside themselves as they stare death in the face. These films can work magic when executed well, but they're not without their drawbacks, such as the extra strain it puts on the writing, as much of the action (or sometimes lack of it) is confined to one location. With only one or two actors on screen at a time, few special effects utilized and an audience clamoring for a satisfying resolution, any problems with the script or performances are magnified ten-fold. It's also one of the few types of films where anything less than a perfect ending can ruin the entire experience, making the viewer wonder why they wasted their time in the first place. But writer/director Adam Green proves to be up to the challenge and while it's the simplest, stripped down story there is, it's also the hardest to tell cinematically. When something like this works, it really works, and there's no doubt that this one works.

Time is well spent in the early going getting to know the participants since their personalities will heavily inform the tragic and often frighteningly realistic events that follow, as well as our perception of them. Childhood friends Dan (Kevin Zegers) and Joe (Shawn Ashmore), along with Dan's girlfriend, Parker (Emma Bell) are spending a Sunday afternoon snowboarding before the ski resort shuts down for the week and they head back to school. After bribing the ski lift attendant earlier in the day, they again convince him to let them go for another ride that evening just before closing, with the resort nearly deserted. A communication breakdown causes another attendant to shut the lift down, unaware they're still on it. With a snow storm rapidly approaching, hungry wolves gathering below and the very real possibility they'll all die unless someone jumps, it becomes clear some really important decisions have to be made, and quickly, if they want to survive.

Nothing could ruin your enjoyment of this film more than picking apart every detail and complaining about perceived implausibilities in the characters' actions. It's inevitable dumb decisions must be made on their part and the ski resort's for the story to entertain at even the most basic level. Is it far-fetched that lift attendants would do something this stupid, and no safeguards would have been put in place by the resort to prevent it? Absolutely. But it's not completely impossible and the script has to be cut some slack in that regard otherwise we'd be watching a blank screen. Of course it isn't the wisest move to fall asleep with your bare hand gripping the metal safety bar in sub-zero temperatures, but I'll at least be grateful she saw A Christmas Story and wasn't dumb enough to use her tongue. What look like reasonable ways out of a situation like this on paper don't always go according to plan because sometimes judgment can falter under extreme stress, which this film reflected well. The events are presented are realistically as they can be in this context, while still allowing enough wiggle room for creative liberties to be taken.

This film is really about the three central characters and if they're not likable and interesting, then all is lost. In horror terms it would be easy to classify them as the frat boy, the hottie and the wisecracking best friend, and even though this isn't exactly a horror movie, those descriptions still hold. But that's fine because within that framework there's still plenty of room to create interesting characterizations and the actors do, especially Shawn Ashmore, who's had experience dealing with similar material before in 2008's The Ruins. He's even better here as "the third wheel" in best friend Dan's mismatched relationship with Parker and as the dire situation progresses he reveals himself to be a lot more than we first thought, while Dan reveals himself to be considerably less. What's most interesting about Ashmore's performance is how he hints that Joe's third wheel designation predated the ski trip and this event may not have been the toughest challenge he's had to overcome, and was maybe needed for him to finally step up. But the movie mostly belongs to newcomer Emma Bell, who isn't there to merely look pretty then die, but has a lot of small moments where she fleshes Parker out as a character, gradually breaking down her walls and permitting us to root for her. The dialogue in these survival scenes feel like the types of conversations people would really have if stuck in this predicament and potentially facing their final hours. Everyone will have their own idea how this story should end but it concludes the only logical way it can, even if all I kept thinking about was the massive civil lawsuit this ski resort will face.

Green previously directed the cult slasher Hatchet (unseen by me) a couple of years ago so that could account for the genre mislabeling of this, because other than a couple of gruesome scenes, much of the torture is psychological. It's cinematography and score suggest a first-rate thriller, not the D-level schlock I expected judging from the awful trailers that preceded the film. Or maybe this is a "horror" movie, but our perception of the word has devolved so much that it's difficult to recognize a genuine entry in the genre anymore. We should be so lucky if Frozen really was, because it would represent the best kind, one that urges us to put ourselves in the position of the protagonists and wonder what choices we'd make to survive.

TV on DVD: Dexter (The Complete Fourth Season)

Writer/Producer: James Manos, Jr. 
Starring: Michael C. Hall, Jennifer Carpenter, Desmond Harrington, Lauren Velez, David Zayas, C.S. Lee, James Remar, Julie Benz, John Lithgow, Keith Carradine, Courtney Ford
Original Air Date: 2009

★★★★ (out of ★★★★)

What a comeback this is. After Dexter's mediocre third season in which the writers seemed to hit a brick wall and nothing much of interest occurred, they've come out this time with guns blazing, as the best show currently on television has now officially aired its strongest season yet. In terms of pure edge-of-your-seat drama it's unmatched and what's so surprising is that it comes just as you'd think the well of ideas would start to run dry for its intriguing premise. Some of the little (and they were only little) nagging issues that plagued the show through the course of its run are completely eliminated by inventive writing and performances that are firing on all cylinders. 

While the season doesn't feel as meticulously plotted as the first and second, that works to its advantage since a break from the familiar structure was definitely called for. We were due for some surprises and got them. Going in, I heard a lot about John Lithgow's guest starring turn that justifiably won him an Emmy, but nothing could have prepared me for just how astonishing he is here. It's tempting to give him full credit for this season's success (and don't get me wrong he's a HUGE part of it) but doing that undermines the writers and other actors who  all greatly contributed to these 12 game-changing episodes.

It's inaccurate to claim the fourth season picks up where the third left off since nothing of substance in happened. With little fallout to speak of, what's interesting about this season is how it brilliantly fleshes out an idea that was only grazed upon then relegated to buddy comedy fodder in the last one. The idea of someone entering the picture that forces Miami Metro blood spatter analyst Dexter Morgan (Michael C. Hall) to really examine the practicality of continuing his secret life as a serial killer of murderers in spite of how the lying has so hugely effected his relationship with wife Rita (Julie Benz). Now with a new baby boy, Dexter is tempted more than ever to finally rid himself of "The Dark Passenger" he's been carrying inside since he and his little brother witnessed their mother's death as children. Continuing on like this is risky not only for himself, but his family, who he selfishly continues to endanger at the expense of his addiction. 

The return of now retired FBI Special Agent Frank Lundy (Season 2 guest star Keith Carradine) sets in motion a chain of events that forces Dexter to make that choice between his two lives. Lundy is back in Miami hunting the previously unidentified "Trinity Killer," AKA Arthur Mitchell (Lithgow) a serial murderer who's been killing in patterns of threes for 30 years in an effort to cleanse himself of a childhood trauma similar to Dexter's. Unlike Jimmy Smits' Miguel Prado, who infiltrated Dex's world last season, Arthur is a serious, dangerous threat who's every bit his match, even more ritualistic and capable of completely destroying him. And very much unlike last season when we knew exactly how everything would end, there are twists and turns, as well as legitimate doubt whether Dexter will even be able to get this monster on his table by the finale.

Upon hearing the long underrated Lithgow was cast for this season I knew there was little chance it would turn out to be anything but an enormous success given his track record. A veteran stage and screen actor widely known for his comic skills (racking up a handful of Emmys on 3rd Rock From The Sun), he's rarely been given the right opportunity to display how equally effective he can be in dramatic roles.  In a terrifying turn that alternates between massive mood swings, he's essentially balancing two separate personalities. One is church-going family man Arthur Mitchell, who spends his free time building houses for a Habitat for Humanity type projects across the country and cringes at the sight of a hurt animal. The other is the "Trinity Killer," a sadistic monster so mentally ill and unstable that's he's actually convinced he's murdering innocent people for the greater good. Just juggling these polar opposite personas would be tricky enough for any performer but Lithgow effectively merges them and the scenes where he physically and emotionally terrorizes his own family are so harshly realistic it's difficult to watch. Your heart's in your throat knowing he really could pass for that friendly guy you chatted up at church last week, or worse yet, your neighbor.

The quest to put Trinity down for good becomes personal for Dexter on a number of levels, but with it comes the horrifying realization that Arthur's future could be his if he continues down his current path. Hallucinations and flashbacks of his deceased father Harry (James Remar) and reminders of his "code" have been prevalent throughout the series' run but this is the most mileage they've got out of it yet as it practically feels like he's on the case with his son, guiding his conscience. Once again viewers are put in an uncomfortable spot, having to ask themselves whether Dexter really is any better than the scum he's killing, even though he clearly wants to be. 

It bares mentioning every season how incredible Michael C. Hall is in the title role but sometimes he can be so convincing I annoyingly catch myself wishing Rita would just stop nagging Dexter and let the poor guy lead his life. That is until I remember he's out every night.... murdering people! To an extent, I can actually sympathize with television watch groups complaining that the show condones vigilantism and violence, but fortunately that doesn't make the writing on the show or Hall's work any less brilliant. Disturbingly, it only confirms the show has done its job and it should be up to the viewer to sort out what's right and wrong.

Unlike Dexter's silly bromance with Prado last season, his friendship with Arthur is practically a suicide mission and it was a relief to see the Miami Metro police department portrayed as competent law officials that Dexter again must stay a step ahead of to cover his tracks. As Deb, Jennifer Carpenter delivers her best acting work yet in the series, conveying a mix of toughness and vulnerability as she's forced to recover from another jarring personal tragedy. Carradine's stay as Lundy is shorter this time around but maybe more important as the character continues to make an impact long after he's gone. 

Given their track record last season, it's hard not to cringe when the writers embark on a romantic sub-plot involving LaGuerta (Lauren Velez) and Batista (David Zayas) but it's surprisingly well handled and isn't treated as the throwaway storyline you'd expect. Detective Joey Quinn (Desmond Harrington, now a regular) not only sparks a feud with Dexter but begins a relationship with investigative reporter Christine Hill (guest star Courtney Ford) that doesn't go where we expect at all. At first, Ford's role doesn't seem like much to start but as it evolves into something a lot more complex and challenging, she steps up and delivers in a big way. Of everyone, her multi-dimensional performance is most at risk of being unjustly overlooked amidst the deserved hype of Lithgow's, and it's almost impossible to believe that before landing this gig Ford was actually about to quit acting. It's a good thing she didn't, as she shouldn't have any problems finding work now.

As strong as the series' first two seasons were, the only problem was that their story arcs concluded about an episode too early and things were always tied up a little too neatly right before the finales. Here, you're feeling the tension and suspense right up until the unforgettable closing image. Though the shocking conclusion to this season was spoiled for me beforehand, the best news is that there actually is a shocking conclusion and a real cliffhanger that forces you to tune in for Season 5. This was a  long overdue development, and now that they've gone through with it, a whole new set of possibilities have opened up for the series. In many ways this season of Dexter brings the show full circle, ending almost exactly as its premiere began, and what happens next is anyone's guess.