A Kind of Magic

Of all the films I hoped I would like in 2012, I think I can safely say that I did not imagine going into a movie about male stripping and come away happy with what I had just witnessed. And yet Magic Mike had a lot going for it when it was released to theaters this past weekend. For one, the whole thing was directed by Steven Soderbergh and while I don't always get behind the man's movues, he certainly does solid work with interesting, unique ideas. The second reason I wanted to see this was star Channing Tatum, on whose early days as a stripper in Tampa the screenplay is partially based. For what feels like a long time I have criticized Tatum's largely wooden facial expressions and general lack of acting ability, as he has been allowed to get by mainly on his looks (or in the early Step Up films, his dancing). But this year has been a turning point for the young actor, whose performances in Soderbergh's under-appreciated Haywire and the amazingly funny 21 Jump Street showed a side of the star we hadn't really seen. He's quickly proving that he is more than just a fem-friendly beefcake, and Magic Mike seemed like the kind of film that pushes a man like Tatum to the next level of his career. I knew I'd likely be the only straight male in the theater (as it was a matinee, I turned out to be the only male, period), but I was ready to see something completely different at the cinema this week.

Yes, there is quite a bit of this going on.

And boy, do Tatum and company deliver. Our star plays the titular Magic Mike, a man of many hats. He runs several small businesses, but makes most of his money as a male stripper (I don't think the term "exotic dancer" is ever used; these guys know their job) at Xquisite, a popular club run by unscrupulous manager Dallas (Matthew McConaughey). But what Mike really wants to do, what he has been working hard to do for the past decade, is make custom furniture from broken and discarded items. He's been steadily saving his money, but so far has not been able to get the concept off the ground. When he meets Adam (Alex Pettyfer), a slacker with no idea what he wants in life, he takes the young man under his wing and introduces him to the business, which Adam gradually gets into despite the disapproval from his sister Brooke (Cody Horn). Xquisite's business is rapidly growing and Dallas is looking to change venues to the more populous and popular Miami. This excites most of the dancers, but Mike is slowly coming to the realization that he doesn't want to be a stripper his whole life, and is ready to settle down. But with the job being seriously lucrative and banks not lending him money to pursue his dreams, how can he possibly step away?

Yes, McConaughey actually dressed like that in the morning.

On one level, it would be easy to label this a movie for women and gay men and leave it at that. In fact, a lot of people believed just that, as ladies made up something like 75% of last weekend's box office for Magic Mike. When you have this much bared male flesh on the big screen, that's just going to happen. But underneath the rippling chests of guys like True Blood's Joe Manganiello or White Collar's Matt Bomer - not to mention the threat of cliched romantic comedy by Tatum and Horn - beats a story about brotherhood, of guys who do what they do to make money, meet women and have fun. Very little of the events depicted here are actually based on Tatum's experiences in the business, but Soderbergh I think does a good job of looking at the industry from multiple angles, from the highs (money, women) to the lows (drugs, dead-end prospects, damaged relationships) with an honest and nonjudgmental eye. Sure, most of the veteran strippers enjoy their jobs, but it's the transformation of Adam in which we see how much it can change a person over even a short period of time. The story makes for something of a cautionary tale, albeit not one nearly so preachy as you might expect.

Even the ladies get in on the skin-baring act.

Both the acting and dancing are top notch and excellently choreographed, and Soderbergh deserves credit for really putting a team of talented performers together and making Magic Mike a full package deal. Tatum continues his incredible run, oozing his usual charm but creating a clear separation in his personality between his civilian life and what he does for a job. Though it might be due to Tatum's experience, Mike might be his deepest and most resonating character to this point, and it is primarily his contributions that make this so much more than a chick flick. I didn't think Cody Horn had a whole lot to do, but Brooke's serious, no-nonsense attitude makes a nice foil for the more laid-back Mike and Adam. And yet she's not such a different or ignorant creature that a pairing between Mike and Brooke is impossible, which is good as the film forces the idea upon us whenever they share the screen.

All he's missing are the bongos...

As for the rest of the cast, most of them have little to do besides reside in states of near-undress, but at least there's a variation in what they bring to the table. I still think Alex Pettyfer is a far more a talented actor than he has been given credit, but lousy box office returns tend to sour you in the face of Hollywood execs. Still, his villainous turn in last year's In Time was the perfect example of lightning in in a bottle, and he continues that trend as a failed college athlete who lacks the drive or commitment to make it in the real world. His is no obvious transformation, but a subtle one that doesn't change the personality of his character, but exploits his already-prevalent weaknesses over the course of the script. In all, a brilliant turn. McConaughey doesn't bring anything new, but is perfectly cast for his southern drawl and ability to pull off a thong. Olivia Munn's topless scene should be all guys need to get into the theater, and her role as a psychology student who met Mike while studying the emotional stability of strippers isn't half bad, to boot. Finally, Joe Manganiello, Matt Bomer and Adam Rodriguez can be applauded for their additions to the cast, even if most of their character development seems to have been scrapped in favor of seriously excellent dance moves.

"Now remember, they have to reach into your pocket to get the candy."

Magic Mike is certainly no fluff piece. The stripping scenes might be outrageous, the romance might be a little forced, and the twists might be somewhat predictable, but this is the type of film that rides high on character and charm, both of which it has in spades. Tatum once again scores, and it would be great if his surprising 2012 could serve as a launching pad for the young man to achieve greater things. It's not often when I am wrong (and even less so when I admit it), but Tatum actually seems to be turning into something special, not just a pretty, unproven face. As far as Magic Mike goes, he MADE it, and if he continues to work with talented directors like Soderbergh and with choice casts like the one here, there's simply no limit to how far he can go.

Time's Up

Sometimes a good hook is all a film really needs to capture its audience. When the majority of popular films out there are remakes or stories so derivative that they might as well be, anything that stands apart from the norm can, and more often than not will, excite and draw a real audience. That hook allows you to tell any story you wish, and if you do a good enough job, those people will turn to their friends afterward and tell them all about your movie, expanding your viewership at the next showing. That catchy, original idea is exactly the kind of film In Time aspires to be. When I first saw the trailer for this sci-fi thriller, it didn't matter that it starred two actors who don't do a lot for me (Justin Timberlake and Amanda Seyfried). It didn't matter that the supporting cast sported a variety of not-quite-there names including Cillian Murphy, Olivia Wilde, Vincent Kartheiser and Johnny Galecki. It didn't matter that director Andrew Niccol's previous works interested me not one whit. What did matter was the concept; a society where time is currency and the rich live forever, while the poor constantly check their chronometers to see their last minutes ticking away. Sure it's an obvious analogy to the state of inequality in the world and especially the United States today, but that single element is what drove people to the theater this past weekend. All that was left was for the director to tell his story, and hope that it's good enough for repeat performances next time around.

The name's Salas. Will Salas. And I don't dance.

Will Salas (Timberlake) is a factory worker just trying to eke out a life in the ghettos of Dayton with his 50-year-old mother Rachel (Wilde). With his wages such that he is literally living a day at a time, Will finds himself faced with perhaps competing in illegal fights (think of them as arm wrestling matches to the death) to earn some time on the side. After he rescues 105-year-old socialite Henry Hamilton (Matt Bomer) from the wrong side of the tracks, Hamilton tells him that the system in place is there to keep the rich alive and force the little people into short lifespans, for purposes of population control. He also tells Will that he is tired of his empty existence and came to the ghetto because he wanted to die. After determining that Will would not "waste his time", Hamilton passes over a century of time to Will before killing himself. Now Will has enough time on his hands to mingle with the elite of New Greenwich, but Hamilton's death is tagged as suspicious by the Timekeepers, a police force led by Raymond Leon (Murphy). Leon launches a manhunt for Will, who eventually pairs up with a rich magnate's daughter (Seyfried) and the pair become a modern day (or would it be futuristic?) Robin Hood and Maid Marion, robbing Time Banks and redistributing all the time in the world to those who have none.

Silly concept, "stairs"...

While In Time certainly carries a strong message that likely appeals to the "99%", the story itself could have used a lot more work. The action is quick paced and natural, which is why it's so annoying that it takes so long to get to such a point where we are not overly-reliant on plot exposition and dialogue heavy with overtones just to get by. After a largely empty first act, the tale gets truly underway with the escaped couple doing everything they can to screw the man and eventually each other, though in different ways. Actually, the worst thing the film could have done was force a romance between Will and Seyfried's Sylvia, as the two actors have little in the way of chemistry to make such a coupling believable. It's a shame, as the things that Niccol does well as a director (action, a strong message) are almost ruined by his overemphasis on those strengths. The action is almost good to a fault, in which a few moments arise that are beyond his talent as a director and/or beyond the budget of the special effects department. And the message is so obvious that when the film's character's sit down and spell it out so that the audience without a shadow of a doubt "gets it", it's a simple yet exhaustive exercise in frustration to sit there and take it.

Hair has seen multiple technical advancements in the future

At least the silly dialogue and direction is delivered by something akin to a decent array of talent. Seyfried is the lone poor casting choice, as in my eyes she still hasn't done enough to prove that she deserves to be a leading lady. It's clear she has some talent, but so much of her dialogue is so thrown away and flat that you're not sure whether she's just raw or simply isn't trying. I certainly won't deny that she has the looks to be a star, but if she doesn't pick up the pace there are other pretty people would kill to be in her shoes. Timberlake meanwhile has a few dull moments but otherwise puts up one of the more impressive, stripped-down performances of his career. For once, as an actor he puts aside much of his natural charm and actually plays a role that is not a simply-adapted version of himself, and it works wonderfully. Cillian Murphy is as effective as his stone-faced demeanor can carry him, and considering the bluntness of his part that actually goes a long way. As a hard-nosed but honest cop, Murphy is one of the film's villains but not one you can hate, as he's just a working stiff doing his job to the best of his ability. There's almost something admirable about his character, and Murphy plays to that exceptionally well. More villainous but less featured are Mad Men's Vincent Kartheiser as Sylvia's wealthy entrepreneur father who doesn't care about the poor people who suffer under the system and Alex Pettyfer as the leader of a gang who kill people by stealing what time their victims have for themselves.Kartheiser is effective, but the almost seems out of place among all the far more attractive folk around him, ruining my "pretty people with problems" argument before it could even take off. Pettyfer's turn as a bad guy seems like an inspired move considering how poorly his last two films (I Am Number Four and Beastly) have fared with audiences. More likely it's a coincidence, but Pettyfer manages to be charming and snooty all at the same time, and comes off as a natural leader for others to follow. I'd love to see him headline another motion picture, but perhaps he needs more of these solid supporting roles to gain a following before he tries again. Olivia Wilde is wasted in yet another movie, her brief appearance at the film's opening quickly forgotten as the story continues on with her in absentia.

Not a face you want to see at a fancy soiree

Eventually the film comes to an end that is somehow both satisfying and disappointing as once again the glorious message of inequality makes itself known and characters meet their cliched stops. As least the ending itself wasn't predictable, as just enough was juggled to leave the true ending of the heroes in doubt until the film's final moments. Still, closing scenes of triumph hearkened back to earlier scenes of defeat, and the whole thing stunk of bleak writer's cramp stunting what could have been a good film. In Time is a good hook and a great IDEA, but as a story it never grasps what it needs to be most effective, instead relying on its actors to dredge it from the mire like some cheap Jedi mind trick. It almost works, but this film is definitely one that works better in theory than in practice. I enjoyed myself, but I'm not sure I'll be recommending it to my friends, and you can bet there will be others who feel the same. A perfectly okay film that will make for a nice rental or streaming download, but not something that needs to be seen on the big screen.

The Date Night sequel nobody wanted...

Lucky Number Four

These days, I think every author of teen books is trying to replicate the monumental success of Twilight. Why shouldn't they? Besides the fact that author Stephenie Meyer's name has become nearly on par with that of Harry Potter scribe J.K. Rowling when discussing books for teens, she could literally fill a swimming pool with small bills and take a dip, so well do her books sell. Even the final book in the series - Breaking Dawn, which many FANS admit was a ridiculous mess - sold over a million copies just in the first twenty-four hours of sales. On top of that, the money generated from producing the movies based on the vampire/werewolf romance novels have been hugely successful, and made stars out of leads Robert Pattinson and Kristen Stewart. Sure, teen novels have been turned into films before, but not until Harry Potter and Twilight have they been so amazingly profitable. And if you're a production studio adapting popular series of books like these to the big screen, you have a franchise that can potentially make you guaranteed money for years to come. That brings us to I Am Number Four, based on the book by Pittacus Lore, the pen name of authors James Frey (he of A Million Little Pieces fame) and Jobie Hughes. Though the first book in this series was only released last August, the rights to the film had been purchased nearly a year prior by Michael Bay and Dreamworks pictures, hoping that the planned six-part book series would make for a popular film franchise. I don't know how that will work out for them, but I was interested enough in the premise to check out this film, even if I know I'm well past the age of the target audience.

So this is small-town America, huh? Looks dirty

I Am Number Four introduces us to the Loriens, aliens who live among us and are the last survivors of an extinct race. There are nine special teens, who were created to protect their home planet from other aliens, the warmongering Mogadorians, but never got the chance. Now separated and hiding on Earth, one teen (Alex Pettyfer) begins to develop the powers needed to fight these evil creatures and protect his new home from possible invasion. The Mogadorians have followed these escapees to our planet and hunted down three of their prey, with Number Four now in their sights.

This is going to make some things... difficult

When I saw Michael Bay's name pop up in the opening credits, I knew I was going to see a lot of special effects and explosions. He does demand things to be awesome, after all. I also expected to be put to sleep by uninteresting characters and stretches of boring exposition. I was right about the first part. Boy, was I wrong about the second. While the film has enough action and demolitions to excite at least three of your five senses (especially if you manage to see it in an IMAX theater), I was quite surprised to be greeted with a story that didn't insult my intelligence and characters I could actually sympathize with and enjoy. That isn't to say that the story was PERFECT. In the beginning there's a bit of voice-over to explain the highly descriptive background, and I was afraid there would be much more to come. Thankfully, after setting up the tale the voice overs take permanent hiatus until the film's conclusion, which made sense. Even if they could have avoided using them at all, the story probably needed these monologues to fully integrate the viewer into the film's narrative. Besides that, the film actually does a good job weaving a plot that uses a lot of tiny clues and things left unsaid to actually help move the story forward. Director D.J. Caruso is still learning to be a big-time Hollywood director, but it's a step in the right direction. The alien romance story, however, being between an inhuman outsider a young mortal woman just reeks of Twilight stink, not really a huge surprise but disappointing in its lack of originality.

Officer Jimmy had two days left until retirement

The acting here is much better than I would have imagined. England-born Pettyfer has plenty of experience playing teen novel heroes at this point. He's been Alex Rider in Stormbreaker, based on the book series by Anthony Horowitz, as well as the lead in this year's Beastly, based on Alex Flynn's reimagining of Beauty and the Beast. Just as 2010 unveiled Garrett Hedlund as a young talent to watch out for, Pettyfer might be one of a few names (including Olivia Wilde and Saoirse Ronan) to keep an eye on once the dust that is 2011 has settled. As the young outsider who has been constantly on the move since arriving on our planet, Four is tired of running and wishes he could just settle down like a normal human being. Pettyfer does a great job in this coming-of-age role, managing to act enough like a normal teen to fool many of the characters around him but different enough to make sure we realize he doesn't actually belong there. Timothy Olyphant adds a lot of character as Four's mentor Henri, a warrior from their home planet dedicated to protecting him at all costs. Some of the best scenes are the verbal interplay between Olyphant and the younger Pettyfer, with Olyphant's mentor role often getting the better of these exchanges. Other solid performances belong to Callan McAuliffe as Four's nerdy friend Sam, Teresa Palmer as a young woman hunting down Four for reasons unknown, and Lost's Kevin Durand as the leader of the evil Mogadorians. The only one who doesn't quite live up to the rest of the talent is Glee's Dianaa Agron as Sarah, Four's love interest. While the character, a former popular girl turned outsider and shunned by those who she once called friends, is interesting enough, she just doesn't quite get all the nuances of the part to fully carry it off. Credit for not making her a useless maiden in distress, though; Sarah is a committed young woman determined to live life her way, and the relationship between her and Four is realistic and honest.

Yes, you came at a bad time

The film doesn't skimp on the fireworks, and many of the inherent effects, including mutations, energy blasts and transformations look simply amazing on the big screen. Since I Am Number Four probably could have been transformed into a 3D film, like so many short-sighted action films before it, it was thankfully decided to bypass the concept in this release. 3D has been such an overused technology since James Cameron reintroduced it in 2009, and for every Piranha 3D or Resident Evil Afterlight that makes it work, there are titles like Green Hornet and Clash of the Titans for which there was no need or even competent implementation. It's an expensive format that costs millions more to make and costs movie watchers twice as much to see in the theaters, so time will tell just how much a game-changer 3D has truly become. Until then it's almost more brave to make this kind of film WITHOUT the 3D label and declare that you don't need all that extra glitz to create an experience worth watching.

Is The Hunger Games next for Pettyfer?

While the story is really no different from teen entertainment like Twilight or the old WB/UPN show Roswell, the fact remains that I Am Number Four is a by-the-numbers teen action film done well enough to be a great experience. It lacks some subtlety, but that's on par for a film financed by Bay. It's currently my #1 for 2011, though I doubt it will have the staying power to remain the whole year on the list. I still question whether a viable franchise can be built out of an unknown quanitity like this. Twilight was in book form for three years before a film was put out. Harry Potter and the Sorcerer's Stone took four years between book and film releases. The point I'm trying to make is that you can't force a franchise into existence; sometimes it's those happy mistakes and unforseen events that create the built-in audience you want in a motion picture. When you try to force it, you end up with disappointing returns because there's not enough teenagers giving a damn about your film to spend the money or time, as evidenced by this past weekend's box office. I may not be a Twilight fan, but even I can see how the vampire series made such an impact while Four has struggled out the gate.