Open Letters Monthly: Machete Kills

The original Machete was a "meh" movie. Paying homage to the exploitation-style "B" movies of the sixties and seventies, the action-packed film was a bit unique thanks to its Latino focus and casting, courtesy of creator Robert Rodriguez. While the original could only be called a modest success, the filmmakers of sequel Machete Kills have gone all out, expanding the cast, scope and budget. But does that mean you should take the time to check out the sequel to a movie that wasn't all that great to begin with?

The original Mexican vigilante returns to when the US government calls upon him to return to his native land. There, a revolutionary has built an advanced missile to launch against Washington D.C. unless his demands are met. Though he is devastated by a personal tragedy and uneasy about returning home, Machete Cortez finds himself in his element as he finds himself fighting also fighting against bounty hunters,  double agents, arms dealers, and every single bad guy back home.

Machete Kills is directed by Robert Rodriguez and stars Danny Trejo, Michelle Rodriguez, Sofia Vergara, Amber Heard, Lady Gaga, Antonio Banderas, Cuba Gooding Jr., Jessica Alba, Demian Bichir, Mel Gibson and "Carlos Estevez" (Charlie Sheen).

Click here for the full review at Open Letters Monthly.

Strike Twice

We're finally in August, and as most of this past summer has featured one major movie a week with very little in the way of alternative fare, it's nice to finally see more than a few options on the table. This August not only adds more titles I want to see than existed the entirety of the last few months, but some of the films I've been most anticipating this year. One of those films was the second film directed by Jonathan Dayton and Valerie Faris, Ruby Sparks. Their eventual follow-up to the surprisingly wonderful 2006 movie Little Miss Sunshine, this was a tale with a talented cast, seemingly proven directors, and a fascinating story.

In the screenplay by Zoe Kazan, Calvin (Paul Dano), a once-successful novelist is suffering from a severe case of writer's block. Ten years after writing an extremely popular work of fiction, he is frustrating his agent and publisher with his inability to get anything down on paper. Regular visits to his therapist are little help, until Calvin  literally discovers the girl of his dreams. Inspired, Calvin creates the life of Ruby Sparks, a 26-year-old with a history of romantic follies and a bubbly personality of which he cannot get enough. Calvin falls in love with Ruby, even as he knows that he cannot practically fall in love with his own creation. Then the most amazing thing happens. After a night of writing, Calvin descends into his kitchen to discover Ruby Sparks, just as he has written her. And she is very much real.

Tell me you wouldn't want to wake up to this just once.

That magical element of Ruby Sparks is what makes the film so interesting, and certainly lays the groundwork for the moral dilemmas and questions of what makes you and I real that fill the script. Upon discovering that whatever he writes about Ruby comes true, Calvin at first makes the correct decision and decides not to write anymore, determining that he loves Ruby just the way she is (Ruby in turn doesn't know she's a fictional creation). But when the "honeymoon" portion of their relationship ends and Calvin finds some of Ruby's personality quirks irksome, he is tempted to write one sentence and "fix" things (as you can tell, it doesn't always work out the way he thinks). Burdened by the fallout of his previous failed relationships, Calvin doesn't want to risk losing the supposed love of his life. In Kazan's story, we get to see both sides to the issue, and how none of the decisions made are done so lightly.

Yes, they play brothers. No, I don't buy it either.

Of course, while these moments abound in the film, so too do many dry spells and dead spots thanks to uninteresting or unnecessary characters and a lack of solid ideas. This wouldn't be a problem if the film exhibited the same sort of natural charm that helped Little Miss Sunshine succeed, but the directors strangely struggle in replicating that effort here. That certainly didn't help, especially as every moment past the film's halfway mark makes Calvin less and less sympathetic a character, and unlike his Sunshine co-stars Steve Carrell or Abigail Breslin, Dano does not seem to have the ability to exude charisma on his own. Better is co-star Kazan, who is a ball of energy that can be redirected anywhere at a moment's notice. All of their co-stars, which includes Antonio Banderas, Annette Bening, Steve Coogan, Elliott Gould and Chris Messina, are good talents, but the script restricts just how much they contribute to the story as a whole.

That's a LOT of foliage...

If there's one word with which I could describe how the film made me feel, the most obvious that comes to mind is "uncomfortable". That's mostly in relation to the romance between Calvin and Ruby, and in a way it's the reason the film's story is as solid as it is. Romance in Hollywood tends to be uncomplicated, clean and without major issues. Romance in Ruby Sparks is complicated, messy and full of unseen dangers. In other words, the relationship between Calvin and Ruby is at times uncomfortable to watch because real relationships can in fact be uncomfortable, and being with your "soul mate" is never as easy as fiction would let you believe. Unfortunately, while Kazan manages to encapsulate the ups and downs of real-life romance, it doesn't make for a particularly lovely experience, unless you happen to thrive on conflict. The reason Hollywood romances starring Channing Tatum or Ryan Gosling are so beloved is that they're pipe dreams. Plenty of people already know how complicated real life can be. That's why Sparks is only playing at about a dozen theaters around the country.

As my compatriot used to call it, a "Hot Mess".

Still, I can't help but like Ruby Sparks, even if it didn't live up to my expectations. Kazan is a breakout star, and does a great job carrying the film, whether it was on the acting or writing sides. This movie is a complex mix of fantasy and reality that, while at times seeming a bit too much, really makes you change your perspective on what makes for a "successful" relationship. It's a quality release, and one I'd recommend seeing, though perhaps a film that would be better explored on the small screen.

The Ass-Kicking of 2012

The career of director Steven Soderbergh has been a strange one. After his debut film Sex Lies and Videotape made him a household name (and earned him the Palm D’Or at Cannes) back in 1989, Soderbergh went on to become one of the most popular directors of the modern era, with a filmography that includes Out of Sight, Erin Brockovich, Traffic, and the unimaginably successful Oceans trilogy. While some of his work is perhaps a bit overrated (the mediocre Contagion comes to mind), anyone should be able to appreciate the boundaries he attempts to breach with his filmmaking. That creativity of his has become more pronounced in recent years, as 2008’s Che was so long it had to be split into two parts for theatrical release, and he took an enormous chance in hiring then-active porn star Sasha Grey to headline his street-level look of humanity in The Girlfriend Experience. He’s even the director behind the Channing Tatum stripper biopic Magic Mike, due out later this year. But the most anticipated of his new films, at least in my eyes, has been the female-centric action film Haywire, starring former MMA fighter Gina Carano. Carano had been approached by Soderbergh to star in his new action film back in 2009, and as she had just lost a high-profile match to Cristiane “Cyborg” Santos and was looking to get out of the MMA spotlight, she took him up on the offer. It would not be her first film appearance (That would be the cult film Ring Girls), but this would be the first major motion picture to feature the potential action star out in front, where the world could see what so far only a few had actually witnessed of her abilities.

Gun play thankfully is kept to a minimum

Told in flashbacks, Haywire relates the story of how mercenary Mallory Kane (Carano) has come to be on the run from her former employers after they framed her for a crime she did not commit. The scion of a military family and a former marine in her own right, Mallory was the best agent the firm had, and was just about to take her earnings an move on to more relaxing climes. Now she must fight her way through a private army of goons, assassins and generally unlikable sorts to learn why she has been betrayed, and attempt to reclaim her old life by any means necessary.

Yes, our old friend (and Oscar snub) Fassbender is here...

There’s one important thing to remember when watching Haywire: if a character other than Mallory has an ass, it’s most likely going to get itself kicked. Soderbergh designed Mallory to be a versatile weapon of mass destruction, and Carano fills that gap admirably by beating up anybody that gets between her and victory. Mallory is also shown as being extremely dedicated, living by a moral code, incredibly intelligent and knowing exactly what she wants and how to get it. The only real flaw with Mallory is that she really HAS no flaws, with only the diminutive stature she brings against her larger, male opponents anything close to a weakness. Seeing her in action, it’s apparent that slight edge doesn’t last long, and as one character advises another, thinking of Mallory (or Carano, for that matter) as just a woman “would be a mistake.” With amazing camera work, Soderbergh captures elements both beautiful and ugly in the fight scenes, moving between graceful athleticism and brute force whenever necessary. There are precious few action heroines in the business, and Carano’s addition is one not to be taken lightly, even for a moment.

Turning an Uzi into a blowtorch in six easy steps...

Speaking of Miss Carano, I would have settled for her performance to be dry, dull, and propped up by the more experienced names on the cast list. I honestly wasn't sure an untrained actress would be able to carry such a burden on her first major attempt, and figured that the reason Soderbergh surrounded her with such talent was to offset her own limitations. Silly me. Carano, while not always perfect, still manages to do a whole lot correctly, turning Mallory from a potential black hole of personality into an real life character, one with all the strengths I listed earlier. I don't doubt that the offers will start rolling in, and Carano will amass a decent film career thanks to this amazing start. That said, her supporting cast slouches only slightly, and while not everyone is worth their weight in gold, they do enough to help propel the story forward. Ewan McGregor is smarmy and sly in the main antagonist role, a reversal put to good effect in the case of his usually charming demeanor. In small roles, Michael Fassbender, Channing Tatum and Bill Paxton do their share of adding to the film when need be. And Michael Douglas chews the appropriate amount of scenery as a government suit. Despite a sagging Antonio Banderas, this is a well-acted film with deep characters and believable interactions, and is as great as it is thanks to Carano being able to carry it on her shoulders for most of the time.

Guess who'll win this one

Despite a well-told and fast-paced tale, a few details still manage to go missing, and some leaps in the film's logic aren't always cleanly explained when they are. Regardless, Haywire should be considered a success both in the final product and in the casting of Carano in a leading role. What the MMA hoarded for four years is finally out of the box, and I'll be sorely disappointed if this talented young woman doesn't go from being the "Face of Women's MMA" to the face on movie posters across the nation. There are a few female action stars in Hollywood right now, but I have little doubt that this woman has the strength, charisma and determination to best them all. At least for now, she stars in the #1 film of 2012.

Foot Fetish

For 2011, I set out a few goals for myself with the intention being to expand my overall film knowledge and prowess. The first was to of course continue writing these posts three times a week, forcing me to see new things as often as possible. The second was to see every single Academy-Award nominated feature film for 2011, whether it be on the big screen or DVD. Finally, I had to stop ignoring major genres, especially animated films. I've missed a lot in the theater in recent years, most notably the second and third entries in the Toy Story series (which I still haven't seen) and Wall-E and Up (which I eventually did see on DVD). It's actually pretty funny how I often resign this genre to being "just for kids" when the best animated films have something for people of all ages, and even Up and Toy Story 3 were arguably geared more for adults than they were for kids. I DO like animated films in general (Beauty and the Beast is in my top 5 all time), but I often don't show it enough love. And so even though this year I've already missed a lawn ornament take on a Shakespeare classic (Gnomeo and Juliet) and one of the biggest box office bombs EVER (Mars Needs Moms), I've also made an effort to see a wild west/animal hybrid (Rango) and a sequel to a Best Animated Film nominee (Kung Fu Panda 2). This doesn't mean I'll go out of my way to see Cars 2 (I'm not COMPLETELY crazy), but I admit that I was at least interested in seeing Puss in Boots when I learned the Shrek character was getting his own westernized spin-off. I've never seen any of the Shrek films, but combining one part Antonio Banderas, one part Zorro, and one part cute fluffy cat was enough to keep up my interest, even without an extensive knowledge of the universe that spawned this sword-wielding pussy cat.

He's a bad kitty

In a story from before the days in which he traveled with a certain green ogre, Puss in Boots (Banderas) is an outlaw of the sandy deserts. Known for his flamboyant charm, rapier wit and sharp... rapier... Puss is an outlaw trying to clear his name of the wrongful accusations of which he has been charged. When he hears about a legend he had searched for much of his life, the Magic Beans, he cannot help but be intrigued, as he has been searching for most of his life for them. These beans are supposed to help lead to a magical castle and a goose that lays golden eggs. Knowing that just a few of those eggs will pay his debts and set him up for life, Puss teams up with old friend Humpty Alexander Dumpty (Zach Galifianakis) and clever cat burgler Kitty Softpaws (Salma Hayek) to find the treasure before psychotic husband and wife Jack and Jill (Billy Bob Thornton and Amy Sedaris) get there first.

Never send an Egg to do a cat's job...

As with the Shrek franchise, Puss in Boots borrows liberally from children's folklore in manufacturing this story. It borrows mostly from nursery rhymes like Humpty Dumpty and Jack and Jill, and of course the magic beans and the golden goose come straight out of Jack and the Beanstalk. With the possible exception of Salma Hayek's character, there is very little in the way of original material; what IS original is the method in which it is used, borrowing from Shrek's parody universe but incorporating the Mariachi Western theme that makes it feel wholly unique. The animation is nearly top class, looking perhaps not as perfectly as Wall-E or even this year's Rango, but standing out in more than a few places. Music is where the film shines brightest however; between the score of Henry Pryce Jackman and two songs by acoustic guitar duo Rodrigo Y Gabriela, the music manages to perfectly capture the magical and mysterious essences the film provides.

He hates to drink and run, but he will anyway

It's a shame the character design can't live up to the promise present in the film's lead. In Puss, Antonio Banderas has arguably his most well-known character, and a comeback of sorts after a steadily-decreasing level of importance in the Hollywood eye over the past decade. While it's ironic that a man so renowned for his sex appeal around the globe might be best recognized in this day and age as an orange tabby cat with an epee, to be recognized in this manner is no small feat, as it is Banderas' attitude and swagger that makes Puss so heroic and admirable. And Hayek comfortably slips between moods as Puss's equivalent Kitty Softpaws. If only Hayek (or the vocal director) could have actually made a decision as to whether or not Kitty actually has an accent. While most of her English is spotless, there is enough Mexicana poking through that one wonders whether she meant to do so or the people recording her voice just didn't care. Amy Sedaris and Billy Bob Thornton are good if underused as the villainous Jack and Jill, though they're no stretch from any similar characters in film. The only real disappointment is Zach Galifianakis, and that might not be entirely his fault. Every moment with Humpty Dumpty is relatively mediocre, and considering that we're not MEANT to like him, that's hardly a real surprise. However, Galifianakis was just not right for this role, as he doesn't have a compelling enough voice to go the animation career route. As proven in The Hangover and its sequel, he is a very physical actor, with his mannerisms complimenting his relatively deadpan voice to create perfect hilarity. Without actually being able to see the actor (and the character model is a poor replacement), there's no reason to really care about him.

Some cats just stand taller

And that matters, since we have to actually care about for the last act to carry any impact. Unfortunately, that is scarcely the case, as Puss in Boots fares well early on but limps sadly into the sunset. Remember how I said early on that the best animated films could be fun for adults too? Puss in Boots didn't get that memo, as what I saw was certainly entertaining for kids and failing miserably in its attempt to rope grown-ups into the mix. Certainly charming in its own right, Puss tries its hardest to become more than just a Shrek knockoff, but doesn't seem to know where to start. Still, with a true lack of big-name animated franchises these days (not to mention a record-breaking October debut), you can be sure that these filmmakers will be more than willing to try again in a few years.