'Grudge Match' Past its Prime

Rocky Balboa fighting Jake LaMotta sounds like it should be a fan film, or maybe part of an unlockable secret mode in the Fight Night video game series, instead of a full-length motion picture. But that's the idea (at least in the marketing) behind Grudge Match, a sports comedy from a director who at least has some experience in that genre (but also Adam Sandler movies).

The movie pits Sylvester Stallone against Robert DeNiro - as Henry "Razor" Sharp and Billy "The Kid" McDonnen respectively - rival boxers who once upon a time fought one another in a series of epic bouts. But one man's retirement to prevent the deciding tiebreaker, shocking everybody and preventing the pair from settling the score once and for all. Thirty years later, circumstances and one very determined fight promoter (Kevin Hart) force them to face one another again, and despite their advanced age and diminished physical prowess, both find they really want this final fight. And as comedies released on Christmas goes, this has all the elements of a straightforward crowd-pleaser (not surprising, as it's from director Peter Segal, whose movies tend to draw crowds even as they repel critics). But does that premise work well for a feature, or does it turn into a featherweight come midnight?

Worst name for a PPV event, ever.

Well, it does work, kind of. We get to know each of our warriors right off the bat, and that's where things immediately start to fall flat. It's obvious from the get-go that we're supposed to be rooting for Razor, as thirty years ago he lost the girl (Kim Basinger), his will to go on with boxing, and to top it all off  was robbed of his winnings by his crooked promoter. He's easily got the most to reclaim, and getting his life back on track is a noble, well-trod goal in sports films. 

It's the small guys you have to watch out for.

Kid, meanwhile, is... an unrepentant, narcissistic asshole. I get that it's kind of close to De Niro's Raging Bull role, but when you have two heavyweights (and I mean from stardom and character development standpoints, not weight class) headlining your movie, you need to give them both a reason to resonate with the audience. Can you imagine Warrior if you had not been able to connect with the roles of BOTH Joel Edgerton and Tom Hardy? Giving both sides an emotional stake in the climactic fight is extremely important, but Kid doesn't have anything besides his pride on the table. Unlike Razor, he doesn't really need the money, attention or family to fulfill his needs (although he does connect with his illegitimate son, played by Jon Bernthal). He just wants to win to satisfy his ego. There's no reason to root for Kid, making De Niro's contributions to the film somewhat moot, since he's not even treated like the kind of straight-up villain who would NORMALLY only need the restoration of his pride as the ultimate goal.

Sixteen years after winning that Oscar, she's back in crap.

Grudge Match does make up some ground with how it treats its secondary characters, all of whom add significantly to the story. A REALLY bad movie would have overused the two most popular and humor-friendly members of the cast - Hart and Alan Arkin - to the point of annoyance. Instead, all the supporting actors have an equal responsibility for progressing the plot, and are used no more than they are absolutely needed. Now, I might have LIKED more output by Hart, who is close to becoming one of Hollywood's breakout comedic stars, especially since he's the funniest part of this movie and his absence is pretty keenly felt by the audience. And while I'm not his biggest fan, having Arkin on screen here is infinitely better than when there's NO Arkin on screen. And when you think about it, there's nothing funny about Stallone or De Niro, which is odd when you remember that this is supposed to be a sports COMEDY, not a sports DRAMA. Hart and Arkin are absolutely necessary to making the movie even remotely funny, and when they're not around, there's nobody else to pick up the slack. It would have even made sense for Segal to lean on these two actors, as he doesn't have the makings of a GREAT movie on his hands to justify being economical with their usage. Grudge Match needed more from these two, but never quite figured that out in time.

Free Kevin Hart! We want Ride Along!

From an inspirational sports comedy perspective, the rest plays out in a fairly normal fashion. Though Tim Kelleher and Rodney Rothman have mostly worked on television, their screenplay moves the story along smoothly, getting our heroes back into fighting shape, dealing with one antother's presence and tackling their personal issues in standard, unsurprising ways. That's the other major problem with the movie, as there's nothing here that catches you off guard in the way a good sports movie will often do. It's all fairly straightforward, and the few niggling plot threads are sewn up pretty quickly. I don't expect a genius story to come from Segal's editing room (this is the man who brought us Get Smart and Anger Management, after all), but a little bit of complexity would have been a welcome addition to a movie that has no real surprises in store. 

That is not a flattering shade of green.

Even with all of Grudge Match's flaws, there's still a bit of nostalgic fun in seeing Rocky and Jake square off in the third act, giving the film a nice boost of charm. It's too bad that this feels required, however, as without that particular face-off this is a title that needed a lot more polish if it was going to be anything decent. It's not even particularly funny, as there just aren't enough humorous elements to magically transform it into the comedy it bills itself as. Instead, Grudge Match is instantly forgettable, especially when you consider how many superior theatrical options are available right now. If you really, desperately want to see that fictionally iconic match-up, it'll still be there when the DVD is released, but otherwise there's absolutely no reason to run out there to see it right now.

Bad Boys of 'Last Vegas'

Sometimes old men just want to act like young men. That's the message of Last Vegas, which brings some talented veteran actors into the territory settled by the likes of a young Nicolas Cage, Bradley Cooper and Ashton Kutcher. In the film, four childhood friends meet up in Las Vegas for a bachelor party and a wedding, each going through their own personal crisis. Billy (Michael Douglas) is marrying a woman half his age, but is conflicted over whether he really loves her. Sam (Kevin Kline) is recovering from yet another joint replacement surgery and is unsatisfied with the way his life has become. Art (Morgan Freeman) recently recovered from a stroke but feels coddled at the hands of his worrying son. Paddy (Robert De Niro) still mourns the loss of his wife a year before, and has some unresolved issues with Billy. As they arrive in the city of sin, each is rearing to let loose and have a good time, but they're not prepared for what is thrown their way in Las Vegas, and what it will mean for their friendship as a whole.

The boys are back in town

Naturally, the best part of Last Vegas are the interactions between the main actors themselves. Each performer has their own distinct strength to bring to the table, from Douglas' easygoing charm to Kline's peppy spryness to De Niro's tough guy attitude to Freeman's mellow voice and quick wit. From then opening scene (which features the characters as children), we understand the balance of their friendship, and it helps when the actors are diverse enough to be distinctive but alike enough for the audience to understand why they would be friends (you know, just like real life). That said, I do wish the pairings had been more diverse; De Niro and Douglas are almost always paired with one another, while Kline and Freeman play more of a comedic duo when they're by themselves. De Niro, meanwhile, never pairs with Freeman or Kline with Douglas, meaning their interactions are sadly limited. Still, the script does a good job of giving each lead their own arc, and of integrating Mary Steenburgen into the all-male cast, even if it is just as the love interest torn between two men.

Well, she's got a captive audience.

As director Jon Turteltaub has done in the past, he proves he can create a film that appeals to broad segments of the population. While perhaps not as kid-friendly as The Sorcerer's Apprentice or the National Treasure franchise (mainly because of Las Vegas' well-deserved reputation in general), Last Vegas can easily be enjoyed by any adult watching. In effect, it is the complete opposite of the gonzo, up-the-ante humor method that The Hangover and its sequels employed. The laughs here are certainly innocuous enough, relying mainly on the interplay between the main characters and generic jokes about old age, though the quality of the actors does raise the quality somewhat. There are some genuinely laugh-out-loud moments but to be honest, most of the film will only get silent chuckles, though the point should be raised that never does the humor fall flat.

...and special celebrity referee Morgan Freeman!

If there's one place Last Vegas fails, it's the dramatic story between Billy and Paddy. Without giving away too much, their off-screen feud is one of the oldest cliches in Hollywood storytelling, not to mention one that they reenact in the present day (past and future reflecting one another is another Hollywood cliche). Despite both Douglas and De Niro performing well enough to carry the tale, they can't get away from the fact that their story is nothing new, even with the unique (though not as much as it used to be) setting and strong acting performances to back it up. It also doesn't help that Kline and Freeman's characters have nothing to add to that mix; as I mentioned before, they're mainly for comedic relief, adding no dramatic tension to the overall plot.

To another year of relevance!

Despite the film's many flaws (Turteltaub will never be confused as a "great" Hollywood director), Last Vegas is still very much a fun time at the movies. It's relatively safe, taking no risks whatsoever with its plot and character development, but the humor stands out, as does the fact that we never get to see veteran performers have so much fun on the big screen. Usually, this kind of movie is a young man's game, and these four actors put Hollywood on notice that old men can -and want to - have fun, too. Now they just need a better vehicle to do it with, as Last Vegas is a decent, but not quite worthy effort to get these four men out of supporting roles and back into the limelight where somebody seems to think they still belong.

Family Matters

And just like that, we go from one of the year's best movies to one that is... not quite so close to that pedestal. Based on Tonino Benacquista's mobster novel 'Malavita', The Family is the first movie from Frenchman Luc Besson to get a wide release in the States since 2006's Arthur and the Invisibles. Despite gaining fame in the director's chair for such fare as Leon: The Professional and The Fifth Element, Besson is nowadays better known as a producer, and his tutelage has helped develop many films we still love today, including the Transporter series, Taken and more recently Colombiana and Lockout. Producing would seem to be his strength, but every so often he steps back into the director's chair when it suits him, this time to tackle the violent comedy that has often been his staple.

In this case, the story of The Family is based on the duality of the title. On one side is the family you raise; father, mother, children, the family pet. This is the family of blood ties, the ones you love unconditionally. The other "family" is the mob; ruthless, bloodthirsty and loyal to one another and the "don", the father of the gang. It's these two families Giovanni Manzoni (Robert De Niro) is forced to choose between, and his snitching on the mafia has forced his remaining family - wife Maggie (Michelle Pfeiffer) and children Belle (Dianna Agron) and Warren (John D'Leo) - deep into hiding with the witness protection program. Under the watchful and humorless eye of FBI agent Stansfield (Tommy Lee Jones), the Manzoni's attempt to carve out a new life in their new Normandy home. But old habits are hard to break, though their issues with authority may be their smallest concerns if Giovanni's former family were ever to find out where they were hiding.

Man, De Niro is not young anymore.

The immediate problem I see when The Family gets going is an utter lack of focus. Yes, the main plot is about the mob locating and trying to murder the Manzonis (thanks to an series of impossibly contrived circumstances), but in truth only about twenty minutes of the nearly two-hour flick even deals with this thread, and poorly at that. Instead most of the movie is split between each character's side story. Giovanni tries to face and justify his criminal past by writing his tell-all memoirs, while also tracking down why the water coming out of his pipes is brown. Maggie struggles to adapt to her new surroundings and the unwelcoming personalities of rural France. Belle crushes on a college student and fights off unwanted advances, while Warren turns his new school into his own little mafia training ground. Each character has plenty to do, although it matters little; this is a group of antisocial, hyper-violent malcontents, and the fact that they are the heroes of the tale can't help but feel a little bit wrong. For instance, while it's great to see Agron's character take down a group of boys who were going to try and have their way with her, you can't help but enjoy. But when she has the exact same reaction to a girl who steals her pencil case, you get the feeling that maybe it's not such a good idea to root for these people after all.

This is generally the first sign that your family might be insane.

At least they're admirably acted... well, most of them in any case. De Niro appears to be having a grand old time, especially since the film both lampoons and pays homage to the mobster flicks that made him a household name (in one particularly meta scene, he enjoys a viewing with some associates of Martin Scorcese's Goodfellas), and that energy translates into his performance, which is a step above his usual mobster routine. Jones meanwhile puts in his usual "Agent K" effort, resisting the urge to smile and humanize himself for the sake of levity. For those in the audience who like him, it'll be like Christmas in the Fall. For those who are not Jones' fans, The Family will be another example of his supposed mediocrity. Meanwhile, the film handily belongs to the ladies. Pfeiffer resumes her career resurgence by proving that she is willing and able to go hand-in-hand with De Niro's madness, while the aforementioned Agron is delightfully devilish as a daughter who is more alike to her parents than she would like to admit. I know I put down her role a little bit in the last paragraph, but I would like to clarify: any problems I have with the characters in this movie are not the result of the acting, but a lousy script - co-written by Besson and Michael Caleo - that the actors have to do their best to overcome. Most of them - D'Leo's cliched mob son notwithstanding - manage to do just that, although the clear winners here are definitely Pfeiffer and Agron.

She just can't get out of high school though.

When the time the movie comes to a jarring halt (thanks to an unarguably terrible ending), you can't help but feel that Besson might have benefited from staying out of the director's chair for this one. Plot threads are left wholly unexplored or incomplete, characters take paths completely outside their established behaviors, and the tonal changes of The Family so quickly shudder between violent comedy and serious thriller that it's clear there was an identity crisis on set. With gag scenes quickly giving way to vindictive cruelty, one has to believe that Besson's lack of polish here was an unintentional one, and that The Family fails to make its mark thanks to rustiness and not merely ineptitude. There are sparks of wit and charm scattered throughout the film, enough to suggest that this could even have been a GOOD film in someone else's hands. Sadly, Besson did not play to his strengths as a producer, and The Family suffers from his neglect.

"Forgive me, Lord, for I am about to sin."

Double Feature: Silver Linings Playbook and Red Dawn

I've been having major problems with the Internet at my place lately, to the tune of days at a time without service on the network. That's mainly what caused my recent difficulties with posting, so hopefully the new cable modem and the threatening letters to my service provider means I'll be posting with regularity for the extended future. Of course, that also means I'm catching up on some serious movie reviewing, so today will be another double feature from flicks I've seen recently.

I've been looking forward to Silver Linings Playbook for a while now, for a number of reasons. For one, it's director David O. Russell's much-anticipated follow-up to his excellent The Fighter. Second, it carries a talented cast including Bradley Cooper, Jennifer Lawrence and Robert De Niro. Third, it featured what appeared to be a unique and somewhat comedic look at the world of mental illness, a move that is either very brave or very, very foolhardy. The story focuses on bipolar sufferer Pat Solitano (Cooper), who returns to his parents' home after eight months in a mental health facility and the violent outburst that landed him there in the first place. As he struggles to cope with his illness and tries to win back his wife, he meets Tiffany (Lawrence), the widowed sister-in-law of one of his friends. Tiffany suffers from issues stemming from her late husband's death, and soon the pair strike up a somewhat antagonistic friendship in preparing for a local dance competition. But while Pat still pines after his departed wife, does Tiffany hold a torch for Pat?

They agreed to never speak of that photo again.

Silver Linings Playbook is definitely an actor's dream, and its performers are probably the reason it has received such universal acclaim. Russell did an amazing job putting together his cast, who carry the story on their immensely-talented shoulders. Cooper continues to grow as an actor, showing even more depth here than he did in September's The Words, and continues to look like the next generation's superstar. But it's Lawrence who commands the screen, and not just because of her looks. It's easy to forget how young she was when this film was made, as her performance makes her look decades more experienced. It's almost a shame she's locked up for three more Hunger Games sequels, as she really should focus on this side of herself as an actress; more mature performances and a strong presence will not go unnoticed. De Niro and Jacki Weaver do good work as Pat's parents, and their additions create one of film's better family dynamics. Together, their highly dysfunctional family will speak to those who come from similar circumstances, funny and sad all at once. It certainly hearkens back to the familial struggles of The Fighter, and Russell definitely takes advantage of the chaos of an arguing family to make for some singularly impressive scenes.

Scenes with just the two of them are fine, as well.

Unfortunately, the film has a few problems. One is that despite immense acting talents, very few of the character are likable at all. You don't find yourself rooting for them to recover so much as you hope the redemption angle makes its way about so you CAN root for someone.The characters are so mired in their issues that they somehow forget that we have to like them for the story to have any meaning. Also, for all the use of mental illness as a twist on the usual romantic comedy genre, that's the extent of the differences between Russell's film and everything else. Behind the mental illness smokescreen, this is just another romantic film, complete with the usual tropes. The result is that Silver Linings Playbook is not nearly as original as it would have you believe. If you're okay with a slightly upgraded romantic comedy and can sit through some completely unlikable bits, Silver Linings Playbook is worth your time. But it's just not the awards darling critics are making it out to be, and you might be happier waiting for DVD than catching this in the theater.

I actually enjoyed the delayed remake of Red Dawn better than the romantic comedy, surprisingly. I was introduced to the 1984 original while at a friend's house just a few years ago, as we played a drinking game based on the DVD's oughta-be-classic "Carnage Counter", which kept track of deaths, explosions and other gooey occurrences. As you can imagine with a movie based on the idea of a Russian military invasion of the United States, the counter climbed quickly, and the group of us proceeded to get drunk off of our asses. The 2012 version, which sat on a shelf for two years thanks to MGM's bankruptcy problems, features a bevy of young actors, and Chris Hemsworth and Josh Hutcherson have turned themselves into genuine stars in the years since its filming. So it's nice to see early, rough performances from them in a remake that replaces Russians with Chinese, and then digitally into North Koreans to avoid pissing on the Chinese box office.

In Spokane, Washington, the world is just as it should be. Jed Eckert (Hemsworth) is home from a tour of duty in the Middle East. His younger brother Matt (Josh Peck) is a young school football star with loving girlfriend (Isabel Lucas). Jed and Matt have always had issues with one another, but when the North Korean military suddenly and violently invades the country, they must put that aside and escape capture. Teaming up with other teens who managed to evade the army, they dub themselves Wolverines, and under Jed's leadership wage a guerrilla war against the occupying force.

At 5'11, Palicki makes Hemsworth not seem quite as tall.

One distinct advantage Red Dawn has over its progenitor is that even if you've seen the original, you won't be able to predict the outcome of the remake. Sure, the overarching storyline is more or less the same, but the way former stunt coordinator and first-time director Dan Bradley uses his cast and story is so far removed from its inspiration that they barely resemble one another. While the script uses the usual action cliches, the young cast that also includes Connor Cruise and the perpetually up-and-coming Adrianne Palicki make it work for them. Bradley shows a real know-how for the action genre, quickly establishing himself as a potential go-to for future projects. His film features the right amount of drama, action and humor, and while the characters aren't especially deep, they are typically likable for a number of reasons. Peck is also surprisingly strong in a co-lead role, an unexpected development when he's surrounded by many more talented performers (and as he's one of the few actors not to have broken out since its filming).

A new take on Gladiator?

Bradley's film does have a few hiccups; in one scene a couple of teens die rather unceremoniously and without actual certainty that it happened until much later, and the entire concept of a North Korean invasion is way more far-fetched than 1984's Russian/Cuban attack. As I mentioned before, it was supposed to be the Chinese invading our shores, but with China's box office now being one of the top moneymakers on the international scene, it's seen by many as foolish to make China seem aggressive in movies. And so MGM made some changes to avoid being blacklisted completely. The problem is that what would have made China more believable was it's massive population. North Korea can't make that same claim, and the idea of their military managing a successful invasion of our home is so ridiculous that it makes Red Dawn feel more like the blatantly 2'nd Amendment-thumping piece I thought it would be. The movie does its best to make up for that issue, but leaves it an obvious play for Chinese dollars. Still, Red Dawn is a pleasant surprise from a first-time director, and if MGM had managed to stick it out for another year, I wonder what this, Cabin in the Woods and Skyfall could have done to reverse its financial windfall. It's a moot point, and those films all eventually got their time in the sun. If you're hankering for a good action flick, you can safely nab a ticket to this and enjoy the experience.

Kill Me Now

So I'm wondering what the difference is between 2011 releases Killer Elite and The Mechanic. Both are simple action films starring English superstar Jason Statham. Both feature mercenaries, lots of gunfire, explosions and almost criminal amounts of bloodletting. But there is one major difference between the January-released The Mechanic and the more recent Killer Elite, and that is the fact that the newer release brings in primo acting talent to pad it's roster. Okay, that's something of an over-simplification. Sure, the earlier film paired Statham with legitamite talents in Ben Foster and Donald Sutherland, but neither man is a real headliner; Foster has never really been the front man of a hit film, and Sutherland will appear pretty much wherever he's told these days. So it's supposedly a big step forward when Clive Owen and Robert De Niro reveal themselves as the action hero's new castmates, and are the biggest reason people were given to see this in the theaters over a number of other uninspiring fall releases. Sure, Owen hasn't really been a big deal since 2004's Closer, but nobody who has ever seen him perform can deny his talents. And De Niro is always a draw, even though he hasn't had to really "act" in decades. Now we damand an answer to the question of which is better: the under-the-radar The Mechanic, or Killer Elite, with much more expected in turn?

Don't worry about acting; just do your usual thing

Based on the 1991 novel The Feather Men by adventurer Sir Ranulph Fiennes, Killer Elite takes us to 1980 and introduces us to retired mercenary Danny Bryce (Statham). After a Mexican operation gone bad, Danny steps away from the business, returning to his native Australia and into a romantic relationship with childhood friend Anne Frazier (Yvonne Strahovski). One year later he is dragged back into the business when his former colleague, an American named Hunter (De Niro), fails to perform a $6 million job for an exiled Sheik and is henceforth captured. Holding Hunter as ransom, the Sheik and his agent force Danny to take the job Hunter defaulted on, the assassination of three British Special Air Service agents responsible for the murders of the Sheik's sons during conflict in Oman. Danny reluctantly agrees, but killing the agents gains the attention of a shadow group of former SAS known as Feather Men and their ruthless field agent Spike Logan (Owen). Soon Logan is hunting down Danny and his band of fellow assassins, and soon it is killer versus killer as Danny fights to free his friend while Logan fights to put Danny six feet under.

Not your average attractive one-noted female character

For an action film, Killer Elite doesn't do too poorly in that department when it comes to the visual splendor. While many of the fight scenes are shot up close to obscure the action (and Clive Owens' stunt doubles, surely), it's thankfully not done to the point where you can't follow what is happening on the screen. Statham is as fun to watch as a physical performer now as when he broke out in the action scene in 2002's The Transporter, and dominates every action scene presented. There are a few non-Statham action scenes that are poorer by comparison, but still manage to convey the excitement intended. While there are a few scenes that are completely unrealistic even for the genre (such as Hunter taking down an enemy at a distance with a silenced pistol), most of the film at least maintains a good sense of realism, which is important when you're claiming to be based on a true story.

In the 80's, shitty mustaches were far more forgiven

Acting-wise, this is no great collection of personalities, despite the addition of big-name performers Owen and De Niro. Statham is... well... Statham. He fights, growls his dialogue in a menacing fashion ninety percent of the time, and is charming enough to guarantee more of these roles in the future. Anyone expecting the action star to be different from any of his dozens of previous characters would be sorely disappointed, but Statham is comforting to his fans in that he's always a reliable presence. Owen is also sold, though this role might be more remembered more (if at all) for his terrible mustache and "blinded" eye than his actual acting ability. Let's face it, Owen's Hollywood career has never been great, though he has held some solid supporting roles alongside much more established stars. This is another example of that. At least this is more than Robert De Niro brings to the table. De Niro's Hunter is a hitman from Brooklyn (or the Bronx, whatever), which would be fine if it didn't seem like every film in the past decade not co-starring Ben Stiller has had him in that role. De Niro at one point in his career was considered an exciting, strong personality, but his inability to stretch himself in any capacity is the most epic form of laziness, and here he does little more than deliver throwaway dialogue to garner some chuckles from the audience. Better is Yvonne Strahovsky as Danny's love interest. For a nice change, the female role in a Jason Statham film is no one-dimensional hanger-on or degrading lady of the night. Strahovsky plays the normal girl next door, and while she doesn't steal the film by any means, the interactions between her and Statham (and in one case, her and De Niro) are a nice change from the rest of the story. If anything, her effective use adds a layer of humanity to the film that it would not possess otherwise.

Of course you know Statham will get the better of this situation

Unfortunately, there are only a few truly memorable moments (such as Statham defeating two enemies while strapped to a chair) throughout the course of the film. Most of Killer Elite is what you'd expect, not straining from the conditions of the action genre in any fashion. So which 2011 Statham film is better? Well, Killer Elite might feature Owen and Strahovsky in solid supporting roles, but that is offset by the generic story and Robert De Niro in general. The Mechanic had a weaker cast, but Ben Foster is a talented performer, if a somewhat ignored one. It also made for no less a ridiculous yarn, but at least did not try to proclaim that it was based on a true story, making it better than it's September predecessor. While occasionally entertaining, there's nothing new or interesting about Killer Elite, a film that you should only see if you're desperate for an action film and have already scavenged the Action section of your local rental place.

Limitless Opportunities

When it comes to choosing films to watch, sometimes it's not about what film you want to see most, but what you're stuck with when all is said and done. If I'd had my way, I probably would have used this morning to see The Lincoln Lawyer, Matthew McConaughey's thriller that hearkens back to his amazing performance in A Time to Kill. I also want to see the adaptation of classic Bronte novel Jane Eyre, and I've been looking forward to Tom McCarthy's latest indie film Win Win for some time now. But, due to no good showings of Lawyer, as well as Eyre and Win Win not making it to my preferred theaters as of yet (soon, I hope), I was left with fewer choices than I would have preferred. Stuck between films I've seen, films I've never heard of, and films I have no inclination to see, I decided to settle on a title in which I had at least a small  interest. Limitless I think surprised many when it went #1 at the box office this past weekend, and the film boasted of its star power in the rising Bradley Cooper and Hollywood icon Robert De Niro. Still, the trailer to me seemed a little weak, with what seemed like an interesting idea doubtlessly bogged down by convention and normalcy, despite it's sky-reaching goals.

Hey, Cooper looks like my 2010, only more greasy.

Based on the 2001 novel The Dark Fields by Alan Glynn and directed by Neil Burger, Limitless introduces the viewer to Eddie Morra (Cooper), a hopeless writer at the lowest point of his life. He lives in a crappy apartment, his girlfriend (Abbie Cornish) has just left him, and to top it off, he is in danger of losing his book contract because he cannot frame a single sentence. When fate introduces him to new experimental wonder drug, NZT-48, his life is changed. NZT-48 allows one who takes it to access 100% of their brain functionality, as opposed to most of us who at most can reach about twenty. Eddie goes from zero to hero faster than an episode of Queer Eye, dropping his slovenly looks, finishing his book and making gobs of dough through the stock market. It isn't long though before his action is threatened by the limited supply of the drug, it's revealing side effects, unscrupulous mobsters and crooked Wall Street goons, led by Street legend Carl Van Loon (De Niro).

Obviously nobody ever told Eddie to not take money from Russian gangsters

Where the film succeeds is showing us how easy it can be for the desperate to cling to anything, ANYTHING, when they are at their most downtrodden. Even though Eddie is competent and sane enough to know that taking an illegal drug is probably not a good idea, once he gets that good feeling coursing through his system he's helpless against it's power. That it allows him to be arguably the best person he can be is almost irrelevant when you factor in all the trouble that brings him. In fact, this film might be seen by many as anti-drug, even going into the hazards of overdosing. Not all the film's details match this hypothesis, however, and in the end the moral of the story is muddled and unclear.

De Niro attempts to wow Cooper with his Taxi Driver skills

And that's Limitless's problem: we're not sure what to make of this tale of sometimes morals and drug dependence. On one hand, Eddie is anything if not a sympathetic character. Even when on his binges, he never does anything I would think of as WRONG. Instead he is practically dragged from conflict to bloody conflict, almost never actively making a move unless coerced, by drug or otherwise. On the other hand, he somehow seems to be addicted to this substance, even if it steadily brings him more trouble. So what's the point of it all? The script doesn't offer any answers to these thoughts, or even the questions asked in its own story. For instance, if 100% of someone's brain is activated by this drug, how in the hell does this guy not think that borrowing money from a Russian mobster (Andrew Howard) is a bad idea? This and other banal problems have no place in the unique realm that this drug is supposed to produce, and yet there you are.

Wishing he had a bigger window

I probably would have walked out of the theater if it hadn't been for the acting talent on display. You might at first accuse Cooper of playing the same kind of playboy he appears to be in many of his films, but in Limitless he actually plays two distinct editions of Eddie Morra. As the "classic" starving artist, Cooper realistically portrays the depression and frustration of being an unaccomplished writer in the world's greatest city. For Eddie's "enhanced special edition", Cooper can be the more confident, affable and charming performer we're used to, which I'm sure is much less of a challenge. Still, his overall ability is rightfully the mainstay of the entire film, and anybody else in the role would have simply felt wrong. Abbie Cornish is slowly turning herself into a genuine superstar, and while smallish parts like her romantic interest role will only help so much, they WILL help if she treats them as seriously as she does here. She's obviously immensely talented, and it would have been nice to see a larger role created for her. She's not the only waste of talent, however. It seems Burger can be lumped in with a multitude of directors who don't know what to do with Robert De Niro in his later years. De Niro is as gravelly and posturing as he can possibly be, but it doesn't make up for the fact that his character is a fairly useless one. Seriously, I kept waiting for Van Loon to become relevant over the course of the story, but the film's biggest fallacy is the idea that they would do anything interesting with this star. Some stronger performances belonged to an unrecognizable Anna Friel as Eddie's ex-wife and Andrew Howard as the film's real human villain.

Cue green screen... and go!

Limitless would probably work fine as a P.S.A. to keep kids from doing drugs if it had managed to fall on that side of the moral spectrum. Instead, it lionizes a drug's effects and seems to indicate that we all might benefit from a bit of chemical help to be our best. That seems like a dangerous philosophy to adopt, and even taking The Gospel of Uncle Benjamin into account, it's an idea tough to justify within the parameters set by the story. But that's beside the point when the film doesn't do enough with the great ideas it puts forward. Far too conventional to take advantage of an otherwise interesting story, Limitless debuts rather low at #8 for 2011. It had the potential to be something; it could have been a contender. Instead it will meet an early exit by the end of next month at the latest.