A Debt Replayed

For so many people who claim that remakes are inherently a bad idea, many have no idea what they are talking about. Forget about all the films that are obviously remakes, films sharing their origins' titles of The Fly, Ocean's 11, True Grit or The Thing. Not only are the remakes of these classics all quality films, but some would argue better than the originals. However, remakes aren't always named after their inspirations. Arnold Schwarzeneggar and Jaime Lee Curtis lit up the screen in 1994's spy film True Lies, based on the French comedy La Totale! Classic westerns A Fistful of Dollars and The Magnificent Seven were originally acclaimed filmmaker Akira Kurosawa samurai dramas. And the Martin Scorsese Irish gangster movie The Departed, which won the director his coveted Academy Award, was a remake of the 2002 Hong Kong film Internal Affairs. My point is that people put this catch-all negative statement on remakes when more than half the time they don't know one when it's staring at them from the big screen. For instance, you probably didn't realize that the recent film by John Madden, The Debt, was originally an Israeli film of the same name released in 2007. That film was never released in the United States, making it ripe for Hollywood to pounce on and make into their own. The only question was upon which side of the quality line it would eventually fall: on the side of obvious charlatanism and inferiority, or into the realm of quality film-making no matter the source.

Helen Mirren makes scars sexy

In the 1960's, the Isreaeli intelligence agency Mossad sent a cell of young operatives into Nazi-occupied West Berlin on a secret mission. Rachel Singer (Jessica Chastain), David Peretz (Sam Worthington) and Stefan Gold (Marton Csokas) are on the search for Nazi war criminal Dieter Vogel (Jesper Christensen), the legendary "Surgeon of Birkenau", who performed experiments on Jewish prisoners during the Second World War. The mission ended in success, and though Vogel was never properly extracted from the city, Mossad was happy with the man meeting his end in the streets of West Berlin. Thirty years later, the exploits of the cell has been popularized in a book written by Rachel Singer's (Helen Mirren) daughter, and the three live apart from one another as national heroes, never talking about their mission. At least that is until Stefan (Tom Wilkinson) presents Rachel with some disturbing information. A secret they have kept hidden for thirty years has against all odds reared its head, forcing her to confront a truth the three had kept hidden from everyone, even those they loved.

The Debt takes a hard line against its critical dissenters

As you can gather, the cat-and-mouse spy story is the meat and potatoes of the film's level of quality. It is a well-paced, character-driven tale that takes you from beginning to end and beyond, with clues left in plain sight to allow anyone to follow along with ease. Unfortunately, this also cuts both ways, as there are no "OMG" twists to make the relatively slow pace more rewarding to the audience. You can pretty much guess what the big secret is before it hits, making sitting through waiting a bit like waiting for Gallagher to bust out with his watermelon; you know it's coming and making you wait for it is just pissing you off. Still, this is only a minor criticism, as the basics of the story are flawless and well built, creating a largely enjoyable atmosphere for the viewer.

Young Sam Worthington... handsome... pretty, almost

That atmosphere is helped by an acting core that really reach for higher levels with this film, especially the cast of the 1960's. Jessica Chastain has really taken off in her career, appearing in six films released or scheduled for release in 2011. I've seen three now, and between this, The Help and The Tree of Life, I've really become entranced by her talent and awestruck as to how she's come out of seemingly nowhere to become one of Hollywood's most sought-after stars. She's proving herself to be a serious artist, and more roles like this will get her some true recognition in the future, if not sooner. Sam Worthington is a surprise, an acclaimed Australian actor who wowed some with his role in Terminator: Salvation but otherwise hasn't been a major force since breaking through, especially with his somewhat bland performance in Avatar. The Debt allows him to show off in a legitimate acting role and show what his doubters have decried as not being there. And Marton Csokas ties the trio together, his arrogant and serious cell leader playing beautifully off of Worthington's humble and driven operative and Chastain's brilliant but emotionally-starved intelligence officer. And Jesper Christensen is also brilliant with the material he's given, playing smart doctor and smarmy villain with equal precision. He's the unspoken hero of The Debt, at least on the performance side of the equation.

...and Sam Worthington in 30 years? Scary

Unfortunately, I was somewhat underwhelmed with the way the story worked in the current day, and the quality of the story given the actors. Most of the film takes place in the sixties, and that's where the best moments and story sequences take place. In the present day there are some good moments, but in comparison it pales noticeably. Helen Mirren is of course amazing, but that comes as no surprise to anyone who has EVER seen her perform. As someone with a wide range of talents ranging from drama to comedy, Mirren can do just about anything, and look good doing it. Less impressive are Tom Wilkinson and Ciaran Hinds as the current day Stefan and David. It's not that they're BAD, only that they don't distinguish themselves from what we usually expect of them. In the current-day storyline, only Mirren stands out, and despite her best efforts, it's not enough that even she can make up.

Future Academy Award winner?

As a modern spy drama, however, The Debt is a great performer that could have been an excellent one but stutters a bit too much at the end. It does work as a character driven thriller, especially with the acting talents of Mirren, Chastain et al. While the theaters are packed with big name films flexing box office muscle, explosions and laughs, The Debt is a world away as a subtle, clever remake that introduces a unique story to an American audience that didn't get the chance to see in the original. As remakes go, it's one of the good ones, coming in at #10 for 2011. Maybe not a must-see for the genre, it's still a "should-see" as it's difficult find a title so well story-driven in this age of CGI, 3D, and action sequences that exist in a realm completely outside the real world.

Twilight, Meet Fright Night

Wow, I can't believe how much is out that I need to catch up on. Okay, NEED is a strong word. This past weekend marked the release of two titles that may play major roles in setting up the 2011 award season, the old-school biological scare film Contagion and the Fighter-meets-Rocky-meets-Mixed Martial Arts slow burn Warrior. Two other titles, Bucky Larson: Born to be a Star and Creature, were also released, but will only be seen by me ironically if at all. That being said I've yet to watch any of them. These last few weeks have had me see fewer movies than usual, and as such I'm still catching up on films released in the past few weeks. It's getting to the point where Don't Be Afraid of the Dark, Apollo 18 and Shark Night might end up as eventual DVD releases after I'd expected to see them in theaters. But while newer titles beckon, I've still got time for a little catching up, and Fright Night was the best (or at least best timed) option on the table. A remake of the 1985 vampire film starring William Ragsdale and Roddy McDowall, Fright Night looked to perhaps be the weakest of 2011's wide-release horror titles. Looking too campy, too silly, and too repetitive to live (not to mention pointlessly made in 3D), I didn't expect much from this title except for perhaps strong acting performances from the renowned Colin Farrell, David "Dr. Who" Tenant and Toni Collette.

Hey, look! Mr. Anderson is paying attention to us!

When people start disappearing from the insular neighborhoods outside Las Vegas, most people don't pay any attention. After all, nobody stays in Vegas, with the exception of Charley Brewster (Anton Yelchin) and his mother, real estate agent Jane (Collette). Charley's life is going pretty well these days. A former geek, Charley has grown into one of the :"cool kids", having abandoned his old life and entered into a new one, including a relationship with formerly untouchable hottie Amy (Imogen Poots). Soon, Charley is approached by his old friend "Evil" Ed (Christopher Mintz-Plasse) and told to his disbelief that his new neighbor Jerry (Farrell) is in fact a vampire, feeding on the people coming and going from the neighborhood. While Charley doesn't at first believe this (and seriously, would you?), events occur which shake his resolve and force him to believe the unbelievable. And when Jerry's reign of terror hits home, Charley finds himself battling a creature with centuries of experience in survival on his side.

Jerry? What an AWFUL name for a vampire!

Let's get this out of the way right now: 3D is the most overrated technology introduced to film in the past decade. I know I must sound like a broken record by this point, but seriously? Every film seems to want to be in 3D, thinking that it's what people want. It's not. It never was. People wanted more films like Avatar to be in 3D, sure. With the outstanding visuals presented in that 2009 Oscar contender, that makes sense. There have even been a few films that have successfully used 3D as a vehicle for improving the overall quality of their product. Those films have been very few, however, as most titles simply do not need 3D to be "better". Horror is possibly the last genre that can use the technology, and for Fright Night, that is no exception. While some horror films can use 3D to at least some effect (Final Destination 5, for example), in Fright Night it is completely without use, as even the film's few action scenes don't make great use of the imagery. Only the occasional rays of sunlight are remotely impressive, and while that is likely intentional, it's not worth the added cost of admission.

Awkward moment will end with much blood

But once you get past the silliness of parading this title in 3D, Fright Night actually surprises with a clever story, interesting characters, and dark humor that raises the occasional smile. The biggest reasons are among those that brought me to the theater in the first place, Colin Farrell and David Tenant. Farrell's suburban vampire is effectively both scary and amusing. It's as if Farrell took inspiration from Ghostbusters's demon-infested Louis Tully and made him the straight man, as Jerry appears at times torn between his human-like and animalistic sides. Tenant, meanwhile, is at first unrecognizable as a Chris Angel-like "vampire expert", who is really a television performer who specializes in the undead. Tenant is at times hilarious and never worse than plain funny, stealing each and every scene. I know a young couple for whom Tenant is the only reason to see this title, and I can safely say that they will not be disappointed. Unfortunately, the final piece of my talent trifecta, Collette, is underused and unappreciated. I know that as Charley's mom she's just a secondary character, but since I know she has the talent to be better than that I still feel she was not given enough to work with.

The best part of Fright Night, hands down

As for the younger actors, they have their moments, but pale in comparison to the adults, which is a shame since they turn out to have more to do with the story. Imogen Poots is the best of the bunch, hands down. I loved her small role in last year's Centurion, and while the girlfriend/victim role she plays isn't quite as satisfying here, she is good enough to overcome the character's limited range. The same cannot be said for Yelchin, who seems to prove himself more a poor man's Shia LaBeouf with each successive films appearance. And since LaBeouf is already a poor man's Charlie Sheen, that's not much credit given. I'm still hopeful for his upcoming Like Crazy, but only because it's supposed to be amazing and not because he's in it. Christopher Mintz-Plasse has only a minor part, but he like Tenant has the ability to steal multiple scenes, not bad for a young man nobody heard of five years ago.

...Aaaand the cross is on fire. Good going there, Van Helsing

The film covers more than a few vampire retreads, but for a completely unoriginal film Fright Night is a lot better than it has any right being. Sure, the ending is a bit sudden, but between the good acting and decent pacing, there's an enjoyable film in there. I might not recommend it for the theater, but it'll be a must-see on DVD, which thankfully will have the option to turn off the groan-inducing 3D for your home viewing pleasure. Certainly not a bad film from director Craig Gillespie, whose previous effort Lars and the Real Girl probably stands much higher (I never saw it), but it's obvious he's still in his formative years creatively, as the future shows us the film adaptation of teen horror parody Pride and Prejudice and Zombies, but no potential Oscar favorites. Still, we can still be entertained by Fright Night, and put it on our sleeper lists for a fun night out this month.

Battle Tested, NOT Mom Approved

What was the last sword and sorcery film you saw in the theaters? Think about that for a minute. When was the last time you even knew of a sword and sorcery film to be IN a theater? We all may be familiar with the genre, as over the years we've come across various VHS tapes of random cult classics over the years, but most of these are small budget foreign films that we laugh at rather than actually cherish as strong moviemaking. Dragonslayer, Krull, and the Beastmaster series all appeal to some people, but it has been a difficult venture to push this type of violent, action-driven movie among the masses. Despite that, some classic films have been major box office winners, perhaps most notably the 1982 film Conan the Barbarian. After this "Golden Age", however the genre has grown somewhat ignored, as while 2010's Clash of the Titans was an undeniable success, others have not been so lucky. Kull the Conqueror was a massive failure that almost ended the acting career of Kevin Sorbo, and Pathfinder was a bust, this one starring the talented Karl Urban. Strangely, both these titles have a connection to the recently-released Conan the Barbarian reboot: Kull was originally intended to be a new Conan film, but franchise star Arnold Schwarzeneggar did not want to reprise his classic role and Sorbo did not want to retread another actor's star. And Pathfinder was directed by Marcus Nispel, who also helmed this latest Conan title, which raises as many eyebrows as it furrows. For one thing, there is the complete lack of star power pushing this title. While we'll get to that later, there's also the risk in restarting a famous franchise after so long a time, egregious use of 3D (which by now can be safely called a "fad"), and last but not least, entering into a genre that really hasn't received as much love as in its heyday. The trailers made it look bad, but at my good friend Steve's insistence, I put my fears aside to attempt enjoying a title of which I had no impression that I was to be entertained.

Early casting for Baywatch: Hyborea

As origin stories go, this one isn't too bad; born by blood in a great battle, young Conan grows destined to become on of his villages better warriors, attempting to prove himself to his father (Ron Perlman) the tribe's elder, and the rest of his village as well. This ends when warlord Khalar Zym (Stephen Lang) invades to find a piece to a mystical relic that will allow him to conquer the world of Hyborea. After murdering or enslaving everyone but Conan, the boy is left to bury his father and make his own way. As an adult, Conan (Jason Momoa) is an aimless free rider, leading a pack of do-gooders who battle those who would inflict harm on others. Doing this is all a plot for Conan to find the man who destroyed his life, and he finally relocates Zym as the despot searches for the final piece to the same puzzle he was attempting to solve so long ago. Zym has hunted down the last of the "pure bloods", descended from a race of ancient necromancers. Now to prevent Zym from realizing his goals and obtain his revenge, Conan must keep unassuming maiden Tamara (Rachel Nichols) out of the clutches of Zym and his lieutenants.

Hmmm, for some reason I'm putting my money on the Kid

That it's a classic "damsel in distress" story is probably the most disappointing thing about Conan the Barbarian, as an interesting origin story is ultimately wasted on what passes as the rest of the film. All the elements are in place. Tamara as unassuming and unprepared for her destiny, Khalar Zym's warlock daughter Marique (Rose McGowan), an ancient prophecy (expressly spelled out in the film's opening), an endless supply of underlings before we get to the hero/villain battle, etc, etc. Do I have to really spell it out for you? If it wasn't for the fact that we see this theme far too often in MODERN movies this would probably not be the worst concept for a franchise reboot. However, expectations are supposed to be raised in these situations, and this story just doesn't cut it. Nispel also shares some of the blame, as while he pieces together some genuinely fun battle sequences, I can't help but feel he's another Zack Snyder in the making. The better scenes are devoid of dialogue and play out like some medieval music video set to heavy metal, not too unlike the best parts of this year's awful Sucker Punch. That Nispel is no more than a poor man's Snyder is at this stage in his career is fairly damning, as his earlier works were far more heralded and successful.

Not the best place to meet a half-naked barbarian, no

However, if Nispel did have one point of success, it was casting Jason Momoa as the titular hero. Slimmer and more athletic than the burly Schwarzenegger ever was, Momoa at first seems like an odd choice, as most people remember his early role of Jason Ioane on Baywatch Hawaii. However, many people don't realize that he's actually built a nice little career for himself, following a gap of productivity post-Baywatch with a significant role on the cult series Stargate Atlantis and a star-making turn on HBO's latest hit series Game of Thrones, based on the novels by George R R Martin. I have to believe that it was his work on Thrones that ultimately landed him the role of Conan, and he's easily the best part of the film as a whole. Physical presence aside, Momoa is convincing emotionally and actually gets a chance to show more than just the guttural growls that the preview trailers have allowed us to see. A shame that the rest of the cast is uninspired by comparison. Or maybe they just seem so compared to Momoa. Ron Perlman and Stephen Lang don't tread far from their usual ground, but they excel in those narrow ranges so that works out fine. The worst is probably Rachel Nichols, not surprising considering what seemed to be a lack of commitment to her work in GI Joe a couple of years ago. With a little hard work, she could have done more than be a pretty face, but perhaps that's too much to ask of her. Rose McGowan is actually okay, her slightly incestuous witch character made complete with a total makeup transformation. Still, she's not given enough moments to shine, often overshadowed by Lang in most scenes.

At least the horse isn't 3D rendered

One thing I would have loved could have been more character development of Zym's lieutenants and mercenaries. There were some, such as former NFL player and mediocre MMA fighter Bob Sapp as a churlish giant or Diana Lubenova as the leader of a team of blind archers, that feel underused as little more than cannon fodder (so you can imagine how the REAL cannon fodder was treated). I would have appreciated if we had seen less of the exploits of Conan and Tamara and turned the camera their way once in a while. But even the leads have little in the way of character development, as tracks are predictable and dialogue is silly to the point of excruciating. And the special effects? Servicable but nothing special, once again this is a title that is hampered by 3D expectations. I know I keep harping on about how bad 3D gets, but if they'd stop dropping unlit fuses in front of me I wouldn't be tempted to fetch my lighter so often. Here it isn't even bad so much as useless, as there isn't anything that makes effective use of the technology. Even Final Destination 5 had better 3D applications, and that's far from the vanguard of master filmmaking. There isn't a single movie in my Top 10 that was ever released in 3D (to my knowledge) and I've seen no reason to add any. Far from the "future" of filmmaking, I'm sure 3D will run its course with all but the most worthy titles before too long as the misses continue to outpace the hits.

Don't make him angry, you wouldn't like him when he's angry

Jason Momoa has earned a hit. As the best part of Conan the Barbarian, he DESERVES one. However, this film isn't it. Perhaps people just don't care about Conan as much as Hollywood thought. Perhaps they DID know, but decided to experiment anyway. Either way, hopefully this doesn't hurt Momoa's standing as a star in the making. Undeniably charismatic and utterly devoted to his roles, Momoa is the ONLY genuine reason to pay for a ticket to see this film in the theaters. The rest isn't BAD, but the film doesn't outstrip its limited origins enough to make a good first impression, nor harbor any hopes of a series continuation. You can safely skip it, but part of me does grieve that this might be the last Conan film we see for quite a while (Hollywood never gives up on anything). If it had gotten a better director, better script and more support (and maybe a Red Sonja). this had a chance to be a good summer release. Bad management put an end to that, and it will instead end up among the forgotten of 2011.

Latin Fever

Sometimes you see a trailer so flawed, so flush with derivative story and character, awash in wanton violence and sexual innuendo, that you can tell it is not a film worth spending your time or money on. 90% of the time that is true. On the other hand, sometimes you see a trailer with those same qualities, and despite knowing that the movie will have its issues, you still can't wait for it to come out in theaters so you can catch it yourself. That tangible difference between them may be slight, but for some reason most titles in that vein are nigh unwatchable, while Colombiana intrigued me to the point where I couldn't see myself NOT watching it. As if featuring a kick-ass Zoe Saldana in a role similar to La Femme Nikita was not enough, the film was produced by Luc Besson, who if nothing else knows how to make interesting looking movies. Colombiana caught a lot of flak for its portrayal of a lawless Colombia and the organized crime that infests it, but none of that had any bearing on my wanting to see it. If anything, it was Saldana who is guilty of that, as the star has taken her career to another level the past few years with starring turns in Star Trek, Avatar, and even last year's The Losers even if not enough people watched it. She was the primary (if not only) reason to see Colombiana in the theaters, as achieving a leading role is an even bigger step forward than this particular talent has taken so far.

First rule for dating Zoe: Don't get on her bad side

After her parents are murdered by Colombian drug lord Don Luis (Benito Benites) and his right hand man Marco (Jordi Molla) at nine years of age, Cataleya (Saldana) escapes to America where her uncle Emilio (Cliff Curtis) takes her in and eventually trains her to become a lethal assassin. Twenty years later, Cataleya is one of the world's deadliest women, and her attention has shifted to flushing out the men responsible for taking her family away, while balancing that with the facade of a "normal" life and her romantic involvement with artist Danny (Michael Vartan). Soon, the FBI, CIA and Don Luis are all after Cataleya, and she must use every weapon in her arsenal just to survive, if not escape her life completely.

Some people take peeping into toilets to a whole other level

As you can tell by the actors I mentioned above, there's hardly anyone of note beyond Saldana in the cast notes. While several of them are indeed talented performers and character actors, only Saldana could be considered a star, not surprising considering the heavy Latin American casting needed to make this film. It's only recently that Latin American performers have been successful in more mainstream roles, as in the past they've had to settle small, stereotypical parts or "genre" flicks with no widespread appeal. Michael Pena is one actor who has vaulted that barrier, as is Saldana, who is captivating in every scene she enters in Colombiana. Since that's almost the entire film, she had to be on for every moment, and she emotes sexuality, intensity and intelligence perfectly. She had some help from the filmmakers, as one scene with her sucking on a lollypop while performing maintenance on a firearm elegantly captures the dichotomy of her innocent childhood with her murderous adult life, but it is mostly her ability to become this dangerous character that makes her so valuable to the film in question. Running a close second is British actor Lennie James, the guy we all wanted to see more of after the series premiere of The Walking Dead. As an FBI agent tracking Cataleya's murders, James is a good alternate to leading the scenes which Saldana herself can't be part of. Cliff Curtis is also solid as Cataleya's uncle, a professional hitman who at times regrets introducing her to this life. Curtis has put up good performances in recent films Push and Sunshine, and I always like seeing him on the big screen. Michael Vartan thankfully doesn't have as much of an impact on the story as he could have; he's fine as an actor but the romance angle was overcooked from the start and predictable in its execution. Molla and Benites are campy villains, more dangerous in their off-screen doings than in anything we actually see ourselves. Most impressive on the cast might be Amandla Stenberg, who plays the young Cataleya. While I thought the opening featuring her was a bit overlong, Stenberg impressed me greatly with her ability and her character's inner strength. Easily the surprise of the entire film.

The most kick-ass girl in cinema right now

Unfortunately, there are far too few surprises in Colombiana. Despite the great acting involved, it barely makes up for the overused femme fatale construct that wrote the screenplay and made the film what it is. While the action sequences are indeed exciting thanks to director Olivier Megaton (which sounds like a rejected Transformers character), they are incredibly one-sided, and never do we believe that anything besides Cataleya's victory is possible. Besides transporting La Femme Nikita to Colombia and the US, and making the heroine of Latin descent, there is little to differentiate between Cataleya and her hit-woman predecessors. Sure, it's great that she is a strong woman from the start and wanted to grow up to be Xena, Warrior Princess, but as she develops her sociopathic tendencies one has to wonder that this is the person we're rooting for. Then again, this is the same woman who prances around in skintight catsuits with heavy weaponry, and upon doing so our self-reflective insights are lost to other imagery.

She does construction too? That is so hot.

Still, despite Colombiana's obvious issues with itself, Saldana and cast manage to create an enjoyable, thrilling and sometimes funny film out of the rendered husks of Femme Fatales past. You might want to wait on a rental, as it's only barely worth a full-priced ticket, but Cataleya is one of the few female action heroes in a world where 2010's Salt was a big deal sociologically despite being at best an okay movie. It's a shame Colombiana hasn't garnered as much attention as that Angelina Jolie piece did, but I still found myself entertained, as did a surprisingly full theater a week after it was released. If anyone deserves stardom, it's Saldana, and I can only hope that if she fails to reach that highest tier it is not the color of her skin that deprives her of it.

E.T. Phone tha Hood

It isn't too often I come across a legitimate limited release film by myself. Usually I need to be told these films are in theaters, or risk missing them completely. Often I learn of them by virtue of award nominations (Rabbit Hole and Barney's Version come to mind), but when the commendations aren't flying a lot of luck is usually involved in me learning of a minor release. Fortunately, I live near an independent cinema that loves showing such movies, and even the multiplex I frequent has one or two "lesser" films sandwiched in between the IMAX screens for people who want to try something different. In that case I'll probably come across these titles when their trailers appear on the big screen, and that's how I've come to know of a few you might have missed (like Win Win). Still, that encompasses some luck as well, and I'm looking in other avenues for news. That's how I came across Attack the Block, the film debut of comedian Joe Cornish about an alien invasion of the slums of South London, and a gang of street rats who go up against them. As many of you know, I do use Twitter, and who should I end up following but Shaun of the Dead and Paul star Nick Frost, who dropped this little birdie into my lap... and that of over three hundred thousand other followers, but they're not nearly as important. The concept behind Attack the Block definitely seemed a good one; I simply had to see it to believe that there was much different between this and a random SyFy original movie.

Them versus blood-sucking aliens? Still not sure where to place my bets...

While people are out on Bonfire Night (also known as Guy Fawkes Day in England) celebrating by drinking and launching fireworks, a gang of inner city teens is up their usual tricks, mugging pedestrians on the street and breaking into cars for valuables. This night turns far from usual however, as by chance they are present when what seems to be a meteor lands nearby, attracting their attention. To their surprise, an alien creature emerges from the wreckage, attacking the group's leader Moses (John Boyega), resulting in the gang chasing down the creature and ultimately killing it. Realizing that they were dealing with something not of this world, the group takes the carcass back to their block tenement where they hope to reap some benefit from this event. What they fail to realize is that this small creature is the opening act of an alien invasion, and only they and their most recent mugging victim (Jodie Whittaker) are able and willing to fight back against the alien's much larger and more dangerous cousins..

Sorry, no Simon Pegg this time around

As you can expect, this is mostly a "defeat the monster" film, with no room for much extra. Attack the Block does make some minor statements on societal class, but don't expect anything rivaling that of the HBO series The Wire, as only the criminal hierarchy of the block tenement where the film's stars reside is really present in comparison. The film is pretty much all about the alien invasion, with some comedic elements thrown in for a break in the tension. Honestly, I didn't think it was the best mix; not that suspense and humor can't coexist but just in this case the humor should have been worked in a little more evenly. A bit more with Nick Frost would have helped, as Frost is almost wasted in his role as drug dealer Ron, whose "weed room" is considered the film's last holding ground (much like the Winchester Pub in Shaun of the Dead). Ron and his pothead customer Brewis (Luke Treadaway) are presented as the film's main comic foils, though only Brewis is actually important to the story, with Ron being as expendable as your average Red Shirt. He has his moments, but overall he has less than that of two small boys (Sammy Williams and Michael Ajao) who steal the show with their attempts being toughs like the gang.

Yeah, I'll let the guy with the sword go first

As for the monster movie aspect, the effects are actually quite realistic for a small budget title. Without giving too much away, the creatures are simply designed enough so that it doesn't take a lot of effort to realistically show them to the audience. It's true that you don't see too much of the aliens at first, as they are relegated to the shadows, but this is more for creating suspense than having to make up for creation deficiencies. The way they interact with the live characters is also frighteningly realistic, and seeing them tear a head or face off a major character is always a shock. This was somewhat of a surprise, as I fully expected that the weak point would be special effects unable to capture the imagination of the filmmakers and the audience. The amount of violence present was also unexpected, but to be fair if I ever get used to seeing teenagers get torn apart, you might want to get me committed.

Express elevator, going... oh, you're leaving

Unfortunately, the film's cast of characters are mostly forgettable, samey types that won't be remembered in six months time. Most of the street toughs are little more than annoying stereotypes of ghetto caricatures. The main exception is Boyega; as the young actor makes his cinema debut here and really surprises you with his ability to attract your attention and sustain it over the course of a film. I have no idea if this level will be consistent with his future acting career, but he certainly seems to have the brightest future among the young actors present. Whittaker is also solid, though understandably her performance pales in comparison to that of Boyega. As a recent mugging victim, she makes an uneasy ally to the boys, but the characters really get a feeling of eachother by the film's conclusion, and she does a good job as the voice of the audience who wouldn't trust these boys watching their backs. The other standout is Jumayn Hunter as local gangster Hi-Hatz, Ron's boss and ruler of the criminal element in the block. As a secondary villain, Hi-Hatz might not always be rational or even very smart, but it's his tenacity and remarkable habit for self-preservation that make him stand out, and Hunter fills those qualities impeccably.

Apparently bicycles are "street" now

Ultimately, it's the subtle charm of the story and Joe Cornish's natural direction that help win the day when it comes to Attack the Block. It is a surprisingly smart, clever film full of surprises and just enough humor to wash the blood out, and while it may not be the perfect iteration of its genre, it does enough things right for the audience to come out feeling mostly entertained. It could have been funnier and scarier, and a little more Nick Frost might have gone a long way, but in the end those aren't serious complaints. If you can still find it in a theater near you, I heartily recommend it as an alternative to recent horror releases that you're stuck on whether to go and see. I guarantee you'll have more fun seeing this film than you would Apollo 18 or Shark Night 3D.

If Only

I think my stalwart film sidekick Anne put it best when the final credits began rolling. She turned to me, eyes filled with wonder at being at the side of THE Mr. Anderson, and stated "I don't know what to think about that movie." That pretty much sums up my own thoughts on One Day, the newest romance film by Danish director Lone Scherfig. Scherfig, whose 2009 release An Education was a major success and was nominated for Best Picture at that year's Academy Awards, was but one attraction to the title, which was based on the bestselling novel by David Nicholls and stars talented performers Anne Hathaway and Jim Sturgess in the leading roles. But I couldn't help but feel that there was much missing in the way of unique or significantly different story elements. In fact, heading into One Day felt like being uncertain whether to expect a genuine Italian buffet or a Las Vegas grease pit. Still, I've had some luck with romantic films this year (Something Borrowed being an obvious exception), and with the talent involved, I was at least looking forward to seeing this for the product that it was, rather than the expectations I could perceive.

Get used to seeing these two; there's hardly anyone else of note anywhere in the film

Beginning the day Emma (Hathaway) and Dexter (Sturgess) meet at their college graduation, One Day follows their lives on the anniversary of that day for twenty years. Starting as an aborted romantic fling, the two become close friends, and the film lets us see their interaction one day a year for the entirety of the story. During this a number of successes and tragedies that fill their lives are followed, as both Emma and Dexter find their own paths towards contentment, love, and finally back to one another.

They studied make-outs at F.U.

Wow, that was a short paragraph. Try as I might, I can't think of anything more in depth to say about the film's plot, because what you see above is really all there is to it. Emma and Dexter are complete opposites, which is supposed to be a clear signal to us the audience that they are meant to be together, even if they themselves take forever to come to that same conclusion. The two are so different that they even take the opposite paths through their careers (Dexter has success early on while Emma struggles and later vice versa) before reaching true contentment, proving to me that perhaps this story was better in concept than execution. I've never read the book by Nicholls, but as he also wrote the screenplay I find myself unperturbed by any inclination to read the novel at all. It was a nice idea, but one that is poorly told by both the screenplay and the director Scherfig.

One Day, the awkward teen years

If there is any consolation, it is the acting of the film's two stars. Anne Hathaway's career seems to have faltered a little after her critical acclaim in 2008's Rachel Getting Married, and while she certainly never slacks off in her work, it's disheartening when she's either in bad movies (Bride Wars) or box office bombs (the underrated Love and Other Drugs) or stuck in bit parts that don't suit her (Alice in Wonderland). One major obstacle I thought I would have to overcome was Hathaway's attempt at a British accent, one that had shocked and distracted me during the trailers. Thankfully, she does a fine job with it, and what could have been a disaster is barely noticeable once you get used to the difference. Sturgess has been an unsung talent thus far, his films not receiving a lot of attention since his breakout in 2007's Across the Universe. Since then, I've seen a couple of films with him (21 and last year's The Way Back) but I don't claim to have the full measure of Sturgess as an actor yet. Still, he proves himself charming and a decent talent, showing a wider range than even Hathaway over the course of the story. If there's one problem with their performances, it's the fact that neither Emma nor Dexter are particularly likable characters. Dexter is shown to be such a douchebag that it's difficult to believe that Emma would remain friends with him for so long, and Emma is cursed with both a stick up her ass AND low self-esteem, which make her early whining hard to bear. Both Hathaway and Sturgess do their best, and are helped by a natural chemistry between them, but it's an uphill battle to make us care about the characters and their story, a fight they almost overcome.

Awww... isn't he a cute asshole?

Of course, these two dominate the screen so much that any supporting characters have to really stand out to be noticeable. The best of them is Patricia Clarkson, who over the past year has continually proven that she's got more versatility than most would credit her. As Dexter's sick mother she proves to be both a charmer and scene-stealer, and the best part of the film's early going. An assortment of perfectly okay performances from Rafe Spall, Ramola Garai and Ken Stott are ever present as additional characters for the leads to interact with, but since 90% of the film focuses exclusively on Emma and Dexter, their work is almost unnoticed unless they have something to do with a major plot change. Even then, it is the main characters that move forward, with these side bits barely registering a blip of interest on our radars.

Bad hair days for everyone!

The film's final act is as predictable as it is sad, and though it may inspire a few tears, it's hardly the stuff of legends. As I feared, there was decidedly little that the film offered as different from any other title in existence. With so many good titles having come out in 2011 and even more available for rent on DVD from decades past, there's no reason to waste good money on One Day unless you really, REALLY want to. The great acting aside, this title overall pales in comparison to Midnight in Paris or Crazy Stupid Love, and even fails to live up to the standards of Larry Crowne, as base a romantic comedy as you can get while still remaining entertaining. Failing to reach even this low threshold is disappointing, but for the most part this was not the biggest surprise. Anne said it right in that there are good and bad things about One Day; unfortunately for the film's stars it might take a few more to get where they truly belong in Hollywood's hierarchy.

Bad Internet!

The internet is wonky, so I have no choice but to postpone the latest review until at least tomorrow. But stay tuned as this week I'll be reviewing One Day, Attack the Block, and Colombiana. I can't wait to bring these reviews to you!

See you soon!