 Missing those John Hughes teen movies of the 80's? I have no idea why the man has not continued to make movies. I suppose there's no reason to make anything inferior, not when his work from 20 years and older survives so well and has made him a sort of living legend in the field. His influence continues on in things like AMERICAN TEEN, a new documentary by Nanette Burstein (director of the documentaries ON THE ROPES and THE KID STAYS IN THE PICTURE). The original ad campaign even featured a poster of the five teen protagonists posing similarly to THE BREAKFAST CLUB (as seen in the comparison photo on this page).
The film follows five Indiana high schoolers during their senior year. It's that simple. There's a geeky guy (who's poor face is riddled with rotten acne every few scenes), a friendly jock (competing each and every game to make a college scholarship and avoid the army), an athletic heart throb (not as much a lead character as supporting, but a good guy who rides a tough line in balancing his popularity with liking "an outsider"), an artistic rebel (the heart of the movie, the girl wants to leave her sleepy burg and hit the big city), and a girl who should just be described as a queen bee (set as the film's only human antagonist of sorts; very focused on her collegiate aspirations, drones and workers of all kinds circle around her constantly). Each kid needs support in a different way and each is shown in a positive light on that account. They each have their desires and we watch their efforts hopefully, remembering the time we were also their age and had to deal with some of the same hurdles (though the advent of the internet and cell phones has already put a decided generation gap between their class and mine).
Some speculation has arisen over the truthfulness of certain scenes. There are portions of the teens' lives you wouldn't normally see had the filmmakers not been granted total access (even providing audio body mikes as not to miss anything). Ask yourself: what is the responsibilty of the crew when they are recording under-age drinking and hostile acts of vandalism? I say the camera needs to be a passive observer as the teens knowingly enact their lives so that "reality" may be captured in a true manner. Of course, in the event that something dangerous may go on there should always be some sort of intervention. They are all aware of the cameras, but there are bound to be times when it just becomes habitual to have them around and easily pay no mind. A terrific reveal comes when we see the jock being told by his father a very important lesson about his future. The camera is held in closeup until pulling back to see the father dressed completely in his Elvis-impersonator costume.
AMERICAN TEEN has been in release for nearly a month. It is entertaining and will be a nice rental for those of you who are curious about peering closer into the lives of today's youths. There are supporting teens who don't get much of the spotlight, but they may not have desired it. That's a very refreshing thing in today's age of instant YouTube stars and celeb-reality.
Bonus paragraph, radical! Since I made mention of the slight connection with THE BREAKFAST CLUB, I feel you should know that this is my favorite of the Hughes' 80's movies from that time. It really embodies a strong spirit, respects each of its characters, while breaking them out of stereotypes. It holds its ground very well as the years go on. Have you seen the recent "Don't You Forget About Me" ad on tv? That's gotta be the original library set, right? No better way to capture the attention of twenty through thirtysomehings than by recalling one of the classics.
Oh and one of my favorite songs of that early-80's era is "Love My Way" by the Psychedelic Furs. A very creepy come-on to be sure. http://www.youtube.com/watch?v=-P09gm_I5RI
 TROPIC THUNDER a film that is a complete satire of Hollywood, the people within it and the way movies are made. It's an action-comedy. It's ridiculous. It's hilarious. I've never seen a movie that begins the way this one does with it's faux ads and trailers, introducing you to the stars of the picture one at a time. It starts off very strong and is overexaggerated in just the right ways.
Ben Stiller and crew are making a Vietnam war movie. For realism, they get dropped into actual 'Nam and that's where the real trouble begins. Stiller's character does not believe it's all real until it's way too late. Jack Black (who channels both Eddie Murphy and Chris Farley) is a big-time comedy star/drug fiend who's in need of a new high. Robert Downey Jr is a white Australian portraying an African-American who "doesn't break character until the dvd commentary". You can see why things might go wrong. Each does a great job at giving their all here and TROPIC THUNDER is a success because no one steps on each others' toes.
At this point you may have heard that Tom Cruise is in this film. It's true and I'm not spoiling anything by telling you it's far more than a cameo appearance, it's a full-blown supporting role (as is that of Matthew McConaughey as Stiller's devoted agent). The part seems inflated to give Cruise room to play and the film doesn't suffer for it. He's clearly having a good time and the audience can enjoy him in what is far from his normal on-screen presence.
Downey Jr. steals the film. Each scene, each line of dialogue, he owns it. That's a big deal for a guy in a comedy filled with stars like this one. He's had such a comeback year and has risen above his former drug problems; his is a success worth cheering. [Go back and watch his performance as CHAPLIN while you're at it and see how great he's been over the years.]
There is plenty mentioned about "going full retard" and it's gotten heat from mental disability groups denouncing the film. I understand their disapproval and I agree that the usage in the film is surely a bit much, especially when "Simple Jack" returns later in the story. A rated-R comedy is going to offend someone somehow, it's just surprising that Downey's "blackface" hasn't drawn the same storm.
The film is packed with excitement as Stiller proves he can direct action. There's also a ton of personalities in all corners of this movie (not just the aformentioned stars, but also a grizzled Nick Nolte, the raucous upcomer Danny McBride, British comic Steve Coogan, and other cameos I will not spoil). It all comes together quite well and if you're looking for a big-time comedy to finish off the summer movie season, TROPIC THUNDER is decidedly it.
 What blasphemy is this? A sequel to one of the Bard's greatest tragedies? If you find that ridiculous, then that's exactly the point.
Being released into theaters is the indie HAMLET 2. Steve Coogan (seen here at left) stars as a washed up actor doing his best to keep his dying drama department afloat by staging his self-written musical, "Hamlet 2". It even features Albert Einstein, Jesus Himself, and a time-machine so none of the main characters have to die! His former student productions were adaptations of award-winning films where you wouldn't expect to find high schoolers portraying the leads. His new script has certainly enraged the local community and they want to stop it before it starts.
The film itself has a very WAITING FOR GUFFMAN-esque quality in it's humor (the goofy drama guy assembling the local aspirants for a grand-scale show meant to turn around the whole works). It was directed with quirk by Andrew Fleming, who's most known filmwork includes THE CRAFT (teen witches), DICK (teens in Nixon's White House), and most recently NANCY DREW (teen sleuth). You know, I hate to give anything away about a film set at a high school, but there are teens in this film too.
Steve Coogan is a superstar over in Great Britain and has a loyal following here based on his most-favored roles (24 HOUR PARTY PEOPLE, "I'm Alan Partridge"), but you may have also seen him in last year's huge hit NIGHT AT THE MUSEUM and he's got a small part in TROPIC THUNDER. He really throws himself into this film (literally, when rollerskating through town) and it's easy to have fun when he's onscreen, despite his sad-sack life crumbling around him. I liked when he tried to sway his new Latino students by mentioning DANGEROUS MINDS, that's just funny yo.
Elizabeth Shue is even found here portraying a role she was born to play... herself. Apparently, when we all weren't looking, she abandoned Hollywood and has taken up as a nurse in Tuscon, Arizona. Now you know!
Overall, the gags are hit and miss. I found the opening ten minutes funnier than the final ten with the production going on. I also didn't think a former alcoholic getting his drink spiked was a funny bit at all, and though it did make a paralell to LEAVING LAS VEGAS it was just sad. Still, it's a show worth seeing for Coogan alone as his fun in the role transcends through to the audience.
The film is a small independent with lesser-wattage stars, which means its release will be limited. You'll have heard about it here or from another trusted source, then it will disappear from theaters and reappear as a home rental. Unless it turns into a sleeper hit of some sort, this is the way these things happen with small films now. This film lives in the shadow of GUFFMAN (and I say wholeheartedly for you to see that if you have not), but HAMLET 2 is at least a rental.
Amy Poehler turns up in the second half to support the legal right to let the show go on; a show with a musical number sung by "Sexy Jesus". At least HAMLET 2 is getting a chance on the big stage when other productions don't get that far. The show will go on... to dvd.
 "And here... we... go!"
BOFF! WHAM! POW! That's what you'll be feeling as this sucker goes along (just without the pop art graphics). This is it kids. This is the Batman film that most fans have been waiting for. I've been a fan since 1988 at least. I had watched "Superfriends" and "Superpowers", but by '88 they began airing the 1960's "Batman" series starring Adam West. This was a prelude to the release of Tim Burton's '89 film. By the time the animated series began in 1992 I was hooked deeply. I bought the comics each month and taped each animated episode the day it premiered (still got 'em). BATMAN RETURNS disturbed my young mind. Being too dark and too bloody for this young man, I didn't finish the first screening (but now I own it, so I guess I won after all). I saw BATMAN FOREVER twice on opening day mostly due to my Jim Carrey fascination at the time (and the Riddler has always been my favorite antagonist). For crimes against the legend, we shall not speak of the film that starred Arnold in his most-puntastic role, Mr. Freeze. Only the cartoons on tv (including "Batman Beyond" and "Justice League") kept the character afloat onscreen.
It was quite a few years before Christopher Nolan's first film of the reboot, BATMAN BEGINS, delivered as promised and filled in portions of the Batman mythos that had heretofore been undiscovered in the past 60 years. The hype leading up to this summer continued to grow and grow, until finally it opened... to sold-out showings and record-breaking box office. Folks learned that it's a good movie and they shouldn't really be that hard to make. The tale told within THE DARK KNIGHT is timeless: good vs. evil. It's really that simple, though the good must sometimes shade themselves within shades of gray (if not entirely black) to meet their goals.
Onscreen, it's the elephant in the room: Heath Ledger died in January 2008 and left behind a classic performance as the Joker that will live on forever. He is amazing and it's not just bluster. That "magic trick" is one of the more audacious entrances a character has made in ages... and it's played purely as a whim by the Joker, naturally. You realize as the movie goes along that he never really laughs either. What? Oh it's true, listen as he makes his debut to the mobsters, this version of the character is more of a put-on. His facial scars are real, but his white face only makeup. He claims to be simply an arbitor of chaos. He's simply riding the gimmick through straight to the land o' crazy... just because.
The remaining cast have also proven themselves worthy of entrance into history as each stands tall in their relative roles, most reprised from the first film (Christian Bale as Bruce/Batman, Gary Oldman as Gordon, Michael Caine as Alfred, Morgan Freeman as Lucius Fox). It is the film's new blood of acting that elevates it further, as the story goes deeper and darker. I do think Maggie Gyllenhaal was an improvement over Katie Holmes and each actress suits her respective film.
I've kept this all relatively spoiler-free, but really, it's made over $400 million at this point (and climbing) so I'll assume you've seen it. Fair warning, but at this point it's time to talk about the meat of the film and the surprising potatoes surrounding it.
Can you believe they killed Alfred like that? Holy crap salad, Batman!
Alright, sorry, that was to freak out anyone who still wants to see it but hasn't yet. Alfred didn't die. And neither did Gordon. As a die-hard fan I wondered how much of the other audience may have been fooled by this ruse. His triumphant return causing the capture of the Joker was a greatly laid scene nonetheless and Oldman has proven that this role rightly belongs to him.
So how about that interrogation scene? It's Batman vs. the Joker like never before onscreen. The showdown with the truck vs. the Bat-pod. "Come on, hit me!" It was the clash of the titans.
The real spoiler here comes in the form of Harvey Dent. As the city's crusading district attorney he's trying to clean up what the Batman and Gordon's men mop into the station. He's the filter through which the slick mobsters cannot slip away. His relentless good nature above all is such a slap in the face of those he's surrounded by. 'Who expects good people anymore?' would seem to be the thought of the Gothamites. Their city is still probably THE most fraught with trouble and evil in all comics. Sure, Superman has to save Metropolis from an alien invasion or crashing meteor each week, but Batman's city is filled to the brim with stinking, ugly evil. Most of the costumed villains even claim their garish guises to be their own reactions to Batman's dynamic nature. How sad that it is that Dent himself also falls prey to the city and the darkness within himself.
The Two-Face makeup and effects were incredible. Yeah, that's how it's supposed to look alright. It's a sad character for sure, but Aaron Eckhart surely was the scene-stealer of the film. It's easily one of Eckhart's best roles right up there with THANK YOU FOR SMOKING and IN THE COMPANY OF MEN. His downfall is the soul of the movie. As he goes, so goes the heart of the city, plunged into darkness. Some have said that his role was altogether un-necessary, but I disagree. Without his storyline you don't feel the effect that the ending has on Batman. He loses alot. By the credits, we feel his loneliness and the persistence he must go through in order to keep peace in his city and within himself.
Having a cameo of sorts by the Scarecrow in the first half hour was a great reminder that it's not just the big dogs like the Joker that Batman must face down. He must also scratch the fleas before they fester within the skin of the city and eat it alive. The classic 90's story-arc, "Knightfall", featured all Batman's rogues gallery being released from Arkham Asylum at once. He had to deal with one after another after another, the minor foes mixed in with the most evil. It's the story of a man driven to his very end. It came at a pivotal time for comics and the character. THE DARK KNIGHT comes at a pivotal time for films as well.
The "comic book movie" revolution is in full-swing, love it or hate it. Some are good, some less so. What THE DARK KNIGHT does is it grants entrance to a comic book world, but one that parallels that reality with which we are faced daily. There may not be a crazed clown looking to blow up your ferry ride, but there is a sense of sitting terror that presides over the country. One that has never quite released its grip since 9-11-01. The movie plays on that fear and asks, "Who can save us?" As the ferry resolution proves, sometimes we just have to save ourselves.
If you're not a Batman fan, there may be no turning you onto the film. The quibbles made by those who do not like it are valid quibbles. However, the film has grown leaps and bounds in its history-setting run on the box office and that is beyond dispute. Is it too dark for kids? I would say yes, but that depends on the kid. For adult die-hard fans like me, it has just the right visuals, just the right character, and just the right feel of how Batman and his city exist. The forthcoming sequel can never live up to this one, but I'll enjoy seeing it try. After all, THE DARK KNIGHT is that rarest of sequels that eclipses its original in greatness. It's truly amazing that this movie could be made with no Batcave and no Wayne Manor. They're not even really missed. That would have been virtually unthinkable before, but now that it's been done (and done well) the gates of possiblity have been even further opened.
I'll finish here as only a Batman geek can, by giving you my favorites within the Batman universe:
-The late Frank Gorshin as the Riddler was my favorite villain on the 60's tv series and helped inspire me to be a performer.
-As much as other folks rave about Frank Miller, my favorite Batman authors are Paul Dini and Jeph Loeb. Dini is one of the craftsman of the 90's animated series (the best incarnation of Batman to date) and he's a writer who knows his stuff. Loeb's "The Long Halloween" tale is a true noir mystery filled with everything that one could love about a Batman story. There are elements of it in both Nolan's films. I recommend it highly.
-For my money, "The Laughing Fish" is the best Joker episode of the animated series. The score was made exclusive to that episode and it's apparent. Plus, you can never have enough Harley Quinn ("They're finny and funny and oh-so-delish...")
 Ever feel alone? Performing a job wondering if anyone else really cares or if your existence is even recognized? Sure. When you finish at the end of the day, you feed your cockroach and hang up your treads for tomorrow... or something like that. This is the life of WALL-E.
Steadfastly continuing to order and process all the refuse we humans have left upon our abandoned Earth, WALL-E has but one real friend (a cockroach). "He" (WALL-E is clearly identified as a "male" robot) finds all manner of interesting treasure from out of our disrespected trash. Like a child with new toys, he fiddles with a Rubix cube, curiously presses a car key alarm, places a brassiere over his eyes, and wonders why all of these various things have been left behind. The music of his heart is embodied by an old recording of "Hello Dolly" and through its thoughtful lyrics we feel his need for companionship.
Not long afterwards, we meet his object of desire - a droid from outer space named EVE who comes a callin' on a secret mission. The story at this point now has WALL-E devoted to learning more about "her" as she relentlessly searches for... something. Soon, their journey off-world will begin and a real adventure will occur as we learn where all the humans have gone.
Simply put, WALL-E the movie, is about discovery.
First and foremost, WALL-E the robot's discovery of love. What love means - beyond an affectionate gaze from two optical lenses and beyond the clasp of two robotic appendages. Listen to the song lyrics, that's what he knows of love and if that's all he's going on, it's enough. It's not that EVE is just another robot, but she's THE robot and he knows it. Over in Oz, the Tin Man discovered he had a heart all along and the same holds true with our clockwork protagonist here. The "dance" shared by the two in the film's second half is one of the most romantic moments put on screen in years.
There's been public issue that the filmmakers were trying to push a moral on the audience with the human side of the story. The humans' over-pollution and constant need for entertainment is clearly shown as a detriment to their current livlihood. Their own discovery of what their ancestors had done is enough to propel them back towards Earth to lives that are assumed to be akin to humanity as we enjoy it today (if not even simpler).
If you love animation, this film will be one of the most beautiful you've ever seen. The pyramids of trash on Earth, the strafing of starships flying through space, the calamity of countess human blobs sliding one way and the next (plus, a little robot called "Mow" who is a put-upon character who continues ever forward). Most important of all may be the desire in WALL-E. How does an animated character give you hope and feeling behind it's eyes? Unknown. Though this fella here certainly has that power and pushes the film to great heights because of our affections for him.
When did you last go see an animated film in the theater without a young one at your side? Well, I should say it's high time you check out WALL-E. As of this writing, the film has been in the theater for well over a month and should find its way to home-viewing on your dvd player in time for the holidays. You too will discover this film is a masterpiece and a new classic. It behooves you as a lover of film and lover of spirit to check out WALL-E and see a robot who may hold more humanity in his circuits than some live people you know.
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