JuLY Movie Reviews

DATE NIGHT (PG-13)
Release Date: April 6
This film is a testament to the comic delivery of Steve Carell and Tina Fey. On the page, their characters aren’t that interesting, but their affability, dorky charm and gift for comedy transform Date Night from a bland rom-com into a fun screwball comedy. Phil and Claire Foster (Carell and Fey) are stuck in a rut, still in love but secretly afraid the other will file for divorce due to their dreary lifestyle.  Determined to break their cycle of boredom, the couple goes for a date night in the city. As they wait for a table at a full restaurant, Phil decides to take the table of an absent party, the Tripplehorns (James Franco and Mila Kunis).  Unfortunately, the Tripplehorns are mixed up in some bad business, and a case of mistaken identity forces Phil and Claire on the run from mobsters and dirty cops. Scenes of breaking into an office or doing a pole dance disguised as a hooker and a pimp have inherent comedic potential, but it takes talented comedic actors like Carell and Fey to make it work. The way these veteran improvisers volley jokes back and forth almost makes you wish for a 30 Rock/The Office crossover.  Unfortunately, the two don’t click as well when it comes to romantic chemistry and almost the entire supporting cast is wasted (with the surprise exception of William Fichtner as the NYC District Attorney). I’ve found all of director Shawn Levy’s previous films (The Pink Panther remakes, the Night At The Museum movies) to be insipid and uninspired, but with Date Night he manages to find equilibrium with Fey and Carell’s comedy. Levy knows when to hold a shot for comedic effect, when to cut to a reaction shot and, most importantly, when to get out of the way and let his lead actors work their magic. But he still has no idea how to direct action sequences, stumbling through a plodding, unnecessary chase scene. It may not be spectacular, but Date Night is an old-fashioned screwball comedy that mostly works. Minor problems aside, the outstanding performances from Carell and Fey will have you laughing throughout. (B)
–Matt Goldberg

EXIT THROUGH THE GIFT SHOP (R)
Release Date: April 16 (Limited)
Calling all documentary lovers! Heck, even non-documentary fans should watch these 87 minutes of absolutely excellent storytelling. The draw of an elusive (not to mention illegal) art form makes EXIT through the gift shop more than simply a unique unfolding, but the story of an underground world told by the people and inspired by one bona fide wannabe (who may or may not have been used intentionally for comic relief). Thierry Guetta, a presumably insane man obsessed with filming, sets out to make a movie about street artists. He documents their lives, driven by the ultimate quest to find the infamous Banksy. For six years, he accumulates an entire roomful of unwatched tapes and an increasing trail of doubtful artists, his film remaining locked in his intentions. The journey is severely entertaining, tapping into a mysterious culture illustrated by vibrant color, creative pop art, iconic design, celebrities, art shows and, of course, painted elephants. Luckily, Guetta did find Banksy, who redirected the project towards a brilliant and hilariously candid story. I can’t say that I have ever before been intrigued by graffiti, but I also can’t help but admit that I love it, evidence enough of my corrected ignorance to highly recommend this incredible piece of entertainment. (A) –Jenni Wiliams

IRON MAN 2 (PG-13)
Release Date: May 7
It’s important to kick off the summer movie season with a bang, and while Iron Man 2 easily met the demands for a kick-ass weekend gross ($128 million in the U.S. alone), it doesn’t fall short on quality either. Robert Downey Jr. still charming as hell? Check. Strong supporting cast? Check. Bigger and better action sequences? Check. As tightly constructed as the original? Errr… Iron Man 2 may not be quite as good as the first film, but it’s still a strong lead-in to the impending march of summer blockbusters.
After revealing himself as Iron Man to the entire world, Tony Stark (Downey Jr.) has defied expectations by becoming even more of an egomaniac. Declaring himself the savior of mankind, a one-man nuclear deterrent, and so brilliant that it would take decades for someone to recreate his technology, Stark is riding high… except that the Arc-Reactor energy core he used to save his life is now slowly poisoning him. Every time he uses the Iron Man suit to show off and dazzle the world, his ego is literally killing him. Of course, his ego will have to get in line: The government wants Tony to turn over the suit, rival weapons industrialist Justin Hammer (Sam Rockwell) wants to create a line of Iron Man-style suits for a fat government contract, and Tony’s friend Col. James “Rhodey” Rhodes (Don Cheadle) is forced to betray his pal in order to save him. Oh, and there’s also an angry Russian physicist named Ivan Danko (Mickey Rourke) who’s building his own suit in order to kill Tony. There are a lot of little storylines here, along with the mandatory Avengers set-up, reminding us that Nick Fury (Samuel L. Jackson) and his agent Black Widow (Scarlett Johansson) are part of a bigger universe that’s coming together over several films.  Iron Man 2 manages to hold it together, but the film is stretched so thin that it begins to lose some of its energy midway through. But nothing can overcome Downey’s performance and, before the flick begins to fray, director Jon Favreau charges into the third act to bring the house down. I was a little worried about Rourke and what he would do with such an odd character (a physics genius, Russian prisoner and bird-lover), but he makes it work. Johansson doesn’t get to do much except look sexy (but she’s very good at that) and Cheadle, who took over the Rhodey role from Terrence Howard, gets better and better  as the film progresses. But the performance people will walk away talking about is Rockwell, who picks up the slack in the film’s second act and leaves his mark, leaving you laughing at almost all of his lines. Iron Man was and still is the best superhero movie debut, and it’s a tough act to follow. Unfortunately the simple structure provided by the origin story is no longer around to provide a solid backbone, and the film falters at times as a result. But when it works, which is most of the time, Iron Man 2 is a highly enjoyable movie and a great kick-off to the summer.  (B+) –Matt Goldberg

JUST WRIGHT (PG)
Release Date: May 14
Have you read all the stories about how corn and derivatives such as corn syrup are largely responsible for the rapid rise in obesity in America? This good-intentioned but by-the-numbers romantic comedy is so damn corny and cheesy, you may leave the theater feeling the need to join Queen Latifah on the Jenny Craig weight loss program. Latifah (who also produced the film) is undeniably charming as tough-talking physical therapist Leslie Wright, the sort of down-to-earth, low maintenance girl that every man wants to hang with, but very few want to get with. Wright seems resigned to her fate in the Friend Zone, content with watching her beloved New Jersey Nets from courtside even as her gold-digging cousin Morgan (the delicious Paula Patton) schemes to wiggle her way to NBA All-Star Scott McKnight’s (rapper-turned-actor Common) bedside. But once the point guard injures his knee just before the playoffs– and just before his contract comes up for renegotiation– the plot becomes as predictable as the real-life Nets’ chances of winning a championship. Naturally, Latifah’s character becomes the broken baller’s rehab PT; Morgan heads for the (Jersey) hills the second she realizes the aging Scott’s NBA career may be over for good; and Wright and her McKnight in shining armor gradually fall in love. There are some sweet moments (most of them courtesy of Latifah) and a great message about not judging romantic books by their covers, but the PG-rated film is ultimately bogged down by enough clichés and stereotypes to make Tyler Perry jealous. Patton’s one-dimensional character is like that book The Rules come to life, while Common has WAY more chemistry on the basketball court than he does with either of the film’s leading ladies. Queen Latifah acquits herself admirably, proving herself eminently worthy of starring in a classic romantic comedy. Unfortunately, this at times laughably bad effort isn’t it…(C-) –B. Love

MACGRUBER (R)
Release Date: May 14
A few years ago, the MacGruber sketches on Saturday Night Live perfectly illustrated the flaws on NBC's long-running late night comedy show. What more could demonstrate SNL's lack of creative inspiration than a one-joke parody of MacGyver, an already corny TV show more than a decade old? But recently, the sketches have shown signs of genuine inspiration. Segments where MacGruber is trying to survive in the poor economy or dealing with his inner racist went beyond the mere "incompetent version of MacGyver" that was the foundation of the recurring skit, and gave hope that the idea of expanding MacGruber's universe beyond the single control room would stimulate the writers of the movie version to even greater heights of absurdity. Unfortunately, this film is weak on satire and short on comedic innovation. The main joke for the first third of the film seems to be repeating the villain's ridiculously obscene name again and again. As an actor, Will Forte has the same deadpan detachment that has served other SNL vets like Chevy Chase and Will Ferrell well, but the movie doesn't seem to understand what kind of character MacGruber should be. More annoying than appealing, most of the other characters treat MacGruber as a great hero, but he's clearly unable to do much beyond killing folks. Kristen Wiig has precious little to do, and what she does doesn't play to her unique performing skills. The action scenes are not well shot, and the special effects are cheap looking. That could be forgiven if the film were funnier, but unfortunately it's not. On the plus side, it’s nice to see Val Kilmer return to the comedy genre after a long hiatus. Hopefully he’ll find a better vehicle the next time around. (C) –Jay Wayne

A NIGHTMARE ON ELM STREET (R)
Release Date: April 30
With the inspiration of Wes Craven on his back, director Samuel Bayer takes the reigns of yet another Freddie Krueger nightmare, with the phenomenal Jackie Earle Haley assuming the role of the classic horrific madman. You’ve got to know the story by now, which follows a group of young teens that are seemingly unrelated until they each start to see the same scary man with blades for fingers, hunting them down when they fall asleep. What’s creepier is that the mid-dream murders become a reality when the teens actually die in real life, too. With the only way to stay alive being to stay awake, the dwindling group starts a race against time to unlock the mystery behind the nightmare and end the haunting. In this franchise reboot, predictable scares and cheesy lines create the foundation for a stereotypical horror film. You can of course expect to jump in fright or hide your eyes, but nothing really comes as a surprise and I certainly didn’t lose any sleep. The film does begin with a fabulous opening scene, revisiting some of Craven’s classic Krueger moments (with new and improved special effects) while delving a little deeper into what makes Freddy Freddy, giving long-time fans an even bigger tease to a hopeful end. (C+) –Jenni Williams

RACING DREAMS (PG)
Release Date: May 14
I could not possibly care less about NASCAR. I enjoy driving at breakneck speeds just as much as the next guy, but watching a bunch of men (and Danica Patrick) circle an oval for several hours is not exactly my idea of a good time. But for 11-year-old Annabeth, 12-year-old Josh and 13-year-old Brandon, a chance to race with Jimmy Johnson, Dale Earnhardt Jr. and their ilk would be a dream come true. First they have to compete in the World Karting Association’s National Championship, which is to racing what the Little League World Series is to baseball. Racing in extreme karts that can reach speeds of up to 70 mph, these adolescent speed demons (and their remarkably supportive families) travel across the country to compete in the year-long Championship series, knowing a first-place finish can mean the difference between a career in the sport and an extremely expensive hobby. But Oscar-nominated documentary director Marshall Curry (Street Fight) wisely recognizes that the trials and tribulations these kids face off the track are every bit as dramatic as the tension they face each time the green flag is raised. Brandon’s the mischievous troublemaker who lives with his grandparents because his dad is a deadbeat; racing may be his only way out of the small town in which he lives. Annabeth is a girl blossoming into a young lady, torn between her love of the sport and her burgeoning interest in boys. And Josh is the All-American boy, a born winner who looks like a Wheaties box cover in the making. The stories of their lives are what makes us care about what happens to them on the track, and Curry paces the drama perfectly. You may not give a damn about NASCAR, but you’ll definitely walk away from Racing Dreams caring about these children who so desperately yearn to be a part of it. (B+) –B. Love

ROBIN HOOD (PG-13)
Release Date: May 14
There’s nothing special about director Ridley Scott’s take on Robin Hood. He tries to ground the familiar story within a larger tale of political intrigue and an attempt by France to take over England, but this attempt at “realism” only dwarfs the mythical legend. The result is a plodding, joyless endeavor that pulls punches on its few action scenes and slogs through the drama. The movie starts out strong, kicking off with an exciting battle as the forces of King Richard the Lionheart (Danny Huston) storm a French castle and bowman Robin Longstride (Russell Crowe) shows he’s the world’s best archer.  After Richard takes an arrow through the neck, Robin and his future merry men (Kevin Durand, Scott Grimes, Alan Doyle) go AWOL, only to encounter Sir Robert of Loxley, who is returning to England to deliver the crown when he is ambushed by Sir Godfrey (Mark Strong) so that… my god, I’m bored already. The film has a big action scene at the beginning; another one at the end, and everything in between is dull political machinations. The burden falls on Russell Crowe to make the film come alive, but the Oscar-winning actor fails completely, muttering his dialogue, flirting unenthusiastically with Marian (Cate Blanchett) and sleepwalking through the entire film. Without a strong central character or a fresh take, there’s no reason for this Robin Hood to exist.  Instead of a rousing origin story, we’re left with a simplistic tale of Robin Longstride = Good, Tyranny = Bad.  Stretch that idea out to 140 minutes and you have a film that should’ve been grand adventure, but instead is an absolute chore. (D+) –Matt Goldberg

THE SECRET IN THEIR EYES (R)
Release Date: April 16
Some movies you anticipate, while others you discover. Even in this age of trailers available for seemingly every movie available on dozens of websites, it’s so nice to just accidentally happen upon a film that surprises you, entertains you, shocks you and even manages a new way to move you. Though it beat out The White Ribbon to win the Best Foreign Language Film Oscar this year, the Argentine thriller The Secrets In Their Eyes plays out like an old-fashioned, stylish and incredibly satisfying gem from out of nowhere that you’ll feel lucky to have found for yourself. It’s the sort of movie that you’ll only want to share with your true movie fan friends, the ones who will see past the subtitles and pay attention to all the little details, wait patiently for the plot to unravel on its own time and really, really appreciate the experience when it pays off in spades. I am so in love with this movie that I saw it twice in two days. The film is expertly constructed as both a romance and a period mystery by director Juan Jose Campanella, who has directed TV episodes of House and Law & Order: Special Victims Unit stateside. Benjamin Esposito (Ricardo Darin) is a retired court investigator dwelling on his most frustrating case, a 1974 rape and murder of a schoolteacher, trying to write a novel about it. He returns to his old office in Buenos Aires to visit with Irene (Soledad Villamil), his old boss who still works with the court, to stir up both her memories of the case and her feelings for him. Through their reminiscences and through Esposito’s novel, we then enter into a mystery where no scenes are extraneous, every detail - like a faulty typewriter, a closed office door, an old photograph – matters. All the characters are full and beautifully drawn. The story is emotional and devastating. This movie has one of the best screenplays I’ve seen since Oldboy, and there are wonderful scenes– like a chase through a soccer stadium– that are unlike anything else you’ll find at the movies right now. Seek this movie out. It feels like a classic. (A)
–Benjamin Car

SHREK FOREVER AFTER (PG-13)
Release Date: May 21
There’s a tipping point beyond which most creative enterprises evolve into commodities, milked by their creators (or the corporations who originally backed them) for every last dime. Shrek, a simple fairy tale about an ogre who falls in love with a princess, came along at an opportune time when Disney was struggling, computer animation was exploding in popularity, and Pixar had the heartwarming niche on lockdown. With their snarky sense of humor, meta in-jokes and actors such as Mike Myers and Eddie Murphy delivering some of the funniest performances of their careers, the first two films in the series put DreamWorks Animation on the map. But like so many franchises before it, Shrek seemed to stall on creative steam by the time the third film came along. Still, Shrek The Third grossed $800 million at the box office, so clearly Shrek Forever After was going to happen one way or another. The film finds Shrek (Myers) growing disillusioned with the idea of domesticity, bored, restless and longing for the adventure and anonymity of his younger years. After making a deal with the mischievous Rumpelstiltskin, he winds up in an alternate reality Far Far Away where the troll doll-haired midget is king, ogres are hunted, and his beloved Fiona (Cameron Diaz) has no idea who he is. So, like Jack on Lost, it’s up to Shrek to save the world, reunite with the girl, and assure everyone a heavenly kingdom. The story, which follows what life would be like if Shrek never existed, is clichéd and somewhat predictable, but the characters’ entertaining personalities help elevate the material. The once-potent pop culture references have lost a bit of their hipster bite– scenes portraying the ogre as a Hollywood-style celebrity and Rumpelstiltskin’s castle as a velvet rope-style nightclub ultimately fall flat– but Antonio Banderas’ Puss in Boots and Craig Robinson’s Cookie deliver enough scene-stealing laughs to keep things moderately intriguing. In the end, Shrek Forever After is neither great nor terrible, instead plodding a just-good-enough middle ground that will ensure healthy box office returns… and perhaps another sequel. (C) –Mary Gabbett

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