Movie Review:SKY HIGH

Sky High

A Film Review by James Berardinelli

---

***1/2/*****
United States, 2005
U.S. Release Date: 7/29/05 (wide)
Running Length: 1:38
MPAA Classification: PG (Violence)
Theatrical Aspect Ratio: 2.35:1

Cast: Michael Angarano, Danielle Panabaker, Mary Elizabeth Winstead, Kurt Russell, Kelly Preston, Steven Strait, Dee Jay Daniels, Nicholas Braun, Kelly Vitz, Bruce Campbell, Lynda Carter
Director: Mike Mitchell
Producer: Andrew Gunn
Screenplay: Paul Hernandez and Bob Schooley & Mark McCorkle
Cinematography: Shelly Johnson
Music: Michael Giacchino
U.S. Distributor: Walt Disney Pictures

Initially, Sky High looked like it was going to be one of the summer's throw-away movies - a family comedy with suspicious similarities to last year's The Incredibles. Imagine my surprise when I discovered that not only is Sky High too good to be considered a mere "throw away," but, from a pure entertainment perspective, it is arguably the most enjoyable motion picture of the season. Sky High is funny, smart, energetic, subversive, and has a few substantive things to say. There's nothing on director Mike Mitchell's dismal resume to indicate he was capable of crafting such a welcome diversion.

There is a little of The Incredibles to be found in Sky High, but that's not where the cinematic connections end. Other allusions include X-Men, Harry Potter, Spy Kids, and Can't Buy Me Love. The script, credited to a trio of writers (Paul Hernandez, Bob Schooley, Mark McCorkle) succeeds at the tricky task of lampooning a genre while also becoming an entry. The writing is sly and knowledgeable, and chock full of "in" jokes and witticisms in categories ranging from character names ("Warren Peace" - say that aloud) to set design (Bat-poles) to throw-away lines (Lynda Carter saying, "Who do you think I am? Wonder Woman?") No, this isn't Tolstoy, and despite the "Warren Peace," it's not intended to be. But it is perfect for the mood of the film, which is one third comedy, one third action, and one third drama. And, with no sex or profanity, and only a little in the way of cartoon violence, it's appropriate for the whole family.

The central character is Will Stronghold (Michael Angarano), the 14-year old son of the world's two most revered superheroes, Commander (Kurt Russell) and Jetstream (Kelly Preston). In costume, they repeatedly save the day, while hiding behind their secret identities as mild-mannered real estate agents. For Will, it's time to start high school at his parents' alma mater, Sky High - the learning center for people with superpowers. Joining Will is his best friend, Layla (Danielle Panabaker), who has an affinity for plant life. But there's problem - Will hasn't shown any signs of superpowers, and this gets him placed in the "sidekick" class. While there, he has little chance of attracting the girl of his dreams, Gwen Grayson (Mary Elizabeth Winstead), a senior with an affinity for technology. And it doesn't help that one of his teachers, Coach Boomer (Bruce Campbell), doesn't like him. How can Will survive without powers living in his parents' shadow, and how can he find a way to tell his mother and father the truth about his non-existent abilities? And what happens when Commander and Jetstream's arch-enemy hatches a diabolical plan?

For a film as effervescent as Sky High frequently is, the characters are surprisingly well developed. And there are lessons to be learned. Will's experiences with different high school cliques ("heroes" and "sidekicks") are allegorical, and illustrate themes that many pre-teens and teenagers can relate to (alienation, rebellion, etc.). A subplot that has Will turning his back on his friends when the lure of fame and status beckon recalls the storyline of the '80s teen comedy, Can't Buy Me Love. The lesson is the same: popularity is fickle, but true love and friendship last forever.

There are plenty of opportunities for laughter in Sky High, and I won't ruin the surprise of discovery by cataloguing them here. The soundtrack is strong (although there are quite a few covers), with many of the songs used in inventive ways. (Spandau Ballet's "True" being the most striking example.) The real-life difficulties of being a superhero while raising a family are acknowledged, but not overplayed. This does not feel like a rip-off of either Spy Kids or The Incredibles. The special effects are solid - believable when desired and intentionally cheesy when that's called for (such as the robot at the beginning). And the powers of many classic superheroes are represented: Spider-Man, the Flash, Plastic Man, the Human Torch, the Thing, Iceman, and Superman.

The actors are well-cast. Most of the young thespians are fresh faces with limited experience (primarily in TV projects). Michael Angarano, Danielle Panabaker, and Mary Elizabeth Winstead top a list of strong performers who capture the essences of characters that are more compelling than one might anticipate. Steven Strait is suitably James Dean-ish as Warren Peace, Will's nemesis. Better-known actors like Kurt Russell, Kelly Preston, and the always welcome Bruce Campbell miss few, if any, notes. And Kevin Heffernan has a small part (as bus driver Ron Wilson) in which he channels John Candy.

There have been so many disappointments during the summer of 2005 that, upon finding something that exceeds expectations, I want to trumpet its existence. One could successfully argue that Star Wars: Revenge of the Sith and Batman Begins are more complete motion pictures, but it's hard to deny that Sky High has more charm. With likeable characters, an involving and amusing storyline, and solid direction, the film's appeal is hard to deny. Ignore the lame trailers and give Sky High a shot.

© 2005 James Berardinelli

Movie Review:Charlie and the Chocolate Factory

The so-called "chocolate factory" of Willy Wonka (above) does not, in fact, manufacture chocolate exclusively, but other kinds of sugary confections as well.

Charlie and the Chocolate Factory

BY ROGER EBERT / July 15, 2005

***/*****


Cast & Credits
Willy Wonka: Johnny Depp
Charlie Bucket: Freddie Highmore
Grandpa Joe: David Kelly
Mrs. Bucket: Helena Bonham Carter
Mr. Bucket: Noah Taylor
Mrs. Beauregarde: Missi Pyle
Mr. Salt: James Fox
Oompa Loompa: Deep Roy
Veruca Salt: Julia Winter
Violet: Annasophia Robb
Mike Teavee: Jordan Fry
Augustus Gloop: Philip Wiegratz
Dr. Wonka: Christopher Lee

Warner Brothers Pictures presents a film directed by Tim Burton. Based on the book by Roald Dahl. Running time: 115 minutes. Rated PG (for quirky situations, action and mild language).

Now this is strange. "Charlie and the Chocolate Factory" succeeds in spite of Johnny Depp's performance, which should have been the high point of the movie. Depp, an actor of considerable gifts, has never been afraid to take a chance, but this time he takes the wrong one. His Willy Wonka is an enigma in an otherwise mostly delightful movie from Tim Burton, where the visual invention is a wonderment.

The movie is correctly titled. Unlike "Willy Wonka and the Chocolate Factory" (1971), which depends on Gene Wilder's twinkling air of mystery, "Charlie and the Chocolate Factory" is mostly about -- Charlie. Young Charlie Bucket (Freddie Highmore) is so plucky and likable, and comes from such an eccentric and marvelous household, that the wonders inside the chocolate factory are no more amusing than everyday life at the Bucket residence.

The Buckets live in a house that leans crazily in all directions, and seems to have been designed by Dr. Caligari along the lines of his cabinet. The family is very poor. Charlie sleeps in a garret that is open to the weather, and his four grandparents all sleep (and live, apparently) in the same bed, two at one end, two at the other. His mother (Helena Bonham Carter) maintains the serenity of the home, while his father (Noah Taylor) seeks employment. Grandpa Joe (David Kelly) remembers the happy decades when he and everyone else in the neighborhood worked in the chocolate factory.

Alas, 15 years before the story begins, Willy Wonka dismissed his employees and locked his factory gates. Yet the world still enjoys Wonka products; how does Willy produce them? One day, astonishingly, Wonka announces a contest: For the five lucky children who find golden tickets in their Wonka Bars, the long-locked factory gates will open, and Willy will personally escort them through the factory. A special surprise is promised for one of them. Of course Charlie wins one of the tickets, not without suspense.

This stretch of the film has a charm not unlike "Babe" or the undervalued "Babe: Pig in the City." A metropolis is remade to the requirements of fantasy. Tim Burton is cheerfully inventive in imagining the city and the factory, and the film's production design, by Alex McDowell, is a wonder. David Kelly, as Grandpa Joe, is a lovable geezer who agrees to accompany Charlie to the factory; you may remember him racing off naked on a motorcycle in "Waking Ned Devine" (1998). And young Freddie Highmore, who was so good opposite Depp in "Finding Neverland," is hopeful and brave and always convincing as Charlie.

The problem is that this time, he finds Neverland. Johnny Depp may deny that he had Michael Jackson in mind when he created the look and feel of Willy Wonka, but moviegoers trust their eyes, and when they see Willy opening the doors of the factory to welcome the five little winners, they will be relieved that the kids brought along adult guardians. Depp's Wonka -- his dandy's clothes, his unnaturally pale face, his makeup and lipstick, his hat, his manner -- reminds me inescapably of Jackson (and, oddly, in a certain use of the teeth, chin and bobbed hairstyle, of Carol Burnett).

The problem is not simply that Willy Wonka looks like Michael Jackson; it's that in a creepy way we're not sure of his motives. The story of Willy and his factory has had disturbing undertones ever since it first appeared in Roald Dahl's 1964 book (also named after Charlie, not Willy). Nasty and frightening things happen to the children inside the factory in the book and both movies; perhaps Willy is using the tour to punish the behavior of little brats, while rewarding the good, poor and decent Charlie. (How does it happen that each of the other four winners illustrates a naughty childhood trait? Just Willy's good luck, I guess.)

We see the wondrous workings of the factory in the opening titles, a CGI assembly-line sequence that swoops like a roller-coaster. When the five kids and their adult guardians finally get inside, their first sight is a marvel of imagination: A sugary landscape of chocolate rivers, gumdrop trees and (no doubt) rock candy mountains. Behind his locked doors, Willy has created this fantastical playground for -- himself, apparently. As the tour continues, we learn the secret of his work force: He uses Oompa Loompas, earnest and dedicated workers all looking exactly the same and all played, through a digital miracle, by the vaguely ominous Deep Roy. We're reminded of Santa's identical helpers in "The Polar Express."

It is essential to the story that the bad children be punished. Their sins are various; Veruca Salt (Julia Winter) is a spoiled brat; Violet Beauregarde (Annasophia Robb) is a competitive perfectionist; Mike Teavee (Jordan Fry) approaches the world with the skills and tastes he has learned through video games, and Augustus Gloop (Philip Wiegratz) likes to make a little pig out of himself.

All of these children meet fates appropriate to their misdemeanors. I might be tempted to wonder if smaller children will find the movie too scary, but I know from long experience with the first film that kids for some reason instinctively know this is a cautionary tale, and that even when a character is suctioned up by a chocolate conduit, all is not lost.

Charlie and his grandfather join wide-eyed in the tour, and there are subplots, especially involving Violet Beauregarde, before the happy ending. What is especially delightful are the musical numbers involving the Oompa Loompas, who seem to have spent a lot of time studying Hollywood musicals. The kids, their adventures and the song and dance numbers are so entertaining that Depp's strange Willy Wonka is not fatal to the movie, although it's at right angles to it.

What was he thinking of? In "Pirates of the Caribbean" Depp was famously channeling Keith Richards, which may have primed us to look for possible inspirations for this performance. But leaving "Pirates" aside, can anyone look at Willy Wonka and not think of Michael Jackson? Consider the reclusive lifestyle, the fetishes of wardrobe and accessories, the elaborate playground built by an adult for the child inside. What's going on here? Bad luck that the movie comes out just as the Jackson trial has finally struggled to a conclusion.

Movie Review:Must Love Dogs

Must Love Dogs
A Film Review by James Berardinelli 2.5 stars
United States, 2005
U.S. Release Date: 7/29/05 (wide)
Running Length: 1:39
MPAA Classification: PG-13 (Sexual situations, profanity)
Theatrical Aspect Ratio: 2.35:1

Cast: Diane Lane, John Cusack, Elizabeth Perkins, Christopher Plummer, Dermot Mulroney, Stockard Channing, Ali Hills
Director: Gary David Goldberg
Producers: Gary David Goldberg, Jennifer Todd, Suzanne Todd
Screenplay: Gary David Goldberg, based on the novel by Claire Cook
Cinematography: John Bailey
Music: Craig Armstrong
U.S. Distributor: Warner Brothers

Must Love Dogs is a product - a pre-packaged, easily-digestible motion picture designed with one particular audience in mind. You know the kind of film. You have seen it before, usually with names like Nancy Myers or Nora & Delia Ephron involved. Those with ovaries have a better chance of appreciating Must Love Dogs than those with testicles. For some members of the latter group, sitting through this will be akin to having those organs trodden upon. Must Love Dogs is bland and forgettable - a romantic comedy with affable characters and some funny lines, but where love never really takes flight. It fizzles when it should sizzle.

Watch that hand...Sarah (Diane Lane) is a recently divorced woman who is intimidated by the thought of returning to the dating scene. Before the ink is dry on her divorce decree, various members of her family - including her forthright sister, Carol (Elizabeth Perkins), and her father, Bill (Christopher Plummer) - are urging her to get "out there." Carol even goes so far as to put Sarah's profile up at an on-line dating service, which results in a number of supposedly hilarious misfires. (One of these is funny; the rest are re-treads of bad blind dates we have seen in dozens of other movies.) Eventually, she meets Jake (John Cusack), a guy who's different from the losers she has been hooking up with. Jake has the soul of a poet and the verbiage of a philosopher, and, like Sarah, he is still coming to terms with the breakup of his marriage and no longer knows how to date. Their first encounter doesn't go well, but each is willing to try again. A threat to their newly-hatched relationship occurs when Sarah, an elementary school teacher, falls for Bob (Dermot Mulroney), the father of one of her pupils.

The strange thing about Must Love Dogs is that it's funnier than the average romantic comedy (most of which lack true, laugh-aloud humor) but less romantic. There's a great scene in which Sarah and her father are matched up for a blind date. There's a late night quest for an open drug store selling condoms. There are some pointed comments about Dr. Zhivago. And the opening "interviews" are on-target. This stuff works. Sadly, the love affair between Sarah and Jake does not. There are no sparks. They seem better suited to be best friends than lovers, and it shows. Plus, while Sarah is at home in this sort of by-the-numbers movie, Jake is out of place. He's a riff on the character John Cusack played in High Fidelity or Say Anything, and is out of step with writer/director Gary David Goldberg's screenplay. That's not a bad thing - I enjoyed watching Jake - but he's more interesting than the material surrounding him.

The happy coupleMaybe the relationship between Sarah and Jake would have worked if they had been given more screen time together. Unfortunately, Must Love Dogs feels the need to incorporate the age-old contrivance of "romantic complications." In this case, they are provided by Bob, who is supposed to be engaging and charismatic, but is instead boring. Dermot Mulroney looks like he's playing the part under duress. Perhaps it's a symptom of Sarah's desperation that she is attracted to this personality-deprived individual. We don't like or dislike Bob - he's just sort of there, taking up space and screen time, and limiting interaction between the protagonists. This prompts me to raise a quibble I have about romantic comedies: What's wrong with a movie that takes its full 90 minutes to develop a living, breathing relationship between two people? Why clutter things up with superfluous characters whose only purpose is to keep the lovers apart until the end?

Other romantic comedy elements are recycled from the scrap-heap. Both Sarah and Jake have support groups (although Jake's "support group" numbers one) who act as a Greek chorus in critiquing potential partners. There are several cute animals and a cuddly gay couple, who, like most gay couples in movies designed for heterosexuals, avoid anything overtly sexual so as to remain unthreatening. There's a young blond bimbo who has the hots for Jake (just to ensure that the romantic complications aren't one-sided). And the climax involves one of the parties chasing the other to make a confession of love before it's too late.

It's fair to argue that there are not many romantic comedies available featuring middle-aged characters. So why, when one is made, does it have the same rhythm as what we get with similar movies for twenty-somethings? Neither The Upside of Anger nor Something's Gotta Give was a perfect motion picture, but both took things in more interesting directions. Must Love Dogs' reluctance to put a chip in the mold becomes its undoing. Diane Lane and John Cusack are better actors than the material, but their presence will function as a chick flick magnet. Sadly, only those with minimal expectations will come away satisfied. There are things to like about Must Love Dogs, but not enough to earn it more than a half-hearted nod.

© 2005 James Berardinelli

Movie Review: 'Stealth'

'Stealth' creeps toward credibility in second half


Jamie Foxx and Jessica Biel
Columbia Pictures

'Stealth'

Director: Rob Cohen

Stars: Josh Lucas, Jessica Biel, Jamie Foxx

MPAA rating: PG-13 for intense action, some violence, brief strong language and innuendo

Two stars(2/5)

By Ed Blank
TRIBUNE-REVIEW FILM AND THEATER CRITIC
Friday, July 29, 2005

You have to figure Jamie Foxx didn't know when he signed for "Stealth" that he'd receive two Academy Award nominations early in 2005 -- one for his supporting performance in "Collateral" and one for his leading portrayal of Ray Charles in "Ray."

The latter paid off with an Oscar.

So what's he doing in the third role in what amounts to a brash, loud reimagining of TV's "The Mod Squad" -- white guy, white gal, black guy, showboating heroics?

Sure, good actors are always taking secondary parts in distinguished plays and movies. But "Stealth"? It's like "Pearl Harbor" dumbed down further.

It seems 400 of the Navy's finest applied to be the pioneer pilots of new fighter jets.

How lucky for the film that the three selected -- Josh Lucas (Lt. Ben Gannon), Kara Wade (Jessica Biel) and Henry Purcell (Foxx) -- just happen to look like the trio you'd want for a movie poster.

Capt. Dick Marshfield (Joe Morton) may have reservations about sending the mod squad on a mission before the planes are fully tested. Capt. George Cummings (Sam Shepard) respectfully tells Dick to put a lid on it. There's no time to tinker.

Besides, the insufferably egotistical poster kids will be guided by Eddie, a sphere-shaped computer with all of the aptitude and ambition of HAL, the resident Mind Of Its Own in "2001: A Space Odyssey."

The first hour of "Stealth" is so over-wound and empty it threatens to clear the house before the stronger, second half takes over.

"Stealth" is the kind of movie so fearful of its target audience's attention span that even while the kids are studying their manuals for what is to be a life-and-death mission, loud rock music blasts freely.

The kids go for sushi, make out early and often, and enjoy a sexual interlude in Thailand. Every woman who passes by is a babe.

W. D. Richter's screenplay, or what's left of it, isn't serious about these characters, their politics or anybody's loyalties.

As directed by Rob Cohen, "Stealth" is a sound blast set to a quickly cut action video, interrupted by the dialogue of people not worth listening to.

Even the moments of devastation are sliced up into such short pieces that the impact is depersonalized.

There's one genuinely tense scene that involves landing in North Korea, but it leads to a sequence so implausible that even the comparable "Behind Enemy Lines" winds up seeming more realistic in retrospect.

Give us a little credit, guys.

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Movie Review:War of The Worlds

"No one would have believed in the early years of the twenty-first century that our world was being watched by intelligences greater than ours"...
"We always thought they would come in peace...but we never know...

Rating:****/*****
"With this Steven Spielberg takes us to the adventurous journey of alien invasion.Back 1982 when Speilberg gave us all time classic blockbuster E.T.(Extra territorial).It seems only few days back it had released but it had been 23 years old still charming in our mind.

Comes 2005 and here again spielberg brings another alien movie.But...but this time the aliens are not for friendship,not for war but for total extermination of human beings.H.G.Wells 1898 novel had been turned into visual stunner by Steven Spielberg

Ray Ferrier (Tom Cruise) is an average
blue-collar worker living in a cluttered
him to barely meet his mortgage
payments. He rushes home from work one
morning to greet his kids - 10-year old
Rachel (Dakota Fanning)
and her 16-year old brother, Robbie
(Justin Chatwin) - who are being dropped
off by his ex-wife,Mary Ann (Miranda Otto)
, for a weekend visit.

Ray doesn't have the best relationship with his offspring,
and his deficiencies as a father are immediately apparent.
But this isn't a normal day. Before it has ended, bizarre
lightning storms have caused gigantic alien tripods to
explode from beneath the ground and entire towns are being leveled.Ray grabs his kids and takes them on a frantic roadtrip to find their mother. But, in a world where nothing can stop the mechanical monsters and humans are turning on humans for basic necessities, where can safety be found?

Tom Cruise yet again gives a knockout performance.Dakota Fanning is outstanding as Cruise's daughter.Tim Robbins is excellent in his small but significant role.

The only negative aspect of the movie is its ending.The ending is a total letdown especially if we consider its a 'spielberg' movie.However the movie takes you to the ride of breathtaking devastation and destruction by the aliens.

"Techno maestro" Speilberg proves that no one can beat him when it comes to special effects.Fabulous,shocking and stupendous words should be used for such type of special effects.For every destruction there is new technique,for every devastation there is new style.Best ever special effects for such kind of movie.

Cracking of buildings,shattering of earth and nervous gasps can make your blood chilling even in this summer.So get ready this summer for joycoaster ride and breathtaking adventure never seen before in an alien movie.H.G.Wells would be very pleased.his novel had been turned into visual stunner.One of the best alien invasion movie

We always thought they would come in peace...but we never know

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