Big Miracle

Big Miracle - Dir. Ken Kwapis (2012)

Big Miracle is based on the 1989 non-fiction book, Freeing the Whales: How the Media Created the World's Greatest Non-Event by Tom Rose, which in turn was based on the real-life events surrounding Operation Breakthrough. In the previous year, three gray whales became trapped by ice near the coastal town of Point Barrow, Alaska. The story went viral before there ever was such a thing as news programs across the country picked it up. Universal's Big Miracle is the largely fictionalized version of the international efforts to rescue these poor creatures.

John Krasinski stars as Adam Carlson, a news reporter in Barrow with aspirations of moving on up to bigger markets in the lower 48 states. He's the first to report on a family of whales, who have been nicknamed Fred, Wilma, and Bamm Bamm. The baby isn't Pebbles because he's a boy, you see. The whales are surrounded by ice and will die if they don't get free. When everybody from Tom Brokaw to Dan Rather run Adam's story, Barrow is flooded with journalists and folks from all walks of life hoping to lend a hand. Most of them have their own selfish reasons for joining in.

Oil executive J.W. McGraw (Ted Danson), who sees the rescue as good P.R. and a gateway to open a wildlife refuge for drilling. White House aide Kelly Myers (Vinessa Shaw) looks to polish the legacy of the Reagan administration while building momentum for a run by Vice-President Bush. Both have tasked Col. Scott Boyer (Dermot Mulroney) of the National Guard to tow a hover barge from one of McGraw's stations via helicopter. Boyer is just following orders and doesn't care much about the whales, especially since they aren't killer whales. One of the few to contribute out of the goodness of her own heart is Rachel Kramer (Drew Barrymore), a Greenpeace activist and Adam's former girlfriend. Soon, the townsfolk, the people of the Inupiat tribe, and even the Russians form an unlikely alliance to save the trio of whales.

Big Miracle comes to us from director Ken Kwapis, who previously helmed the ensemble rom-com He's Just Not That Into You and the tween-lit adaptation The Sisterhood of the Traveling Pants, is used to juggling a myriad of storylines. He does so again to the detriment of Big Miracle, which is bogged down by too many superfluous subplots. There's a love triangle brewing between Adam, Rachel, and a big city reporter played by Kristen Bell as well as another love story involving Col. Boyer and Kelly Myers. Newcomer Ahmaogak Sweeney appears as an Inupiat boy named Nathan. His narration bookends the film, but he's a minor character at best.

Screenwriters Jack Amiel and Michael Berger have drawn their cast of characters in very broad strokes. Everyone is earnest and one-dimensional. John Krasinski fares the worst. The funnyman from The Office is a white bread bore as the lead protagonist. Ted Danson's oil exec seems as if he's mainly there as a counterpoint to the all the conservative pundits complaining about the portrayal of big business in films such as The Muppets and The Lorax. On the other hand, Drew Barrymore's Rachel represents all the worst of stereotypes of the granola munching eco-movement. She's a heartfelt firebrand, but also pedantic and myopic. She's more than willing to pain the Inupiat tribe as a bunch of whale slaughtering backwoods barbarians. According to the film, they're merely salt of the earth (or snow) people ready to dispense sage advice when necessary to plot advancement.

The true miracle of Big Miracle is the wealth of supporting actors that work diligently to keep the picture from completely sinking into the icy depths. Stephen Root plays the Alaskan governor, who is initially dismissive of the whale rescue until it captures the public eye. John Michael Higgins is funny as a smarmy anchorman. Rob Riggle and James LeGros are highlights as a pair of brothers from Minnesota, who arrive with a de-icing machine of their own invention. It's as if they made a wrong turn on their way to the set of Fargo. Also, be on the look out for Kathy Baker, Bruce Altman, Shea Whigham, Jonathan Slavin, and Tim Blake Nelson.

Big Miracle was released in February during the blasé months of the Hollywood release schedule where it earned a paltry $24.7 million worldwide. Perhaps, the world has grown too cynical for a simplistic, heartwarming tale. Is there anything miraculous to be found in Big Miracle? No, but it is wholesome, family-friendly entertainment.

Rating: * ½ (*****)

Wanderlust

Wanderlust - Dir. David Wain (2012)

Wanderlust is the latest comedy to come out of the Judd Apatow factory. It was directed by David Wain and reunites him with several members of the sketch comedy show, The State, including Ken Marino, who co-wrote the screenplay with him. Wain's first feature film was 2001's Wet Hot American Summer, a cult classic that was a spoof of 80's summer camp comedies like Meatballs. His biggest hit to date was Role Models with Paul Rudd as an energy drink pitchman dissatisfied with his life.

In Wanderlust, Rudd is George, a white collar worker seemingly satisfied with his life. He's married to the beautiful Linda (Jennifer Aniston), a documentary filmmaker, and they've just bought a "micro-loft" in the trendy West Village of Manhattan. Never mind that the cramped accommodations are a glorified studio apartment, it's a sound investment says their real estate broker. Then, the bottom drops out. HBO turns down Linda's new doc about penguins with testicular cancer and George's firm is shut down due to revelations of massive fraud. The not-so-happy couple is forced to move into the Atlanta McMansion of George's overbearing brother, Rick (Marino). During the road trip, George and Linda take a detour into a hippy commune called Elysium and are drawn to stay by a life unburdened of the trappings of modern society.

Wanderlust is rife with great, comedic performances from a game supporting cast. Marino is very funny as the obnoxious Rick with Michaela Watkins as his put upon wife. The denizens of Elysium are a colorful batch of characters led by Justin Theroux as their guru, Seth, whose outdated knowledge of technology consists of laserdiscs, FAX machines, and Walkmans. Alan Alda co-stars as Carvin, the community's burnt out founder, who rides around on an electric scooter. There's also Malin Akerman as the sexy bombshell, Eva, and Joe Lo Truglio as a wine making nudist. When he's not stomping grapes for his homemade wine, he's attempting to write a Robert Ludlum-esque political thriller.

There's good chemistry between Rudd and Aniston, having previously worked together in The Object of My Affection. Aniston gets to play it looser than usual though she doesn't get as outrageous as the sexpot dentist in Horrible Bosses. Rudd is always entertaining as the exasperated straight man. He gets the best scene in the film when he tries to psych himself up to sleep with Eva by awkwardly spouting dirty talk in front of a mirror. Nothing else in Wanderlust can top it. In fact, the bloopers shown over the end credits were the only other thing I laughed at. Rudd is naturally funny, especially when it feels like he's working off the cuff. However, the humor in Wanderlust is strained and full of tired jokes about hippies and their lack of hygiene. There's also a lame subplot involving real estate developers threatening Elysium.

In 1985, Albert Brooks wrote, directed, and starred in Lost in America, a sharp comedy with he and Julie Hagerty as yuppie Los Angelinos. They leave behind their lives to travel across the country in a Winnebago only to discover their old, materialistic ways were just fine. Wanderlust isn't nearly as subversive or satirical. It's a rather pedestrian comedy, despite all the talent involved.

Rating: * ½ (*****)

Seeking Justice

Seeking Justice - Dir. Roger Donaldson (2012)

Nicolas Cage sure has had his ups and downs over the last several years. It's been a long time since he headlined a film that won widespread critical acclaim (Adaptation?) Cage seems content to star in lowbrow tripe like Ghost Rider: Spirit of Vengeance, The Sorcerer's Apprentice or Season of the Witch. The Oscar winning actor can't say no anymore. Not surprising, considering he owes millions in back taxes to the IRS. The poor guy had to sell off extravagances such as an 18^th century castle in England, an island in the Bahamas, and his copy of Action Comics #1. I don't know what's worse, giving up a copy of Superman's first appearance or doing Z-grade direct-to-video schlock like Seeking Justice.

Cage is Will Gerard, a high school teacher trying to enlighten inner city youths about Shakespeare. One night, his wife, Laura (January Jones), is attacked and raped. While waiting at the hospital, Will is approached by the mysterious Simon (Guy Pearce), a member of a clandestine organization meting out their own brand of street justice. Simon offers to deal with his wife's assailant in a manner the police and the courts cannot. All he asks in return is a simple favor to be named later. At first, the favors seem innocuous enough - mail a letter and then observe a woman and her children at the zoo. Next thing you know, Simon orders Will to murder a supposed pedophile. Will and Laura find their lives in danger as they discover just how far reaching and powerful Simon is.

Call Nicolas Cage what you want: a human medical experiment or a living, breathing post-modern expressionist art exhibit, perhaps? Whether it's his bizarre inflections, crazed bug-eyed looks or psychotic twitches, he is entertaining in a unintentional way. There's bad and there's Nicolas Cage bad. Either way, you can hardly accuse him of being boring. Unfortunately, that's exactly what he is in Seeking Justice, boring. Despite returning to the Big Easy, the site of his manic performance in Werner Herzog's Bad Lieutenant: Port of Call – New Orleans, Cage barely registers as if he were going through the motions until the check clears. Equally robotic is his co-star January Jones, who delivers every line with a blank stare and a monotone demeanor, much like her performances in X-Men First Class or Unknown. It's a wonder how she could be as good as Betty Draper on AMC's Mad Men.

The filmmakers may have done better by replacing Jones with Dexter star Jennifer Carpenter, who says barely a few sentences as Laura's best friend, Trudy. The supporting cast also includes Xander Berkeley as a police detective, Harold Perrineau from Lost as Will's best friend, and IronE Singleton from The Walking Dead as one of Simon's enforcers.

Much like Cage, director Roger Donaldson has had a rollercoaster career. He's been behind the camera of well-received films such as Thirteen Days and The World's Fastest Indian. Yet, he's also directed Species, Dante's Peak, the Alec Baldwin/Kim Basinger remake of The Getaway, and the 80's camp classic Cocktail. Donaldson's last feature was The Bank Job, an excellent heist movie that gave Jason Statham a chance to stretch his acting muscles beyond his usual action pictures. Seeking Justice doesn't do the same for Nicolas Cage and is so forgettable; it doesn't even belong amidst Donaldson's weaker efforts. His direction is leaden with random canted angles thrown in to switch up things.

The screenplay credited to Todd Hickey and Robert Tannen is full of weak contrivances and ludicrous plot twists. The methods of Simon's vigilante organization are needlessly Machiavellian. There's a lot of silly cloak-and-dagger activity such as buying two candy bars from a vending machine as a go signal or using the code-phrase, "The hungry rabbit jumps," which was the movie's original title. This same association employs cops, reporters, and skilled thugs. It doesn't make a lick of sense for them to coerce untrained civilians.

As revenge thrillers go, one can do better: Haywire, Lady Vengeance, and Harry Brown being recent examples. Seeking Justice is a second-rate potboiler that is unworthy of even Nicolas Cage's notoriously feeble standards.

Rating: * (*****)

Superman vs. The Elite

Superman vs. The Elite - Dir. Michael Chang (2012)

Superman vs. The Elite is the latest in a line of original animated features from DC Comics and Warner Premiere. Unlike past releases that were based on a mini-series or longer storyarc, Superman vs. The Elite is based on a single issue, in this case "What's So Funny About Truth, Justice, & the American Way?" The story published in Action Comics #775, released in March 2001. It was the question writer Joe Kelly posed in regards to the values prescribed by Superman, the forefather of the costumed superhero. The Man of Steel has been around since 1938 and there are many who would consider him to be corny and old-fashioned. His red and blue costume is sometimes the subject of derision. Tim Burton attempted to replace Superman's iconic outfit for a suit of black leather in his aborted Superman film. The Last Kryptonian's ethical code may even be out of tune with modern society.

In 1999, Wildstorm Productions, which had just been purchased by DC Comics, was burning up the sales charts and winning critical acclaim with a new series called The Authority. It was originally written by Warren Ellis (Red) and later by Mark Millar (Kick-Ass, Wanted). The comic book featured a team of super-powered beings that battled totalitarian governments, genocidal terrorists, and corrupt corporations. The Authority was politically charged and tinged with cynicism and violence on an epic scale. These heroes weren't out to arrest villains, but to mutilate and dismember them. So it was that Kelly and artist Doug Mahnke rebuked the Authority's philosophy by pitting Kal-El against a group of knockoffs known as The Elite. Ironic since two of the Authority's members, Apollo and The Midnighter, were loosely based on Supes and Batman.

The Elite are led by Manchester Black, a foul-mouthed Brit with telepathic powers. Clad in a trenchcoat and Union Jack t-shirt, he's more Johnny Rotten than he is Johnny Law. His teammates are Coldcast, a burly bruiser with the ability to absorb and channel energy; Menagerie, a winged woman bonded to a variety of alien beasts; and The Hat, who possesses a magical fedora that allows him to summon almost anything imaginable. The Elite make a splashy debut by intervening in the civil war between the countries of Bialya and Pokolistan. At first, they are in awe of meeting the Man of Steel. In turn, Superman is eager to act as the mentor for these new meta-humans. It quickly becomes clear that their differing methods will never mesh. The Elite have no qualms in causing widespread property damage or brutally executing their enemies. What's the point of throwing bad guys in jail when they will inevitably escape to cause more mayhem? The people of the world adore the Elite for their take-no-prisoners approach. Yes, the only foe more dangerous than the Legion of Doom proves to be the court of public opinion.

Superman vs. The Elite touches upon many socially relevant issues. The original comic came out months before 9/11 and readers were likely divided on whether they would side on diplomacy or swift retribution. But, Elite is certainly not a preachy message movie. The animated film is most definitely a slam-bang action affair. The biggest criticism towards Superman Returns was that Bryan Singer made the Man of Steel too weak and that he didn't have villains were a physical match. The Elite are more than enough to provide a challenge for the Big Blue Boy Scout. If they weren't enough, there's also the Atomic Skull and some giant robotic spiders. Although, the running time is less than eighty minutes, Elite doesn't feel shortchanged or incomplete.

The voice cast isn't as chock full of big names as previous releases, but the actors give solid performances. Long-time fans will recognize the voice of George Newbern, who previously provided the voice of Kal-El on Justice League and Superman/Shazam: The Return of Black Adam. Joining Newbern is Pauley Perrette, best known for playing the gothic Abby Sciuto on NCIS, as ace reporter Lois Lane. Perrette has the strong and spunky attitude to embody Lois. It's too bad the character doesn't get enough screen time. Other voiceover veterans making appearances are Robin Atkin Downes, Grey DeLisle, Dee Bradley Baker, Jennifer Hale, Fred Tatasciore, and Tara Strong.

Superman vs. The Elite is grittier than you'd expect and is rated PG-13. Characters are killed and some harsh language is used. Despite this, the art style of the animation is slightly cartoonish which works against the film's mature themes. Superman himself is drawn with an exaggerated jaw, the size of which seems to be inconsistent from scene to scene.

While Batman has always used fear in his crime-fighting crusade, Superman has always been a character meant to instill hope with his selfless attitude. But, have his ways become passé? That is one of the intriguing questions raised by Superman vs. The Elite. Although the look of the animation could have been more realistic, the film is more than satisfying thanks to an action-packed story built around a fascinating concept.

Rating: *** (*****)

Snow White and the Huntsman

Snow White and the Huntsman - Dir. Rupert Sanders (2012)

Revisionist fairy tales are the newest fad to hit Hollywood, especially since Disney made over a billion dollars with Tim Burton's Alice in Wonderland. The House of Mouse is also developing, Maleficent, a new take on Sleeping Beauty from the perspective of the evil sorceress with Angelina Jolie in the title role. At the same time, they postponed production on The Order of the Seven, which would have seen Saoirse Ronan as a version of Snow White under the protection of seven martial arts masters. An escalating budget and the fact that two other studios beat Disney to the punch were factors in its derailment. Relativity Media took the lighthearted, kid-friendly route with Mirror Mirror while Universal went darker with Snow White and the Huntsman.

Once upon a time, King Magnus (Noah Huntley) reigned over the land in peace though he was saddened by the death of his wife. That is, until he rescued the beautiful Ravenna (Charlize Theron) from the clutches of a Dark Army. Ravenna wastes no time in seducing then murdering the king, stealing the throne, and locking the king's daughter, Snow White (Raffey Cassidy as a child, Kristen Stewart as an adult) in the tower. Ravenna must steal the youth of pretty girls to maintain her attractiveness. But, to stay forever young, she must consume Snow White's heart when she comes of age.

Snow White eventually escapes into the Dark Forest (yes, everything is dark in this movie) where no man dares to tread. Ravenna and her obsequies brother, Finn (Sam Spruell), enlist the assistance of the Huntsman (Chris Hemsworth), a scruffy bruiser prone to drink following the death of his wife. The Huntsman reluctantly helps the Queen's henchmen track down Snow White before joining forces with the princess as well as her childhood love Prince William (Sam Clafin) and a band of dwarves led by the blind Muir (Bob Hoskins).

Snow White and the Huntsman is clearly inspired by Lord of the Rings and HBO's Game of Thrones, setting the story in a grimy medieval world where knights in armor clash on the battlefield. In his feature debut, commercial director Rupert Sanders relies too much on herky jerky camera movements for his action sequences. This quibble can be forgiven because the film is handsomely shot by cinematographer Greig Fraser (David Cronenberg's Spider, Let Me In) with James Newton Howard's score bringing the sturm und drang and a random Florence & The Machine song to go over the end credits.

Twlight star Kristen Stewart is once again caught in the middle of a love triangle between the gruff Huntsman and the noble prince. While Stewart excels at being the doe-eyed waif, she struggles during the picture's heavier moments. She just doesn't have the gravitas (or a convincing English accent) needed when called upon to deliver the climactic Braveheart/St. Crispin's Day speech to inspire the masses. It's not entirely her fault as the screenplay credited to Evan Daughtery, John Lee Hancock (The Blind Side), and Hossein Amini (Drive) fails to feed Stewart dialogue that could stir a cup of coffee, let alone an army to rise against the oppressive regime. Never mind how a girl locked in a tiny cell for half her life suddenly becomes Joan of Arc.

Chris Hemsworth trades his mystical uru hammer for an axe to play the roguish romantic lead. Audiences will likely choose Team Huntsman over Team William due to the Han Solo-esque charm Hemsworth adds to the character over the blandness of the prince. This is no knock on Sam Clafin's acting abilities, but a reflection on the script's thin characterization as well as a lack of screen time. More time too could have been devoted to the dwarves, whom Sanders cast as if he were casting a British gangster pic. Thus, we get incredible thespians like Bob Hoskins, Ian McShane, Eddie Marsan, Toby Jones, Ray Winstone, and Nick Frost along with the lesser known Johnny Harris and Brian Gleeson, son of Brendan Gleeson. Movie magic turns them into a diminutive band of highwaymen.

The most fascinating character in Snow White is the evil Queen Ravenna and Charlize Theron gets to play it to the hilt. Theron is so good in the role that you'll actually be rooting for the bad guy to win. This is a damaged woman transformed into a man-hating succubus by a cruel patriarchal society that destroys innocence and beauty. Ravenna has a strange incestuous relationship with her brother reminiscent of Cersei and Jaime Lannister. The creepiness is amplified by Sam Spruell's pageboy haircut, which makes him look like an albino Anton Chigurh.

Snow White and the Huntsman is a surprisingly entertaining fantasy film. Yes, Kristen Stewart is miscast as the lead and the screenplay is riddled with clichés of Snow White being "the one." However, the visuals are stunning and Charlize Theron is absolutely captivating as the villainous queen.

Rating: *** (*****)

The FP

The FP - Dirs. Brandon & Jason Trost (2012)

Here's a high concept film for you: a dystopian future where violent street gangs battle to the death in high stakes games of Dance Dance Revolution. That's the basic premise behind The FP, which takes its name from Frazier Park, an unincorporated community in California and about an hour east of Los Angeles. Once used as a location for The Waltons, Frazier Park looks as if it was trapped in a bubble of frozen time and untouched by the outside world.

The FP has a similar feel to it where you're never quite sure if it's set in the past, present or future. In any event, two rival gangs, the 245s and the 248s, fight for control of the small town by competing in a fast-paced interactive arcade game called Beat Beat Revelation. For the uninitiated, the game involves matching your moves on a dance pad with the arrows on the screen. The heroic BTRO (Brandon Barrera) of the 248s tragically dies while taking on L Double E (Lee Valmassy), the leader of the 245s. BTRO's brother, the eye-patch wearing JTRO (Jason Trost), mourns his death and vows to never again play Beat Beat Revelation.

A year later, JTRO is convinced to return to the fold by former 248-mate, KCDC (Art Hsu). In an inspired bit of lunacy, KCDC explains that the 245s have taken over the town's entire alcohol supply, forcing many to resort to drugs. Without alcohol, there are no bums in the FP and without bums; there is nobody to feed the ducks by the pond. And what is a community when you have no ducks? JTRO must train his mind, body, and soul with guru BLT (Nick Principe) to get ready for his climactic showdown against L Double E to see who will be champ or chump. At the same time, JTRO romances his long-time crush, Stacy (Caitlyn Folley), who has shacked up with his hated archenemy.

The FP is quite clear where its influences lie. The Warriors is one of the most obvious since the movie opens with voiceover narration by James Remar. John Carpenter is another strong influence with the protagonist resembling a baby-faced Snake Plissken. Composer George Holdcraft does a splendid job approximating a Carpenter-esque synthesizer score as well as the J-pop techno music synonymous with the game. JTRO's road to redemption and his struggles against taunting bad guys comes right out of Rocky and The Karate Kid. The FP even features two training montages, a staple of the sports underdog genre. You can also throw in flicks such as Breakin' and, of course, Breakin' 2: Electric Boogaloo as well as classic video games like Double Dragon.

The FP is a family affair. In addition to starring in the film, Jason Trost co-directed and co-wrote the film with his brother, Brandon, who was also the cinematographer. Brandon Trost also shot Crank: High Voltage and Ghost Rider: Spirit of Vengeance for Neveldine/Taylor and their highly kinetic, extremely caffeinated style was another inspiration. Their sister, Sarah, worked costume design and brought back vintage fashions like sleeveless denim jackets, headbands, Flashdance-esque sweatshirts, and moon boots. Finally, their father, Ron, a veteran effects artist, did FX work here and served as executive producer. Ron kept a warehouse to store leftover props and costumes from past movies that were recycled here.

Watching The FP is just as tiring as hopping around on a dance pad. The concept is clever, but the Brothers Trost have a difficult time maintaining interest, even at a scant eighty-three minute runtime. The dialogue consists entirely of bad hip-hop slang with plenty of F-words and N-bombs with the heroes living by the mantra, N.I.G.G.A., Never Ignorant Getting Goals Accomplished. Meanwhile, the game itself chimes in with the occasional "whack" or "stank." It ceases to be amusing after a while. The rest of the humor is equally juvenile, such as a sequence where JTRO and Stacy share a supposedly tender moment over a tampon. It also hurts that the Trosts are unable to imbue the pivotal Beat Beat Revelation sequences with any excitement or tension. It's more fun playing video games than watching someone else play them.

The FP was originally a short film and maybe that's the way it should have stayed. This is a one note joke stretched beyond the capabilities of the filmmakers. At best, The FP may be considered a future cult classic destined for midnight screenings.

Rating: * ½ (*****)

Corman's World: Exploits of a Hollywood Rebel

Corman's World: Exploits of a Hollywood Rebel - Dir. Alex Stapleton (2011)

Roger Corman is a name synonymous with low budget B-movies. He was known as a prolific purveyor of schlock cinema and exploitation films. It would be easy to dismiss Corman's contributions to the movie industry simply because his pictures would never be considered high art. Frankly, Hollywood could use more folks like Roger Corman and less of Michael Bay, Jerry Bruckheimer or anyone else of their ilk. It warmed my heart to see the Academy of Motion Picture Arts and Sciences award Corman an honorary Oscar in 2009. Sadly, he wasn't given the chance to make a speech on the actual Oscars broadcast. They have to save time for all those self-indulgent montages, you know.

Luckily, fans will get the chance to hear from the man himself in Alex Stapleton's documentary, Corman's World: Exploits of a Hollywood Rebel. Those unfamiliar with Roger Corman may be surprised at how soft-spoken, intelligent, and articulate he is. After all, this is a man who made movies where women were raped by giant worms or sea monsters. Born in Detroit, Corman studied industrial engineering at Stanford and literature at Oxford University. He got his start in the movie business as a script reader for 20^th Century Fox. After dismissing nearly every screenplay he read, Corman championed The Gunfighter and contributed several ideas to improve the story. It was turned into a successful Western starring Gregory Peck, but Corman received no credit and decided to strike out on his own.

Corman began writing, producing, and directing his own films in the mid-50's and had a successful run adapting some of Edgar Allen Poe's most renowned short stories. Corman really hit his stride in 1970 when he formed his own independent studio in New World Pictures, which produced cult classics, including Death Race 2000, Rock 'n' Roll High School, and Big Bad Mama. Corman was also responsible for launching a staggering amount of careers. Actors like Robert DeNiro, Jack Nicholson, David Carradine, Chuck Norris, Peter Fonda, Bruce Dern, and William Shatner all worked on Corman productions. Filmmakers such as Martin Scorsese, Ron Howard, Jonathan Demme, Curtis Hanson, Francis Ford Coppola, Peter Bogdanovich, and John Sayles started out on a Corman picture in some capacity. Long before becoming the king of the world, James Cameron did production design and special effects on films like Galaxy of Terror, which was a clear precursor to his work on Aliens.

Nearly every one of these individuals makes an appearance in Corman's World to reminisce about the master. I've always enjoyed hearing Scorsese and Bogdanovich speak because of their clear love of the medium, but Nicholson provides some of the best moments and anecdotes. Nicholson actually breaks out in tears and recalls how Corman was the only one who would employ him when he started, along with encouraging his early efforts to write and direct. Most interesting are Corman and Shatner's recollections of the 1962 picture, The Intruder. It was a rare attempt at more serious minded fare with the future starship captain as a bigot stirring up racial violence in the Deep South. At the time, it was the only Corman production to lose money as exhibitors avoided it like the plague. So, it was back to cheap scares and creature features.

Eventually, Hollywood caught up with the genius of Corman and started making B-movies with A-budgets. Jaws and Star Wars gave birth to the summer blockbuster and could have easily sprung from the New World factory. It became tougher to compete with the unlimited resources of the major studios as Corman played catch-up with knockoffs like Piranha and Battle Beyond the Stars.

Alien invasions, giant robots, vampires, wizards, and super-powered men in tights, sure sound like the type of thing Roger Corman would have churned out. If Corman had his druthers, he'd rather make a hundred $1 million movies than one $100 million production. Corman's World isn't a deep delving expose, but a loving tribute to an unsung filmmaker.

Rating: *** (*****)

Safe House

Safe House - Dir. Daniel Espinosa (2012)

During a pivotal sequence in Safe House, Denzel Washington's character is subjected to waterboarding. Washington himself did multiple takes where he was given the controversial torture method for several seconds. Some snide film critics will suggest watching Safe House is akin to receiving the Guantanamo Bay treatment. No, Safe House is merely guilty of unremarkable mediocrity.

Ryan Reynolds is Matt Weston, a young CIA agent tasked with minding a safe house in Cape Town, South Africa. His job as a glorified house sitter doesn't sit well with him. Weston urges his handler, David Barlow (Brendan Gleeson), for an assignment with a little more action. Well, be careful what you wish for. The agency has recently apprehended the notorious and awesomely named Tobin Frost (Washington), a rogue agent who has been on their wanted list for years. Minutes after arriving at Weston's safe house, armed assailants breach security and kill everyone in the place while Weston and Frost barely escape.

The screenplay by Davis Guggenheim strings together all the worst clichés of the post-Jason Bourne spy genre. There's a stale romance between Weston and his pretty French girlfriend Ana (Nora Arnezeder). Of course, Ana has no idea that her paramour is a CIA agent and their love is doomed because of his dangerous line of work. Not only is the story derivative, but so are the visuals. The action sequences are done shaky cam style. No surprising since the film was shot by Oliver Wood, the cinematographer for the first three Bourne films. Due to Denzel's involvement, the hyper kinetic feel, and the overly saturated color palette, you'd swear Safe House was directed by Tony Scott. But, no, the director is Swedish-born Daniel Espinosa doing his best Tony Scott impression.

The one redeeming element of Safe House is its ensemble of award winning actors. Vera Farmiga, Brendan Gleeson, and Sam Shepard all play high ranking CIA officials, filling in the roles that Joan Allen, Brian Cox, and Scott Glenn played in the Bourne series. Farmiga really is wasted, especially when you consider she is the closest the movie has to a strong female protagonist. The supporting cast includes character actors like Robert Patrick, Liam Cunningham, Ruben Blades, and Joel Kinnaman, who will be playing Alex Murphy in the upcoming Robocop remake. Each man is a welcome addition, but the focus is on the antagonistic relationship between Ryan Reynolds and Denzel Washington. It's clear the filmmakers were gunning for a Training Day dynamic with Reynolds as the naïve, fresh-faced rookie and Washington as the dangerous loose cannon. Unfortunately, their interactions are nothing more than a pale imitation of those by Washington and Ethan Hawke. Safe House doesn't even have the fun interplay that Washington and Chris Pine had in Unstoppable. Reynolds, who is naturally charismatic and funny, is rendered dull as dishwater with a thinly drawn character with traits we've seen a dozens of times. Meanwhile, Washington barely registers, despite possessing a commanding screen presence.

Safe House was hit theaters in February during the doldrums of the Hollywood studio release schedule. It came out right alongside other formulaic action films such as Contraband and Underworld: Awakening. Despite featuring great actors like Denzel Washington, Safe House suffers from a script that is utterly predictable and generic. Still, the film did well at the box office pulling in $202 million worldwide off a budget of $85 million. If you're a fan of Denzel and Ryan Reynolds and aren't looking for anything challenging, you could do worse than Safe House. Not exactly a glowering recommendation.

Rating: ** (*****)

Coriolanus

Coriolanus - Dir. Ralph Fiennes (2011)

Before him, he carries noise and behind him he leaves tears.

Death, that dark spirit, in his nervy arm doth lie

Which, being advanced, declines, and then men die.

Some of Shakespeare's most renowned plays have been adapted many times over and modernized re-imaginings are nothing new. Baz Lurhmann transported Romeo and Juliet to Miami and set their tragic romance to an alternative rock soundtrack. Ian McKellan set his version of Richard III in a 1930's England that resembled Nazi Germany. That particular film is the closest in spirit to Coriolanus, which marks the directorial debut of Ralph Fiennes. This is also the first time Coriolanus, based off the purported life of a real Roman general, has been translated to the big screen.

An opening title placard states that the story is set in a "place called Rome" though it was shot on location in Belgrade. Fiennes is Caius Martius, a leading general in the military charged with the protection of the city. He leads a successful campaign against its enemies, the Volscians, led by Tullus Aufidius (Gerard Butler). He returns home to the love of his wife, Virgilia (Jessica Chastain) and his fiercely patriotic mother, Volumnia (Vanessa Redgrave). The city's leaders heap adoration upon Martius and bestow upon him the honorific title, Coriolanus, after the Volscian city he conquered. His close friend, Menenius (Brian Cox), advises Coriolanus to go into politics. However, his quick temper and open disdain for the common people turn out to be his undoing. Opposing senators Brutus (Paul Jesson) and Sicinius (James Nesbitt) undermine Coriolanus by whipping the masses into a frenzy against him and force the government to banish him. Seeking revenge, he allies himself with Aufidius to lead the Volscian army against the city that spurned him.

It's a testament to Shakespeare that a play written in the 1600's as commentary for the discontent of the government in his era still remains relevant to this day. Fiennes has captured these themes in all their gritty detail. The setting of bombed out buildings will instantly bring to mind the war-torn countries of Serbia, Bosnia, as well as those in the Middle East. An opening protest by the plebeians has echoes of the political unrest in places like Egypt and Libya as well as the Occupy movement. There's an immediacy to these sequences thanks to Fiennes' direction and the cinematography of Barry Ackroyd, who shot United 93, Green Zone, and The Hurt Locker. The screenplay by John Logan (Gladiator) maintains a fine balance between modernity and the florid language of Shakespeare. Logan and Fiennes even manage to incorporate CNN-esque news updates as a Greek chorus.

To no one's surprise, Fiennes is excellent in the title role (which he previously played on stage), infusing a quiet fury to Coriolanus while going big in a theatrical manner when necessary. Gerard Butler is all sound and fury as the antagonistic Aufidius in a similar performance to King Leonidas in 300. It's a treat to watch Fiennes and Butler in a battle of snarling rage. Vanessa Redgrave's Volumnia won't be winning any mother of the year awards. She isn't overtly malevolent, but more of an aristocratic stage mom. She would rather have a dozen dead sons who died defending their country than one who lived a long life in anonymity. The supporting cast also includes the ubiquitous Jessica Chastain, who seemed to appear in practically every film in 2011. Her part is disappointingly brief and not nearly as meaty as her roles in Take Shelter or The Tree of Life.

Make you a sword of me.

There can be a disconnect when you attempt to place the poetic words of Shakespeare into a contemporary setting, especially one involving televisions and cell phones. This isn't the case with Coriolanus. The language of the Bard flows from the tongues of the cast without feeling artificial or hokey. Ralph Fiennes makes a powerful directorial debut that stands as a parable for the hot button issues of today.

Rating: *** (*****)