Kung Fu Panda 2

Kung Fu Panda 2 - Dir. Jennifer Yuh (2011)

Dreamworks Animation has done a lot recently to shake off the stigma of being second banana to Pixar. Last year's How to Train Your Dragon was their best film to date and the house that Jeffrey Katzenberg built hasn't lost any momentum with Kung Fu Panda 2. Like many sequels, Kung Fu Panda 2 is a bigger and bolder production with Guillermo del Toro serving as executive producer and Charlie Kaufman (believe it or not) as script consultant. Jennifer Yuh, a storyboard artist on the original movie, directs off a script by returning writers Jonathan Aibel and Glenn Berger. Unlike the diminishing returns of the Shrek series, Kung Fu Panda 2 is actually better than its progenitor.

While the first film opened with a vibrant pop art prologue, Kung Fu Panda begins with a somber sequence in a paper cut out style. The opening introduces us to the movie’s villain, Lord Shen (Gary Oldman), a peacock, who was banished by his royal family for an unspeakable act of genocide. A prophecy foretold that Lord Shen would be defeated by a warrior of black and white, so he wiped out the panda population.

Meanwhile, Po (Jack Black) has grown into his role as the Dragon Warrior, fighting alongside the Furious Five in protecting the Chinese countryside from marauding bandits. However, he is plagued by repressed memories coming to light and begins questioning where he came from. Shock of all shocks, Mr. Ping (James Hong), the noodle shop goose is not the real father of his giant panda son.

These dueling storylines collide when Lord Shen returns with an army of wolves and gorillas. Utilizing gunpowder, Shen plans to destroy kung fu in order to conquer all of China.

In addition to Black, all the main heroes from the previous picture are back including Dustin Hoffman as Master Shifu, Angelina Jolie as Tigress, David Cross as Crane, Jackie Chan as Monkey, Seth Rogen as Mantis, and Lucy Liu as Viper. Joining them are Michelle Yeoh as a wise soothsayer, Danny McBride as the Wolf Boss, as well as Victor Garber, Dennis Haysbert, and Jean-Claude Van Damme as heroic martial arts masters. The voice-over work is solid all around. Black imbues the character with an exuberant energy that’s been lacking in his recent live-action ventures. Gary Oldman is gleefully villainous returning to the type of scene-chewing performance that made his turn in The Professional so deliciously evil. You half expect him to scream, ”EVERYONE”, at his henchmen. Jolie’s hardcore Tigress shows she has a soft and squishy side as the story hints at a blossoming romance between her and Po. The best performance though belongs to the prolific James Hong. His scenes with Black are funny, touching, and form the emotional core of the film. Unfortunately, with so many characters involved not everyone receives their fair share of the spotlight. Liu and Chan, in particular, only get a handful of lines.

The animation of Kung Fu Panda 2 is extraordinary. Dreamworks mixed CG with anime influenced hand-drawn animation and the result is a gorgeous feast for the eyes. The backgrounds are beautifully rendered from the misty mountains to the classic Chinese architecture of Gongmen City. This is one of the rare instances when I’ll say that the 3D actually enhanced the experience with the visuals possessing a very noticeable depth of field. The action is spectacular with elaborate fight sequences featuring the Furious Five battling wave after wave of enemies. The biggest set piece has to be a scene in which our heroes attempt to escape a toppling tower while fireworks explode all around them.

Kung Fu Panda followed the traditional hero’s journey and its sequel further explores the mythology of the universe. Kung Fu Panda 2 hits on a variety of emotions and is a darker than the original (Del Toro’s influence?) and a bit more surreal. A dream sequence involving Po battling a radish feels like it sprung from the imaginative mind of Kaufman. Even with all the amazing action sequences, Kung Fu Panda 2 never loses its sense of heart. Aside from a nod to Pac-Man, the writers avoid the snarky, anachronistic references that become the crutch for the uncreative. Highly recommended for adults and kids alike.

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

Your Highness

Your Highness - Dir. David Gordon Green (2011)

David Gordon Green cut his teeth on the independent film circuit with stunning tales of small town life. He won critical acclaim for his first two features, George Washington and All the Real Girls. It was with great surprise that Green stepped into the mainstream with Pineapple Express, a hilarious fusion of stoner comedy and action movie. For his follow-up, Green once again returns to the world of lowbrow stoner humor and combines it with the medieval fantasy. Co-written by Eastbound & Down collaborators Danny McBride and Ben Best, Your Highness is like watching drunken fratboys play Dungeons & Dragons. Imagine The Princess Bride or Willow filled with jokes about naked forest nymphs, Minotaur cocks, and pedophiliac wizards.

McBride is Prince Thadeous, a variation of the usual shiftless jerks he usually plays. Thadeous is an irresponsible jackass living in the shadow of his brave and handsome brother Fabious (James Franco). When Fabious’s virginal bride, Belladonna (Zooey Deschanel), is kidnapped by the evil sorcerer Leezar (Justin Theroux), Thadeous is forced to embark on a quest to rescue her and maybe finally grow up for a change. They are eventually joined by Isabel (Natalie Portman), a huntress also on a quest for vengeance against Leezar.

The cast also includes: Charles Dance as King Tallious, Rasmus Hardiker as Thadeous’s valet Courtney, Damian Lewis as Fabious’s right-hand knight Boremont, and Toby Jones as Fabious’s smarmy valet Julie.

McBride plays his role with aplomb while Franco sends up his pretty boy image. The real surprise has to be Justin Theroux, who is scene-stealingly funny as the villainous Leezar. Theroux portrays him less as a megalomaniacal necromancer and more of a LARP geek lashing out at the jocks who always gave him wedgies. Theroux also gets some of the movie’s best lines, ”If your vagina is anything like my hand…there’ll be no problem.” Natalie Portman may not have the fire to play a convincing warrior woman, but she looks absolutely phenomenal in a leather thong. Her well-toned buttocks so glorious that censors will forced to digitally cover it up lest unsuspecting audiences be overwhelmed by the pure beauty.

Unfortunately, a great deal of the humor in Your Highness falls flat. The film never takes the opportunity to lambaste the conventions of the fantasy genre. Fabious possesses a mechanical bluebird ala Clash of the Titans, but the joke never goes anywhere. Instead, McBride chooses the easy route by relying on all the requisite dick and fart jokes of an R-rated comedy while characters hurl anachronistic insults like ‘motherfucker.’ I haven’t even begun to get into the homophobic humor that borders on the repugnant. One of the movie’s most bizarre moments comes when the brothers seek advice from a hookah smoking muppet, who looks like he was thrown off the set of The Dark Crystal. Fabious has a bad trip and reveals he may have participated in Michael Jackson-esque slumber parties with the old wizard. The scene goes on way too long and strains the already thin joke. That pretty much sums up the whole picture.

Rating: ** (*****)

Due Date

Due Date - Dir. Todd Phillips (2010)

Due Date had all the makings of a great comedy. It paired two talented actors on hot streaks in Robert Downey Jr. and Zach Galifianakis for a variation on Planes, Trains, and Automobiles. Plus, it was directed by Todd Phillips as the follow-up to The Hangover, the highest grossing R-rated comedy in the United States. Sadly, Due Date winds up being an uneven film that labors to get a few giggles.

Peter Highman (Downey) is a tightly wound architect waiting for his wife (Michelle Monaghan) to give birth to their first child. On a business trip to Atlanta, he plans to catch the next flight to Los Angeles with time to spare. Unfortunately, Peter bumps into the eccentric Ethan Tremblay (Zach Galifianakis), a wannabe actor accompanied by his French Bulldog named Sonny. Ethan was inspired to go to Hollywood because of Two and a Half Men. Through a series of kooky circumstances, Peter and Ethan get booted off the plane and placed on the no-fly list. Having lost his wallet and ID on the airline, Peter is forced to ride with Ethan across the country to get to L.A. All sorts of shenanigans occur due to Peter's hot temper and Ethan's stupidity.

Ethan takes them on a detour to buy pot from a trashy Juliette Lewis and falls asleep at the wheel causing their car to careen off a bridge. Peter spends most of the movie alternately being befuddled and infuriated by Ethan's strange behavior.

Due Date has a rough time getting off the ground because its lead characters have been pushed too extremely in their disparate personalities. Downey is great as the straight man, but Peter is simply an unlikable guy. He's thrown off the flight partly because he's acting like a jerk. When we first meet Peter, he's yakking away on his Bluetooth earpiece, something he does constantly. I don't know about anybody else, but when I see people like that, I immediately think, "Douche." He spits on a dog, punches a kid, and suspects his wife of having an affair with little reason. Then, there's Ethan who is just too much of an idiot. At least in The Hangover, Galifianakis was sympathetic. Here, he's moronic beyond reason to the point that someone like him would have zero chance of survival in real life. Ethan is a poster boy for the Darwin Awards.

There are some funny moments to be found such as a wild highway chase after an encounter at a Mexican border crossing. Downey also gets into a brawl with a game Danny McBride as a paraplegic war vet working at a Western Union. However, Phillips loses momentum when he goes for lame, gross-out gags like a scene where Ethan and his dog masturbate in sync next to an incredulous Peter. Speaking of the dog, Phillips brings the cheap heat by cutting to reaction shots of the squishy faced dog just so the audience can go, "Aww."

The Hangover may not have been to everyone's tastes, but it went for broke in the crass, sophomoric humor department. Due Date struggles to reach that same level of manic energy and succeeds in only generating a few scattered laughs.

Rating: **

Despicable Me

Despicable Me - Dirs. Pierre Coffin & Chris Renaud (2010)


Despicable Me is the first film from Illumination Entertainment, Universal’s new animation division headed by Chris Meledandri, the former president of Fox Animation. It’s also the first supervillain-centric movie of the year with Dreamworks’ Megamind coming out in November. Despicable Me was co-directed by European animators Pierre Coffin & Chris Renaud from a script by Ken Daurio & Cinco Paul who previously wrote Horton Hears a Who and The Santa Clause 2.

Steve Carell adopts an indiscernible Slavic accent to voice Gru, a criminal mastermind who considers himself the world’s number one bad guy. In his employ are an elderly inventor named Dr. Nefario (Russell Brand) and an army of Minions, diminutive creatures who look like Oompa Loompas crossbred with Twinkies. With their assistance, Gru devises a scheme to steal a shrink ray in order to hijack the moon and hold it for ransom. More importantly, Gru hopes to finally impress his hard to please mother, played by Julie Andrews in anti-Julie Andrews mode. Gru’s plan is derailed when the Bank of Evil refuses him a loan and the shrink ray is stolen out from under him by the nerdy Vector (Jason Segel). A dweeb with a bowl cut and an orange track suit, Vector is the new number one whose fortress is impenetrable.

Meanwhile at the orphanage for girls, three adorable little moppets named Margo (Miranda Cosgrove), Edith (Dana Gaier), and Agnes (Elsie Fisher) sell cookies door-to-door for the stern Miss Hattie (voiced by Kristen Wiig, modeled after Edie McClurg). Noticing they can enter Vector’s domain uninhibited, Gru adopts them and before you know it, his icy exterior is melted away.

Despicable Me isn’t the type of multi-layered film that Pixar has mastered. It is fairly one-dimensional, but that one dimension is incredibly entertaining. The movie goes for the gusto as much as possible. If they’re going to have three cute, little girls, they’re going to make them as cute as humanly possible. The same can be said for the movie’s use of 3D, putting the audience on a rollercoaster and throwing various objects at the screen.

Is it as good as Toy Story 3 or How to Train Your Dragon? No, but Despicable Me is well worth seeing on a big 3D screen.

Rating: ***

Up in the Air

Up in the Air - Dir. Jason Reitman (2009)


”To know me is to fly with me.”

Up in the Air finds itself soaring onto numerous year-end lists as one of the best films of 2009. Does the film deserve to maintain such high altitude? Will I stop using these lame airline puns? The answer to both is yes.

Based on the best-selling novel by Walter Kim, Jason Reitman and co-writer Sheldon Turner have transformed Kim’s skewed take on the corporate world into a low-key dramedy firmly entrenched in today’s economic climate. George Clooney is Ryan Bingham who fires people for a living. Contracted by a company based in Omaha, Bingham flies around the country firing employees when their boss is too chickenshit to it themselves. He never says the word, “fired,” though. Not even, “released,” “terminated,” or “let go.” He simply tells them their “position is no longer available.” As a part-time motivational speaker, Bingham feels he’s helping these people start a new page in their lives.

As for Bingham’s own life, he has no attachments. He rents a sparse, one bedroom apartment which he almost never occupies. He has two sisters that he hardly ever sees. No, his entire life is lived in VIP airport lounges, business class flights, and hotel suites. While in mid-flight, a stewardess asks him, ”Where do you live?”. Bingham answers simply, ”Here.” His main goal is to become one of only seven human beings on the planet to earn 10 million frequent flyer miles. On his travels, he meets Alex (Vera Farmiga) who shares his affinity for elite status. The pair bond over how sexy they find each others’ membership cards. Neither views their relationship as anything substantial, simply an escape.

Bingham’s blissful status quo is disrupted with the arrival of young upstart Natalie Keener (Anna Kendrick) who plans on making the impersonal even more impersonal. Natalie intends to implement teleconferencing technology in the termination process. Now, you can hire someone to fire your employees through a TV. Bingham is eventually coerced into taking Natalie on the road with him to see how everything is done. Natalie is given a new perspective once it’s given a human face while flabbergasted at Bingham’s cavalier attitude towards personal relationships.

As a modern day Cary Grant, Clooney excels at playing the charming cad with a gift for gab. That talent is display here in a muted fashion mixed with the same world weariness of Michael Clayton. Clooney’s performance truly draws you into the journey of the character, a journey that doesn’t end as you’d expect. Reitman wisely chooses to avoid the easy way out by avoiding a pat, sentimental ending. Instead, the third act climax takes a decidedly left turn, ending the film in an ambiguous manner reflecting the uncertainty of today. Reitman adds an extra layer of resonance by casting real people who have lost their jobs as Bingham’s victims.

As a filmmaker, Jason Reitman has already won me over with his first two films, Thank You For Smoking and Juno. However, Up in the Air is his finest film yet and firm evidence of an assured writer/director whose talents have fully matured.

Rating: ****

Fanboys

Fanboys - Dir. Kyle Newman (2008)


A long, long time ago in a galaxy far, far away, a pair of writers, Ernest Cline & Adam F. Goldberg, wrote a script called Fanboys. The screenplay was snatched up by Kevin Spacey’s Trigger Street Productions and the Weinstein Company. The film was scheduled for release in 2007, but in a rare move, the Weinsteins gave the filmmakers more money to shoot additional scenes. Internet circles were abuzz, but reshoots were delayed until all cast members were available. Even then, original director Kyle Newman was unavailable and reshoots were taken over by Steven Brill (Drillbit Taylor) whose lack of Star Wars knowledge and profanity laced emails (in response to fan attacks) won him no popularity contests. Harvey Weinstein stepped in, looking to excise a cancer storyline in favor of more nudity and crude humor which prompted fans to start a ‘Stop Darth Weinstein’ petition. The film was finally released in an extremely limited run at the beginning of 2009 before being dumped to DVD this May.

So, was it worth the wait? This fanboy says, ‘no.’

Fanboys stars a core group of four friends; Eric (Sam Huntington), Linus (Chris Marquette), Hutch (Dan Fogler), and Windows (Jay Baruchel). All of them diehard Star Wars fans eagerly awaiting the release of the upcoming of Episode I. Eric was once best friends with Linus before drifting apart after ditching their dream of becoming comic book creators for a safe job at his dad’s car dealership. Eric returns to the fold when he’s informed that Linus has cancer. The quartet make a pact to break into Skywalker Ranch and steal a print of Phantom Menace for Linus to see before its too late. From there, the movie becomes a standard road trip film as the boys get into all sorts of misadventures such as a brawl with Star Trek fans, taking peyote in the desert with Danny Trejo, and meeting an angry Harry Knowles (Ethan Suplee) in Austin, Texas. Along the way, the film is littered with cameos from Star Wars personalities such as Carrie Fisher, Billy Dee Williams, and Ray Park as well as Kevin Smith (who was the second choice to play Knowles after Lost star Jorge Garcia) and Apatow players Seth Rogen, Danny McBride, and Craig Robinson.

Fanboys acts as both an homage and send-up of obsessive geek culture. It takes a few jabs at the exceedingly high expectations that fans had for the new Star Wars films without actually commentating on its quality. Much like Phantom Menace, there was a lot of anticipation for Fanboys so it’s a shame that the humor is so unoriginal. Gags include characters arguing over incestuous feelings between Luke & Leia and a Trekkie (sorry, Trekker) angering our heroes by calling Han Solo a ‘bitch.’ I wasn’t expecting any deep insights into the thought processes of the average nerd, but I was expecting some inventiveness in the jokes. Fanboys won’t be very accessible to anybody who hasn't memorized every line from the trilogy.

Those of you familiar with Jay Baruchel’s gawky beanpole act in Knocked Up and Tropic Thunder will get more of the same. He provides some of the film’s most amusing moments including a funny Willow reference. Kristen Bell also shows some sparks as the token female of the group. Meanwhile, Dan Fogler sucks the life out of nearly every scene he’s in with his Jack Black-lite act.

Rating: **

Observe and Report

Observe and Report - Dir. Jody Hill (2009)


”The world has no use for another scared man. Right now, the world needs a fucking hero.”

Much like Adventureland which was released a week before, Observe and Report is advertised as something it’s not. Trading on the popularity of Seth Rogen, Observe has plenty of low-brow, raunchy humor, but it's not the wall-to-wall laugh riot the trailers make it out to be. It’s far darker than any of the Apatow or Apatow-like films. The comparison could be made that this is Seth Rogen's Cable Guy. The film is the sophomore effort from writer/director Jody Hill who inexplicably wowed a select group of Sundance festival-goers with his debut, The Foot Fist Way about an abrasive Tae Kwan Do instructor played by Danny McBride.

Seth Rogen’s Ronnie Barnhardt has a similarly abrasive attitude sometimes hidden behind a mask of geniality. Barnhardt is a mall cop, but he’s not quite as likeable as previous Rogen characters and he’s certainly nothing like Paul Blart. He’s bipolar with a deep-seated vicious streak and delusions of grandeur. Ronnie has held an unrequited crush on Brandi (Anna Faris), the buxom blonde behind the make-up counter. A serial flasher begins turning the mall into his own personal playground by exposing himself to unsuspecting women. When Brandi becomes his latest victim, he vows to bring the pervert to justice. This puts him at odds with Detective Harrison (Ray Liotta), the officer assigned to the case. Harrison becomes even more exasperated when Ronnie makes it known that he intends to join the police force. Throughout the film, Ronnie battles his own personal demons just as he battles teenage skateboarders.

Observe and Report answers the question of what Taxi Driver would have been like if Scorsese made it into a comedy. Ronnie Barnhardt is a disturbed individual and walks that thin line between being funny and repulsive. It's only through the sheer force of personality that Rogen keeps him from becoming completely unsympathetic. The first half of the film belie the darker corners in which it delves in the latter half. Jody Hill's script is uneven. At times, it's sharp and outrageous. Yet, Hill fails to curb his baser impulses and the film just goes too far, particularly in the end.

Rogen's best scenes really are when he's attempting to keep things more lighthearted. He trades F you's with a Middle Eastern vendor (Aziz Ansari) who he derisively calls Saddam. Anna Faris is perfectly suited for the shallow bimbo role and proves again she's one of the most talented female comics today. The real surprise comes from Michael Pena who is known more for dramatic fare such as Crash and World Trade Center. Here, Pena dons a mop top and lisp to play Ronnie's second-in-command Dennis.

Rating: ** 1/2