Showing posts with label Michael Rosenbaum. Show all posts
Showing posts with label Michael Rosenbaum. Show all posts

Thursday, January 24, 2013

Hit & Run

Hit & Run - Dirs. Dax Shepard & David Palmer (2012)


Dax Shepard is hardly a household name, but the actor has made a career out of supporting roles in comedies like Baby Mama, Idiocracy, and When in Rome. He was also the lead in Jon Favreau's underrated Zathura, a sort-of sequel to Jumanji. Shepard has recently made the jump to a multi-hyphenate as the star, producer, writer, and co-director with David Palmer of his own movies. His first picture was a mockumentary entitled Brother's Justice, which followed Shepard's attempts at transforming himself into a bona fide action star. His second feature is Hit & Run, an action-comedy shot on the low-budget of $2 million.

Shepard plays Yul Perrkins, a former getaway driver who is now living in Witness Protection under the alias of Charlie Bronson. He got the name from the infamous British convict (featured in Nichols Winding Refn's film Bronson) who in turn got his name from the famed actor. Charlie's sweet-natured girlfriend, Annie (Kristen Bell), has a Master's degree in Non-Violent Conflict Resolution, a major she created for herself. She gets the opportunity to head up her own department at UCLA, but almost doesn't take it since Charlie cannot leave skip town due to the terms of his relocation. But, Charlie doesn't care and busts out his old '67 Lincoln Continental for a cross-country road trip.

Too bad Charlie's placement in WITSEC is one of the worst kept secrets ever. Annie's jealous ex-boyfriend, Gil (Michael Rosenbaum), runs a background check on Charlie and discovers his secret identity. While chasing off after them, Gil contacts Charlie's former partner, Alex Dimitri (a dreadlocked Bradley Cooper), who went to prison because of Charlie's testimony. Also hot on their trail are Randy Anderson (Tom Arnold), the bumbling U.S. Marshal assigned to protect Charlie, and Gil's brother Terry (Jess Rowland), a sheriff's deputy.

With Hit & Run, Shepard aspired to make a throwback to classic car chase pictures like Smokey and the Bandit. The DIY nature of the production is reminiscent of a less ambitious version of Gone in 60 Seconds. The cast consists of Shepard's friends in the acting community and his real-life fiancée Kristen Bell. Shepard also performed his own stunt driving. Charlie's Continental along with a dune buggy were taken from Shepard's own car collection. Despite best intentions, Hit & Run never leaps off the screen.

The car chases aren't at all exciting. The only moment that exudes any visual inventiveness is a slow motion tire burn out set to a cover version of "Pure Imagination" from Willy Wonka and the Chocolate Factory. The comedy is thoroughly strained with one of the film's central jokes being the ethnicity of the convict who raped Dimitri in prison. The rest of the puerile humor revolves around a room full of naked old people and a Grindr-esque iPhone app for homosexual rendezvous.

Hit and Run is a listless comedy stuck in neutral while desperately wishing it was doing a hundred down the interstate.

Rating: * (*****)

Saturday, March 3, 2012

Justice League: Doom

Justice League: Doom - Dir. Lauren Montgomery (2012)


Warner Brothers' line of animated films based on DC Universe has seen some highs and lows. Green Lantern: First Flight and Wonder Woman were great origin stories, despite their short running times, while Superman: Doomsday and Superman/Batman: Public Enemies were instantly forgettable. While most of their releases revolve around Batman and Superman, on rare occasions Warner will bankroll a Justice League movie. This should especially please the diehard fans saddened by the loss of Cartoon Network's Justice League Unlimited.

The first picture, Justice League: The New Frontier, was an adaptation of a mini-series by Darwyn Cooke while the second, Justice League: Crisis on Two Earths, was based on a script originally written by Dwayne McDuffie for the television series. McDuffie would also pen All-Star Superman, which was released, Feb. 22 in 2011, just a day after his untimely death due to complications from heart surgery. McDuffie had worked at Marvel and DC and was best known as one of the founders of Milestone, an imprint at the latter publisher that spotlighted minority heroes from minority creators. McDuffie was also a mainstay in animation having worked on JLU, Static Shock, and Ben 10 Warner's latest release, Justice League: Doom was the last script written by McDuffie and while it's not as good as Crisis, it is one of their finest efforts.

Doom is loosely based on the "Tower of Babel" storyline, which ran in JLA #43-46 back in 2000. In that series, Batman's nemesis Ra's al Ghul systematically assaults the Justice League using diabolical schemes that were stolen from the Dark Knight himself. It seems Batman has devised various methods to take out his teammates should they ever turn bad. Even if you have read the original comics, Doom still has plenty of surprises since it only borrows the basic concept and spins it in a different manner.

Instead of Ra's al Ghul, we get another immortal conqueror in Vandal Savage, a caveman who was imbued with great intelligence and longevity by a mysterious meteorite. Savage has assembled the arch-enemies of each Justice Leaguer in a new version of the Super Friends staple, the Legion of Doom. Savage's first recruit, the Mirror Master, manages to sneak into the Bat-Cave and hack the Bat-Computer to steal the Caped Crusader's files. Next, they gather Star Sapphire, Bane, Metallo, Cheetah, and Ma'alef'ak to attack the League one by one in nefarious and unexpected ways.

The Justice League line-up here consists of Batman, Superman, Wonder Woman, Green Lantern, the Flash, and the Martian Manhunter. Neither Aquaman nor Hawkgirl are present here. In their place is Cyborg, a former Teen Titan, who has graduated to the big time. It only makes sense for DC to push Cyborg into the forefront with technology becoming more and more integral in our everyday lives.

Justice League: Doom has no connection to any previous movie or series, but long-time devotees will be overjoyed that it assembles an all-star cast of familiar voices. Tim Daly and Kevin Conroy return to voice the Superman and Batman along with fellow stalwarts Susan Eisenberg as Wonder Woman, Carl Lumbly as Martian Manhunter, and Michael Rosenbaum as the Flash. Interestingly enough, this Flash is Barry Allen rather than his successor Wally West, who Rosenbaum played on Justice League. Nathan Fillion returns for a third time to voice Hal Jordan, the most popular wielder of the emerald power ring. Fillion brings his usual charm and snappy patter to the role and it's easy to see why he was the fans' choice over Ryan Reynolds to star in the live-action Green Lantern film. Phil Morris, Olivia d'Abo, and Alexis Denisof reprise their Justice League roles of Vandal Savage, Star Sapphire, and Mirror Master.

Doom starts right off with a big action sequence as the Justice League battles the Royal Flush Gang, a band of playing card themed supervillains. The brisk pace continues as the Legion of Doom attacks the heroes individually before everyone comes together for the big brawl at the end. It's not all punching and explosions. The unique character dynamics between the Leaguers are still here though they aren't as fully explored because of the short runtime. Doom mainly centers on how each team member relates to Batman, who is a bit of a jerk, but a jerk with a point. He's the only one in the League without powers. Thus, he sees the need for contingency plans should someone like Superman ever go insane or is mind controlled. When the League state they would never do the same to Batman, he responds quite curtly, "Then, you're damn fools."

Be forewarned that Justice League: Doom isn't aimed at the casual fan and presupposes you are already familiar with the characters and their relationships. Despite being a big DC fan, I admit I had to check Wikipedia because I had no idea who Ma'alef'ak was. Turns out, he's the Martian Manhunter's evil brother. In any event, Doom is an enjoyable, action-packed romp.

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

Monday, January 9, 2012

Catch .44

Catch .44 - Dir. Aaron Harvey (2011)


Catch .44 is proudly advertised as a film done in "the tradition of The Usual Suspects and Pulp Fiction." These were two of the most critically acclaimed films to come out of the mid-90's. The only thing Catch .44 has in common with them is that it feels like a movie that might have been released over fifteen years ago after Quentin Tarantino hit it big and a whole slew of wannabe filmmakers began aping his approach with stylish crime films about cool gangsters spewing hip dialogue.

Catch .44 begins with a trio of bad girls named Tes (Malin Akerman), Dawn (Deborah Ann Woll from True Blood), and Kara (Nikki Reed from the other vampire saga, Twilight) having a conversation in a diner in the middle of nowhere, Louisiana. The gals are waiting for their boss Mel (Bruce Willis), who wants them to stick up a drug shipment being run by a rival gangster. When he doesn't show up at the specified time, they draw guns and initiate a shootout. The story flashes back to how our heroines got to the diner as well as delving into the background of their leader Tes. Meanwhile, an odd hitman named Ronny (Forest Whitaker) has killed a local deputy, swiped his uniform, and is making his way to the diner.

As it turns out, Tes used to be a waitress at a sleazy strip club where she earned extra cash by swiping the wallets of the clientele. She gains the attentions of Mel, the club's owner, who puts her to work in some vague capacity. How she moves from pickpocket to gun-toting enforcer is never really explained. Instead, the narrative sprinkles in these flashbacks while showing more and more of the shootout, which culminates in an extended and poorly staged Mexican standoff.

The cast also included Brad Dourif as the town sheriff, Shea Wigham as the cook, and Smallville's Michael Rosenbaum as an obnoxious club patron.

Catch .44 doesn't get off to a strong start with Malin Akerman pontificating about faking it and women trying to live in "man land." The scene is a pretty blatant ripoff of the diner scenes from Reservoir Dogs and Death Proof. At least, Tarantino was clever enough to write dialogue about Madonna or some obscure 1970's television show. First-time writer/director Aaron Harvey cannot come up with anything more interesting than lines about leaving the toilet seat up. The QT imitation continues as Harvey introduces his main characters via freeze frame and bold yellow titles lifted right out of Kill Bill or Inglourious Basterds. Harvey also drowns his film with familiar pop songs by the Raveonettes and the Kills. And, yes, he uses "U.R.A. Fever," which seems to appear in every other movie these days. Harvey also chooses the not-so-subtle "Queen Bitch" by David Bowie for Tes's intro. In a bizarre bit of kismet, Tes purchases a cassette copy of Bruce Willis's The Return of Bruno from a gas station and jams out to "Respect Yourself." Apparently, the joke was written into the script long before the filmmakers ever dreamed of casting Willis in the picture.

Speaking of John McClane, he looks rather bizarre as Mel the mobster. Sporting a bleached blonde soul patch and bad skin complexion, Mel struts around his mansion in a bathrobe while munching on pecans. That perfectly sums up just how deep the characterizations are in Catch .44. Everything is thinly sketched out with quirks and tics in place of fleshed out personality traits. For example, Ronny speaks with a faux Tony Montana accent while Kara always has her earbuds on.

Imagine if someone took the diner segment from Pulp Fiction and expanded it into a full-length movie, but sapped it of any life or originality. Wait, you don't have to Aaron Harvey did just that with Catch .44, a derivative direct-to-video bore that could have been cut and pasted from the pages Tarantino tossed into his recycle bin.

Rating: * (*****)