Blitz

Blitz - Dir. Elliott Lester (2011)

Jason Statham kicked off his acting career by appearing in comedic crime films for Guy Ritchie. Since then, he has grown into a recognizable action star looking to fill in the holes left by the aging heroes of the past like Arnold and Stallone. Statham has the steely gaze and charisma to make most of the B-grade scripts he picks watchable. Blitz isn't one of them.

Statham plays an uncouth, violent, and politically incorrect London police officer by the name of Detective Sgt. Tom Brant. In the opening sequence, Brant beats the crap out of a trio of muggers with a hurling stick. He gets chewed out by his superior officer for the incident as well as for other uses of excessive force. Their attentions are quickly turned to a serial killer calling himself Blitz (Aiden Gillen), who is targeting cops in sudden and brutal fashion. Brant is paired up with Inspector Porter Nash (Paddy Considione), who is looked down upon by other officers due to his homosexuality. Nash is the well-mannered and well-dressed opposite of Brant. They're the British, crime-solving Odd Couple.

Blitz plods along with a dull predictability and without an iota of suspense or surprise. In fact, the film comes off as a glorified prime time pilot with the resolution tying up loose ends in a trite manner. Pointless subplots are used to pad out the running time such as one involving a uniformed officer (Zawe Ashton) trying to kick a drug habit she picked up while undercover and a romantically interested detective (Luke Evans).

In the end, Blitz is nothing more than a forgettable knockoff of Dirty Harry.

Rating: * (*****)

The Ides of March

The Ides of March - Dir. George Clooney (2011)

The Ides of March, a pessimistic take on politics, receives a timely release with the nation's future as uncertain as ever and President Obama's approval ratings dropping to record lows.

Stephen Meyers (Ryan Gosling) is the press secretary for the presidential campaign of Pennsylvania Gov. Mike Morris (George Clooney). Morris is the left-leaning liberal's wet dream; a handsome and charismatic politician who happens to be an atheist, pro-choice, anti-death penalty, and he wants to tax the rich and phase out combustible engines within ten years. Suspension of disbelief may be required to believe Morris stands a snowball's chance. The only threat to his bid for the Democratic nomination is Sen. Pullman (Michael Mantell). He isn't nearly as popular or photogenic as Morris, but conservatives will vote for him because they know he doesn't stand a chance against the Republican candidate.

Stephen receives a call from Tom Duffy (Paul Giamatti), the rival campaign manager for Pullman. He foolishly accepts a meeting with Duffy, which sets off a chain reaction that could derail Morris' bid for presidency and Stephen's entire career.

The A-list ensemble cast includes: Evan Rachel Wood as an intern and love interest for Stephen, Philip Seymour Hoffman as Paul Zara the campaign manager for Mills, Jennifer Ehle as Mrs. Cindy Morris, and Marisa Tomei as a New York Times reporter.

As a director, George Clooney has shown he has studied under the learning tree of Steven Soderbergh and the Coen Brothers. He has accumulated a diverse filmography that includes the Charlie Kaufman-penned Confessions of a Dangerous Mind, the stark black and white drama Good Night, and Good Luck (one of the best film's of 2005), and the screwball comedy Leatherheads. The Ides of March isn't as strong as his sophomore effort, but it is a throwback to the politically charged thrillers of the 1970's. Clooney is clearly mimicking the work of Alan J. Pakula and Sidney Lumet. Not too shocking as Clooney has named Lumet's Network as one of his favorite films of all time.

The Ides of March is based on the play, Farragut North, which written by Beau Willimon who worked on the 2004 presidential campaign of Howard Dean. The play took its title from the subway station in Washington D.C. that sits at lobbyist central. In the play and the film (which was adapted by Clooney and writing partner Grant Heslov), Farragut North is a looming specter as the place where failed politicos go when ideals die. Tom Duffy warns Stephen that staying in politics too long will leave you cynical and jaded. That is the central theme of the movie as it follows the formerly optimistic Stephen's descent into compromise, blackmail, and backroom dealings.

The first act does a splendid job focusing on the little-seen gears and cogs of the political machine. Highlighted by clever, Sorkin-esque dialogue, Ides delves into the dirty deeds and subterfuge that goes along with the glad handing and fundraising. The film diverges from the play when it adds a series of soap opera twists and turns, none of which is as interesting as the earlier sections. The plot sags a bit in the middle before picking up towards the end. Thankfully, the ultra-talented cast lifts the material above its melodramatic trappings. Gosling is given more dialogue than Drive, but exudes the same simmering quality. It's also a treat to see actors of the caliber of Paul Giamatti and Philip Seymour Hoffman verbally sparring as two old campaign war horses. Though he's only in a handful of scenes, Jeffrey Wright brings a commanding presence as a North Carolina senator bucking for a cushy cabinet position in exchange for his vital endorsement.

The Ides of March had all the makings of an awards season darling and a classic political thriller. It doesn't reach those lofty levels the way Michael Clayton or Good Night, and Good Luck did. However, it is a well-made picture solidly directed by Clooney and packed with excellent performances.

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

Real Steel

Real Steel - Dir. Shawn Levy (2011)

"Let's make some money!"

Despite outward appearances, Real Steel is not based on Rock ‘Em, Sock ‘Em Robots. It’s loosely based on a 1956 short story by sci-fi author Richard Matheson and was previously adapted as an episode on The Twilight Zone with Lee Marvin as a down-and-out manager of a robot boxer. Hugh Jackman steps into that role, but Real Steel only tangentially resembles those previous versions. After phenomenal success with the Transformers franchise, it was no surprise that Dreamworks and producers Steven Spielberg and Don Murphy would dip into the robot well one more time.

The year is 2020 and combat sports are participated by robots instead of humans. Charlie Kenton (Jackman) was a former pro boxer with a mediocre record, who hustles for money at state fairs and campgrounds with his busted up robot fighter. In the opening sequence, Kenton’s ‘bot is destroyed by a rodeo bull. Soon after, he receives word that an ex-girlfriend has died and parental custody of his estranged son, Max (Dakota Goyo), is being contested by Max’s aunt, Debra (Hope Davis). Charlie has no problem with ditching the kid, but wants something in return and finagles a backroom deal with Debra’s fiancé (James Rebhorn) to essentially sell Max for $100,000, half up front. Father and son are stuck with each other for the summer as Charlie uses the money to purchase a new robot, Noisy Boy, to compete on the underground circuit.

Noisy Boy gets wrecked in his first fight thanks to Charlie's inexperience with its voice commands. Forced to scrounge for spare parts in a junkyard, Max comes across an entire robot buried in the mud. It is Atom, an old model designed only for sparring. Atom is built to take a lot of punishment, but never dishing any out, as Charlie explains. Max sees a lot of himself in Atom, both are alone and unwanted. The kid takes it upon himself to upgrade and train Atom himself through its shadow function, which allows the 'bot to copy the movement of its owner. There's also a hint that Atom might possess an iota of self-awareness. This thread isn't fully explored as the producers are likely saving it for a sequel.

To the surprise of Charlie, Max's robot begins tearing up the back alley arenas and catching the attention of promoters from the professional World Robot League. This leads to an inevitable showdown between Atom and the WRL champion Zeus, an automaton backed by a Russian heiress (Olga Fonda) and a genius Japanese designer (Karl Yune).

One thing Real Steel has going for it is the gorgeous cinematography by Mauro Fiore, who also shot Avatar. From the wheat fields of the Midwest to the metallic factories where the robots do battle, Fiore gives everything a glossy sheen.

The robots of Real Steel are sleeker and better designed than the unsightly clunkers of Michael Bay's Transformers. Each one has a distinct, retro feel that makes it easier to follow the boxing matches. Too many times did the action scenes in Transformers descend into an indiscernible mass of pixels. The fights in Real Steel are exhilarating and well-done with the legendary Sugar Ray Leonard serving as the film's consultant. The slick cinematography and convincing special effects are enough to carry the movie visually, despite the bland direction of Shawn Levy, a master of populist and pandering pap. He did, after all, direct the Night at the Museum pictures.

Real Steel lacks any originality with a predictable narrative full of saccharine moments more manufactured than its robotic pugilists. Real Steel mixes mechanical mayhem with an underdog sports story in the vein of The Champ with a dash of Paper Moon. Rocky is cribbed numerous times, but the main plot resembles another famous Stallone flick, Over the Top with the estranged father and son embarking on a road trip to revive their relationship. An already derivative script is further hampered by protagonists who are less than sympathetic. Charlie is not a lovable scoundrel, but an outright asshole. He is crude and just plain stupid sometimes. Max suffers from cute kid syndrome. Dakota Goyo, who also played the young god of thunder in Thor, isn't as grating as other child actors (Jake Lloyd and Jaden Smith, I'm looking at you), but he could stand to be less precocious. Charlie and Max are steered towards more tolerable levels as the movie progresses.

Hugh Jackman has all the screen idol looks and charisma to excel in the lead role though his performance isn't enough to transcend the material. Anthony Mackie and Jackman's Wolverine co-star Kevin Durand are good in minor roles as an underground promoter and a redneck antagonist, respectively. Female roles are given the short shrift. Evangeline Lilly appears as love interest, Bailey, the daughter of Charlie's late-trainer who is desperately trying to maintain her father's dusty gym. Lilly doesn't get to do much other than pine for her beau, which is more than what is given to an utterly wasted Hope Davis.

Real Steel can easily be summed up by its crass product placement where Dr. Pepper, X-Box, and Bing logos and products are front and center. It's most out-and-out sci-fi element has to be Hewlett-Packard technology running the entire show. This is a highly commercialized picture lacking any genuine heart and refined through demographic surveys and test audiences.

Richard Matheson is best known for writing I Am Legend, which was adapted into a 2007 blockbuster starring Will Smith. The film version completely missed the point of the original story, which saw the last surviving man metaphorically becoming the very monster he was trying to exterminate. Matheson's original "Steel" was a tale about man vs. machine not failed man achieving success vicariously through machine. It's not surprising that Hollywood misses the point once again. Let's make some money indeed, Hugh Jackman.

Rating: ** (*****)

Submarine

Submarine - Dir. Richard Ayoade (2011)

As long as there have been teenagers, there have been stories about mopey, love struck adolescents. Submarine follows suit with a young protagonist who seemed to have been raised on a steady diet of J.D. Salinger and French New Wave cinema.

Oliver Tate (Craig Roberts) is an iconoclastic boy growing up in Wales or more specifically, the suburbs of Swansea, birthplace of Dylan Thomas and Catherine Zeta-Jones. He's the type of kid who brings a briefcase to school with him. Oliver also wears a suit and tie as part of the dress uniform, but you get the feeling he'd probably still wear them if it weren't required. Oliver thinks of himself as a well-heeled and erudite individual. He listens to Serge Gainsbourg and enjoys the films of Jean-Pierre Melville, after all. Most importantly, Oliver believes he is much beloved by his peers. In the opening scene of Submarine, he stares off into the horizon and imagines what would happen to the school if he committed suicide. All the teachers and students would surely mourn his loss. The reality of the situation is that Oliver isn't particularly popular nor is he at the bottom of the food chain. Just like so many high schoolers before and after him, Oliver is simply filling a seat.

Oliver has become smitten with an equally unique classmate named Jordana Bevan (Yasmine Paige), who possesses a pageboy hairdo, a slight case of eczema, and a penchant for burning things. Oliver goes against his principals to bully an overweight girl in order to grab Jordana's attention. Though he feels remorse, the ploy works. However, the supposedly mature Oliver learns that love carries a heavy emotional weight that he is not equipped to handle. At the same time, he must try to save his parents' marriage. Oliver's father, Lloyd (Noah Taylor) is sleepwalking through life due to a crushing bout of depression. This has caused his wife, Jill (Sally Hawkins), to drift towards her ex-boyfriend, Graham Purvis (Paddie Considione), a ridiculous new age guru with a spiky mullet.

Based on a 2008 novel by Joe Dunthorne, Submarine marks the feature directorial debut of Richard Ayoade, a jack of all trades who fans of British comedy might recognize from series like The IT Crowd and Garth Marenghi's Darkplace. He also helmed the "Critical Film Studies" episode of NBC's Community, which featured a fusion of Pulp Fiction and Louis Malle's My Dinner with Andre. With the sure hand of a seasoned director, Ayoade has created a visually striking picture that might have come out of a time capsule. Submarine has a vintage look and a timeless feel to an era where kids passed around notes in class rather than texting on their smartphones. Ayoade also borrows liberally from the Wes Anderson playbook with his straight-on compositions, dry sense of humor, and blocky chapter titles.

Craig Roberts' most notable role to date was a brief appearance in Jane Eyre as the title character's abusive cousin. Here, Roberts shines in his first starring role in a performance that draws upon Jean-Pierre Leaud's Antoine Doinel, Jason Schwartzman's Max Fischer, and Bud Cort's Harold from Harold and Maude. Roberts' wide eyes and cherubic visage certainly bare a strong resemblance to the latter character. Neither Roberts nor Ayoade shy away from the highs and lows of teenage love. Kids can be cruel and selfish at times and Oliver Tate is no different. He tries to remake Jordana in his image by making her read Nietzsche and watch Carl Theodor Dreyer's The Passion of Joan of Arc. Oliver eventually learns the hard way that he lacks the emotional maturity he naively thought he had. Kids can also be big balls of contradictions. As Oliver maintains an image of wisdom beyond his years, he clings to childish ways when it comes to reconciling his parents crumbling marriage.

Sally Hawkins and Noah Taylor give understated, yet remarkably rich performances as Oliver's parents. The one character that sticks out like a sore thumb is Paddy Considine's psychic ninja, Graham Purvis. He's a cartoon character who would be fit in more at a Kajagoogoo reunion concert. His silliness could be written off as exaggeration by Oliver, whose narration can be heard throughout the film.

Submarine tends to be the overly precious and needlessly quirky cinema that arthouse hipsters eat up with a spoon. If you cannot stand the genre, then Submarine is one to avoid. However, if you are able to get past the showy flourishes, you might find a touching coming-of-age story highlighted by beautiful imagery and a dry sense of humor.

Rating: ** ½ (*****)

Contagion

Contagion - Dir. Steven Soderbergh (2011)

Steven Soderbergh is one of the few filmmakers working today who rarely repeats himself. He is as comfortable at making big Hollywood spectacles like the Ocean's series as he is with idiosyncratic low-budget projects like Bubble and The Girlfriend Experience. He's also delved into film noir in The Good German (one of my favorite films of 2006) and straight out action in the upcoming Haywire. With diseases of the week like Mad Cow, H1N1, SARS, and bird flu constantly making headlines, it appears to be the perfect time for an epidemic movie.

Contagion begins on Day 2 as Beth Ernhoff (Gwyneth Paltrow), an executive with a mining corporation, returning to her home in Minnesota after a business trip in Hong Kong. She's looking worse for wear to which she blames on jetlag. Soon, she collapses on her kitchen floor, foaming at the mouth and going into convulsions. She dies shortly at the hospital to the horror of her husband, Mitch (Matt Damon), who demands answers, but gets none. Beth isn't the only victim as a socialite in London, a businessman in China, and a student in Tokyo all die from this mysterious new disease. This new virus, dubbed MEV-1, is a strain researchers have never encountered before and they struggle to create a cure as millions are infected.

In the vein of Traffic and other hyperlink films, Contagion juggles an all-star cast and a myriad of plotlines. Matt Damon is the emotional core as the everyman just trying to survive after losing not only his wife, but his stepson as well. He takes the role of overprotective father to the extremes as he attempts to shield his teenage daughter, Jory (a strong screen debut by Anna Jacoby-Heron). Laurence Fishburne appears as Dr, Ellis Cheever, the head of the CDC who attempts to contain the disease and public opinion. He is stymied in his efforts by Alan Krumwiede (Jude Law), a hostile blogger who turns sentiment against the government with his conspiracy theories while pushing a holistic cure. Behind the scenes, he's secretly profiting from the manipulated demand.

Soderbergh eschews genre conventions by taking a clinical and procedural approach to the subject matter rather than a sensationalistic approach. Shot in a cold, gray color palette, Contagion deals in the mathematics and hard facts of the outbreak, showing how quickly the virus would spread, the fatalities, and even the harsh realities of how long a vaccine would be distributed. No surprise, if you're not rich and/or white, you're kind of screwed. Expected imagery such as hospital wards filled with sick patients and mass graves appear in Contagion, but Soderbergh shoots them in a nonchalant manner. He is more interested in the minutiae. As MEV-1 spreads through touch, the camera lingers on ordinary objects such as door knobs, credit cards, and a bowl of complimentary peanuts. The mundane aspects of the virus make it all the more frightening, Just as Jaws made you afraid to go in the water, you might not leave the house without sterile gloves and a breathing mask after watching Contagion. The way in which basic services break down is also chilling. Delivery of essential supplies ends when the teamster unions call it quits. Doctors and nurses walk away from their jobs for fear of becoming afflicted. Also, don't bother calling 911. When Mitch tries to call after spotting armed men, he is answered with an automated message. "You have selected regicide. If you know the name of the king or queen being murdered, press 1 now!"

Soderbergh and screenwriter Scott Z. Burns (who also wrote The Informant!) don't get on a soapbox by launching into tirades about government or the pharmaceutical industry. The majority of characters are portrayed on an even keel. Dr. Cheever is an honest though flawed official while members of the military and Homeland Security are shown as folks just trying to do their job. Yet, the bad apples are still present. As the CDC's Dr. Erin Mears, Kate Winslet is forced to deal with bureaucrats who are more concerned about budgets than treating the ill. Looters and rioting are par for the course. There is also an underlying indictment against the rapid rise of global industrialization, another virulent plague striking modern society. I won't spoil the ending, but the fact that a multinational corporation inadvertently causes the catastrophe is something to chew on.

Not all the storylines in Contagion are winners. Law's Krumwiede feels out of place with the docudrama approach of the film. His storyline is meant to symbolize how disinformation and panic are just as contagious as any pathogen, especially in an era where social media has so firmly integrated into the way we live. But, his character is handled in a very cartoonish manner. He has crooked teeth, for goodness sakes. The only thing missing is a handlebar mustache. Blogging is handled in an outdated manner as if the script had been written four or five years ago. Krimwiede loudly proclaims that print media is dead when a paper is dismissive of his findings. There is a wonderfully clever line spoken by Elliot Gould (as a research scientist) when he rebukes that blogging is just "graffiti with punctuation."

Marion Cotillard is also given the shaft as a doctor from the World Health Organization dispatched to Hong Kong to track down the path of the MEV-1. She is later kidnapped by a colleague who is desperate to receive the vaccine for his rural village. Cotillard is only given a short amount of screen time and then disappears for most of the picture until it's convenient to remember she's still around.

Soderbergh has assembled an impressive cast where even the smallest supporting roles are played by actors of note such as Gould and John Hawkes as a janitor at the CDC's headquarters. Damon and Winslet give two of the most stirring performances in the film. Paltrow's time is short. She doesn't even survive the trailer. However, her early death puts the audience on alert that nobody is safe, no matter how famous they are. Ironically, the best performance in Contagion belongs to an actress who isn't as well-known as her colleagues. Jennifer Ehle, who played Geoffrey Rush's wife in The King's Speech, has won rave notices (and deservedly so) for a scientist working tirelessly to develop a cure.

Contagion also features a pulse pounding score from Cliff Martinez, who also composed the synth score for Drive. Throbbing electronic sounds form the backbone of Martinez's music, which will set the view on edge.

As the disease ravages the Earth, populated metropolises give way to desolate urban landscapes reminiscent of a zombie movie. While Contagion has the feel of sci-fi flicks such as Invasion of the Body Snatchers and 28 Days Later, it is an ultra-realistic, post-9/11 version of Outbreak. Contagion is creepy, enthralling, and will certainly skyrocket sales in Purell.

Rating: *** ½ (*****)

Warrior

Warrior - Dir. Gavin O'Connor (2011)

Gavin O'Connor delved into family dysfunction with his previous picture, the crime drama Pride and Glory. Before that, he directed 2004's Miracle, a rousing underdog story about the USA's Olympic hockey team and their victory over the heavily-favored Russians. In Warrior, O'Connor and co-writers Anthony Tambakis and Cliff Dorfman combine both themes for a tear jerking story capitalizing on the rise in popularity of MMA and the current economic crisis.

Warrior takes the classic Rocky formula and splits it two ways. The protagonists are estranged brothers, Brendan (Joel Edgerton) and Tommy (Tom Hardy), who were raised by a drunken and abusive father in Paddy Conlon (Nick Nolte). The rift between siblings began when Tommy finally convinced their mother to leave with him for California where she later succumbed to cancer. Brendan chose to stay behind and marry his high school sweetheart, Tess (Jennifer Morrison), with whom he has two beautiful daughters.

Fourteen years later, Tommy returns to the family home in Pittsburgh to find his father is now a recovering alcoholic closing in on a thousand days of sobriety and full of regret. Tommy has been overseas after a tour in the Middle East with the Marines and clearly traumatized about his combat experiences. While working out at a local gym, he becomes a YouTube sensation after pulverizing one of the top welterweight fights in the country during a sparring match. Tommy, an undefeated amateur wrestler in his youth, asks his father to train him once again, but makes it clear there will be no personal connection between the two.

Meanwhile, Brendan has become a high school physics teacher who is in desperate need of money after falling behind on his mortgage. He gets an old friend, Frank Campana (Frank Grillo), to train him for an Atlantic City tournament known as Sparta, where the grand prize is $5 million. Tommy too has entered the contest for his own reason.

Anyone with a firm grasp of basic Hollywood story structure will see where the film is going from the opening minutes. Tess doesn't want her husband becoming a fighter again nor does she wish to see any of his fights. Yet, she will inevitably appear in the front row to support Brendan at a climactic moment. It also shouldn't be much of a spoiler (especially since it's in the trailer) that the brothers will meet in the tournament finals to finally settle the score inside the caged octagon. O'Connor keeps both Brendan and Tommy on an even keel so that the audience's sympathy isn't strongly in favor of one or the other. While the moment is played as a triumphant victory, there is an underlying sense of tragedy that the siblings can only solve their problems by beating the crap out of each other.

There's nothing subtle about Warrior. The movie hammers the viewer with soap opera subplots like a fighter reins down fists on a prone opponent caught in a rear mount. There's Paddy's attempt to remain sober and reconnect with Tommy and Brendan, who was ignored due to the younger's superior athletic achievements. In a ham-fisted attempt at allegory, Paddy listens to Moby Dick on tape with his own white whale being the forgiveness of his sons. Toss in Tommy's need to overcome his harsh life and Brendan's efforts to provide for his family. Oh, and Brendan's youngest daughter has had health problems which required extensive medical attention and insurmountable hospital bills. Each man's fighting style mirrors their own inner turmoil. Tommy is blunt force trauma, destroying his opponents and leaving the ring without fanfare before the official decision is even read. Brendan, on the other hand, takes a great deal of punishment before staging his comeback. O'Connor makes sure no stone is unturned when it comes to milking every conceivable emotion. At an almost inexcusable two hours and twenty minutes, he gets plenty of opportunity to do so.

Warrior mainly succeeds because of its talented ensemble. Don't expect minimalistic performances here, this is acting that draws attention to itself. However, it works hand in hand with the tone O'Connor goes for, that of a testosterone fueled weepie. It's hard to imagine that the two working class boys at the center of the film are played by an Aussie and a Brit. Edgerton does a solid job, but he's outshined by the showier performances by Nick Nolte and Tom Hardy. Nolte is perfectly cast as the world weary burnout with an unshakeable sadness about him. Hardy has risen to a whole new level as an actor following brilliant turns in Nicholas Winding Refn's Bronson and Christopher Nolan's Inception. Here, Hardy plays a brooding time bomb of seething frustration and hostility. His portrayal of Tommy is reminiscent of a young Marlon Brando and his iconic role in On the Waterfront.

The obligatory montage training sequences are present in Warrior though they are sadly not set to 1980's power ballads.

Warrior drifts too frequently into schmaltzy territory and is about twenty minutes too long. Still, it is an effective melodrama for men. This is one of those movies where it's okay for a guy to cry.

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

Meet Monica Velour

Meet Monica Velour - Dir. Keith Bearden (2011)

"You screw a few hundred guys and the whole world turns against you."

Marilyn Chambers, Ginger Lynn, Christy Canyon, and Nina Hartley. These are some of the biggest starlets in the history of porn. A few of the well-known performers of the golden age of porn have tried to transition into mainstream film, but found the stigma of their previous occupations to be a tremendous hurdle. Other actresses have happily retired and some are still in the business. Others, like Bambi Woods the starlet of the infamous Debbie Does Dallas, seem to have vanished without at race.

Inspired by these tales, Keith Bearden, writing and directing his first feature film, presents Meet Monica Velour, a coming-of-age story about an awkward young man and a faded star.

Tobe (Dustin Ingram) lives with his grandfather (Brian Dennehy) in suburban Wisconsin and earns a living by working a hot dog truck called the Weenie Wiz. He has a fascination with things of a bygone age, preferring to listen to 1930's jazz and watching vintage porn from the early-80's. His favorite skin flicks feature a beautiful blonde named Monica Velour (Jamie Tisdale). Tobe has all her movies on VHS as well as an extensive collection of posters, photos, and clippings. He's just graduated from high school after four completely undistinguished years. Tobe's prospects are slim after being rejected from every college he applied to. Not wanting to sling hot dogs for the rest of his life, he decides to sell the food truck to an artist living in Indiana. By coincidence, Tobe learns that Monica Velour is making a rare appearance at a Podunk strip club called The Petting Zoo.

Faster than you can say "road trip," Tobe makes the long drive to the Hoosier State to meet his dream girl. What he finds instead is a downtrodden and middle-aged divorcee (Kim Cattrall) whose hollow-eyed routine is a sad sight. She lives in a rundown trailer park and is locked in a bitter custody battle for her daughter with her abrasive ex-husband (Sam McMurray). Monica allows Tobe to stay with her out of pity after he's beaten up by a group of frat boys while trying to defend her honor from their cruel taunts. Thus begins an unlikely friendship as Tobe takes it upon himself to save Monica Velour.

Images of Napoleon Dynamite will likely pop into your head due to the striking resemblance between Tobe and Jon Heder's most well-known character. Much like Napoleon Dynamite, Tobe is a lanky, nerdy looking teenager with thick glasses and curly hair. Unlike Napoleon, Tobe isn't a cartoonish caricature. At least there was an eccentric charm in the former character, Tobe is lacking in any distinct personality. He's also not a very likeable protagonist and his naiveté gets downright annoying very quickly. At least, Kim Cattrall gives a brave, if Oscar bait-y, performance as the over-the-hill adult entertainer. Cattrall put on an extra twenty pounds for the part and wore little to no make-up. It's certainly a far cry from her glamorous role as Samantha on Sex and the City. But, Cattrall hardly gets a chance to delve deeper into the character because of how thinly written she is.

Monica Velour isn't totally devoid of positive elements. The opening credits consisting of mock porno posters and video covers are cute. The film also features the great Keith David as Tobe's prospective buyer, an artist of kitschy Americana. His art studio littered with giant Pez dispensers and a statue of Bob's Big Boy. If it sounds like I'm stretching to find compliments, I am.

Meet Monica Velour is a mix of drama and comedy that's lacking in any drama or comedy. Too often Bearden goes for the cheap jokes. The pseudo-porno scenes are tired gags revolving around poor production values and bad acting. Lacking in originality or genuine emotion, this is a film that fakes its way to the money shot.

Rating: * (*****)

Our Idiot Brother

Our Idiot Brother - Dir. Jesse Peretz (2011)

Before becoming an independent filmmaker, Jesse Peretz was a founder of the alternative rock band The Lemonheads, whose biggest hit was a cover of Simon & Garfunkel's iconic "Mrs. Robinson." Peretz eventually directed two low-budget feature films along with numerous commercials and music videos. He landed his biggest gig in the critically reviled comedy The Ex with Zach Braff and Jason Bateman. Peretz has bounced back from that particular flop with the winning Our Idiot Brother, a frothy comedy that was co-written by his sister Evgenia Peretz and her husband David Schisgall. Our Idiot Brother premiered at Sundance where it was picked up by the Weinstein Company and released into theaters with little fanfare.

Paul Rudd stars as the titular idiot brother, a permanently baked fellow by the name of Ned who goes to prison for selling marijuana to a police officer at a farmer's market. Not an undercover cop, but one in full uniform, who claimed to just be having a rough time. However, Ned is only an idiot in the Dostoyevskian sense. He's not the brightest bulb, but he does possess an unwavering innocence, love, and trust for all those around him.

When Ned is released several months later, he finds his girlfriend, Janet (Kathryn Hahn), has already shacked up with a new man, Billy (TJ Miller), who is even more scatterbrained than Ned. She boots him off their biodynamic farm and refuses to relinquish his beloved golden retriever Willie Nelson. With nowhere else to go, Ned is shuffled between the homes of his three sisters. Liz (Emily Mortimer) is the oldest and married to a douchebag documentarian (Steve Coogan). Both are uptight yuppies who have rigidly planned their son's life in order to get him into a posh private school. Miranda (Elizabeth Banks) is a workaholic magazine writer desperately trying to score an elusive interview with an heiress turned tabloid fodder. The youngest sister is Natalie (Zooey Deschanel), a bohemian hipster in a lesbian relationship with Cindy (Rashida Jones), a lawyer. The Sapphic couple lives in an odd communal loft with other artsy fartsy types. Ned's freewheeling and unfiltered lifestyle winds up turning his sisters' lives upside down

Our Idiot Brother is a welcome change of pace from a summer filled with raunchy R-rated comedies. The film can't be considered a masterpiece and the plot is predictable with an unsurprising and schmaltzy ending. Of course, the sisters will eventually forgive their brother and realize the problem was with them, not him. Still, the journey is riddled with amusing moments and great performances from the all-star cast.

Paul Rudd ably carries the picture on his shoulders as a low-rent Lebowski. His Ned is charming enough to easily win the audience over. The actresses portraying his sisters all take to their roles even if they aren't required to do any heavy lifting. Mortimer, Banks, and (in particular) Deschanel are cast as characters similar to ones they've played in the past. Rashida Jones doesn't get nearly enough screen time. She looks stunning even when wardrobe is trying to butch her up with thick-rimmed glasses, a dress shirt and tie, and jean shorts. And for all you horndogs, yes, Rashida Jones and Zooey Deschanel do make out. Rudd has good chemistry with each actress, but his best scenes are the ones he shares with TJ Miller and Adam Scott, who co-stars as a neighbor and potential love interest to Miranda. Rudd and Miller seem to be in a stiff competition to see who can play the more brain-addled stoner. Meanwhile, Rudd and Scott bond over women troubles and a shared love of Dune ("Father…the sleeper has awakened.")

Our Idiot Brother is a lightweight film that's as breezy and easygoing as its lead protagonist. It isn't a memorable comedy, but it is a solid one with a terrific cast.

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

Drive

Drive - Dir. Nicholas Winding Refn (2011)

When Drive was screened at the Cannes Film Festival this past May, it received a standing ovation and Nicholas Winding Refn won the award for Best Director. The critical buzz was building in anticipation of the film's wide release. Does Drive live up to the hype? In the opinion of this humble cinephile, I answer with a resounding, "Yes."

Ryan Gosling stars as the protagonist who known only in the credits as Driver. By day, he works part-time as a stunt driver for movie shoots. At night, he's a wheelman for heists with a preternatural ability while in the driver's seat. He also works at a garage owned by his only friend Shannon (Bryan Cranston), who provides him with the vehicles he needs. He wants to provide one more in a stock car to start the Driver off on a professional racing career. In order to do so, Shannon borrows money from Nino (Ron Perlman) and Bernie Rose (Albert Brooks), a pair of Jewish mobsters who operate out of a strip mall pizzeria.

The normally aloof Driver finds himself bonding with his neighbor Irene (Carey Mulligan) and her young son Benicio (Kaden Leos). The future looks bright until Irene's husband, Standard (Oscar Isaac), is released from prison. With his family threatened, Standard is forced into pulling a robbery in order to repay a gangster known as Cook (James Biberi) for protecting him while behind bars. Driver agrees to help in order to save Irene and Benicio. The job naturally goes south leading Driver down a road paved by blood and bodies.

Drive is obvious in its influences. Chief among them is Walter Hill's The Driver, which also featured an unnamed getaway man played by Ryan O'Neal. Both movies are also descendents of the existential crime films of Jean-Pierre Melville with their taciturn lead characters searching for a purpose in their empty lives. Gosling's Driver finds the purpose he desperately needed with Irene and Benicio. The choice to leave the character unnamed wasn't made just to evoke the similarly unnamed stranger from the Westerns of Sergio Leone and Clint Eastwood, but to establish his anonymity. As a stunt man, Driver will never be the hero of that movie. He can only pretend to be the hero, donning a grotesque mask to do so. As the protector of his broken family, Driver can finally be the hero of his own story. The Driver moniker also highlights just how much his identity is tied into the car. There's a Zen quality to the way in which Driver connects with his automobiles, preferring a spartan existence on the road. Would that he could live his life forever behind a steering wheel.

Thematically, Drive owes much to the films of the 70's, but the look and feel is pure retro-80's right down to the neon pink cursive font used for the titles. The soundtrack is comprised of synthpop and an electronic score by Cliff Martinez that is meant to evoke 80's staples like Vangelis and Tangerine Dream. Cinematographer Newton Thomas Sigel (who has shot all of Bryan Singer's films) captures Los Angeles with the same beauty and gritty atmosphere of pictures like William Friedkin's To Live and Die in L.A. and Michael Mann's Thief. Sigel alternates from gorgeous aerial shots of the city at night to roaring intimately through the side streets inside the Driver's muscle cars. This is a film that was meant to be seen on the big screen.

Even the chaste love story of the Driver and Irene borrows heavily from the 80's oeuvre of John Hughes. Both Gosling and Refn have described "Drive" as a violent version of Pretty in Pink or Sixteen Candles. The Driver himself looks like he stepped right out of a time warp from twenty years ago. His favored wardrobe consists of a puffy satin jacket, leather driving gloves, and a toothpick in the corner of his mouth. It's obvious he's trying to emulate the coolness of the screen idols he admired as a youth.

Gosling gives a remarkable performance as the taciturn Driver. Over the last few years, Gosling has launched himself onto another level beyond just "that guy from The Notebook." He's taken on memorable roles in heavy indie dramas like Half-Nelson and Blue Valentine along with showing a natural talent for comedy, both broad (Crazy Stupid Love) and quirky (Lars and the Real Girl). In Drive, Gosling proves himself to be a believable action star. Given a minimal amount of dialogue, Gosling speaks volumes through simple facial expressions. The squeaking of his leather gloves as he tightens his fist says more than any florid soliloquy. While Driver's relationship with Irene is an important one, it is the burgeoning bond between him and Benicio that is pivotal to the narrative. Gosling conveys this perfectly in a scene where the two engage in a staring contest. A slight smile breaks across Driver's face to show how this boy has broken through the man's detached exterior. Yet, this stoic demeanor belies a shocking capacity for violence. He strikes with the suddenness of the scorpion emblazoned on the back of his jacket.

Those familiar some of Refn's previous pictures like Bronson and Valhalla Rising will know that the director has a predilection for stylish violence. That trait is present in Drive as quiet moments give way to explosive acts of brutality. A tender kiss in slow motion between Driver and Irene leads right into a gruesome sequence in which he practically obliterates an assailant's skull by reigning down one merciless stomp after another. Refn never tries to outdo the classic car chases of Bullitt or The French Connection. His set pieces aren't as elaborate, but they are sleek and clever. In the gripping opening of the film, Driver evades the cops through guile rather than sheer horsepower. He parks the car by the curb and switches off the lights. Seconds later, he nonchalantly follows behind a police car obliviously waving its searchlight in every other direction.

Drive is Gosling's show all the way though he is backed up by a tremendous supporting cast. Bryan Cranston is excellent as is the lovely Christina Hendricks, even if her appearance amounts to all of five minutes. As a 21st century Audrey Hepburn, Mulligan has the innocent look and sweet nature to breathe life into a character that is thinly defined on the page. It's easy to see why the stone cold Driver would fall for her. To no surprise, Ron Perlman makes for an effective villain, but it is Albert Brooks who is cast against type as a menacing mobster. He possesses a genial nature that conceals a frightening propensity for violence. Much like the Driver, he strikes quickly and suddenly.

It is not often you will find an action movie that could be considered an exquisite work of art. Then again, movies like Drive aren't often made. Don't expect Drive to be another The Fast and the Furious or The Transporter, it is a more cerebral and visceral experience. This is arthouse action at its finest, a modern day film noir of vehicular masculinity.

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

Bodyguards and Assassins

Bodyguards and Assassins - Dir. Teddy Chan (2009)

Don't be fooled by the title. Bodyguards and Assassins isn't some genre-bending mash-up like Cowboys & Aliens. This big-budget Chinese production mixes hard-hitting action, political intrigue, and historical context with an all-star ensemble to craft a memorable martial arts epic. It wasn't easy though. Director Teddy Chan (The Accidental Spy) and producer Peter Chan (The Eye), no relation, have been trying to make this film for over a decade. Originally titled, Dark October, Bodyguards and Assassins was plagued by numerous delays from the SARS epidemic, government censorship, and the suicide of an investor a day before filming was scheduled to commence.

Bodyguards and Assassins is set in 1905 against the backdrop of the coming revolution against the Qin Dynasty. Revolutionist Dr. Sun Yat-Sen is planning a trip to Hong Kong to meet with other movement leaders to overthrow the corrupt government. Armed with this knowledge, the Empress Dowager has dispatched an army of assassins under the command of General Yan Xiaoguo (Hu Jun). The only one who can protect Dr. Sun is Li Yutang (Wang Xueqi), a wealthy businessman trying to straddle the fence on both sides. Li finances an anti-government newspaper run by his friend Chen Shaobai (Tony Leung Ka-Fai), but doesn't want to get personally involved in the revolution. He is also adamantly opposed to his son, Chongguang (Wang Po-Chieh), participating in any shape or form.

Fang Tian (Simon Yam), a former military officer for the empire has arrived in Hong Kong, accompanied by his men, who are disguised as a Peking opera troupe. But, Gen. Yan intercepts them and their brutal murder inspires Li to put together his own band of highly skilled warriors to safeguard Dr. Sun. First among them is A-Si (Nicholas Tse), Li's long-time rickshaw driver. What A-Si lacks in fighting skills, he more than makes up for in unwavering loyalty. Li also recruits a gigantic Shaolin monk nicknamed Stinky Tofu (former NBA star Mengke Bateer), who left the monastery to sell stinky tofu on the streets. Next is Liu Yubai (Leon Lai), a once mighty martial arts master who has become a scraggily beggar over the love of a woman (Michelle Reis). Also joining them is Fang Hong (Li Yuchun), Fang Tian's daughter, who has vowed revenge against her father's killers. Completing the group is Shen Chongyang (Donnie Yen), a corrupt police officer with a gambling addiction and a willingness to do any dirty deed for the right price. Shen's former love, Yue-ru (Fan Bingbing), is now married to Li. Initially hired to spy against the seditionists, Shen is convinced by her to protect Li instead.

Bodyguards and Assassins sports an expansive cast and a myriad of subplots. It can be a bit hard to follow, especially for those forced to rely on subtitles. The film takes its time to develop these characters. In fact, the entire first half of the movie is devoted to introducing the main players and moving them across the cinematic chess board. The pace is slow and the dialogue is packed with filibustering about sacrifice and ideals. Thankfully, these moments are saved by the strong performances of the main cast. While Donnie Yen is given the lion's share of the publicity, he only plays a supporting role. The true hero is Li Yutang. Wang Xueqi, whose long career includes Warriors of Heaven and Earth and Chen Kaige's Yellow Earth, brings a serious gravitas to the role and serves as the anchor of the story. In a clever move, the opening prologue features Jacky Cheung as a teacher and revolutionary who is assassinated by General Yan. Cheung is a renowned actor and pop star in Asia and his death lets the audience know that no one is safe, despite their star status.

The second half of the movie is devoted entirely to the arrival of Sun Yat-Sen in a convoy of rickshaws, which are flanked by Secret Service-esque bodyguards. Their objective is to escort him from the harbor to a safe house with assassins attacking from nearly every alleyway and rooftop. This extended chase sequence is reminiscent of The Gauntlet or 16 Blocks. Various fighting styles are highlighted with the best fight scene belonging to Donnie Yen and MMA competitor Cung Le.

The production designers have also done a fantastic job in recreating the Hong Kong of 1905. Bodyguards and Assassins looks and feels genuine, rather than world created entirely on a studio set.

Bodyguards and Assassins was originally released in Asia in December of 2009. It received eighteen nominations at the Hong Kong Film Awards winning in the categories for Best Picture, Best Director, and Best Action Choreography among others. It's not as stellar a martial arts film as Ip Man, but it's a solid actioner.

Rating: ** ½ (*****)