Know comedy no Funny

It should have been abundantly clear if you read this blog with any regularity that I have been a big fan of Judd Apatow's work and was looking forward to his latest directorial effort, this past summer's Funny People. So it came as a shock to me to see it do so poorly at the box office. However, I was in for an even bigger let down now that I've finally got a chance to see it myself.

Starring Adam Sandler and Seth Rogen, the film centers around a successful comedian (Sandler) who receives news that he has a rare form of leukemia. Suddenly worried about his mortality, he forms a friendship/working relationship with an up-start comic (Rogen). If you haven't figured it out yet, despite the film revolving around the world of stand-up comedy, this is anything but a laugh-out loud movie. The attempt at a more serious subject matter produces Apatow's most uneven work to date.

I'm not sure if it was greed or ambition, but Apatow attempts to do too much with this film and he ends up failing to make any of it work. Sandler's character is too much of an oddball loner to make him sympathetic enough as you watch him deal with his potentially limited future. Rogen's character is seemingly well-intentioned, but he's so weak and nonconfrontational that it makes it difficult to respect him. Then in amongst these heavy handed themes we have moments of classic Apatow one-liners and pop culture references. In a vacuum, these would typically be hilarious, but here they just feel out of place. Instead of the characters responding realistically to the situation, they're still riffing on each other with immature humor that was more appropriate for The 40 Year Old Virgin.

A large part of the film's excess problem is its length. Clocking in at over two and a half hours, it is just too long of a time to be spending with characters you're not particularly engaged by. This is most notable by the dramatic shift in story that takes place midway through the film. When Sandler visits his ex-girlfriend (played by Leslie Mann), it feels like the beginning of a whole new film. I actually liked a lot of the scenes at this point, particularly any involving (of all people) Eric Bana, who plays Mann's current husband. The problem was that by that point the film had already lost so much steam it made it difficult for me to really care what was happening.

As per usual for an Apatow film, the supporting cast is stellar. Jonah Hill and Jason Schwartzman play Rogen's roommates. We also get to see a lot of standup comics, young and old ranging from Parks and Recreations' Aziz Ansari and Aubrey Plaza to familiar faces like Andy Dick, Paul Reiser, and Ray Romano. Everybody pops in briefly and usually brings a spark to the film, but then are fleeting gone sending us back into the dreariness.

One of the best qualities in Apatow's previous two films was that for all the man-boy tendencies displayed by the main character, there was always evident maturity displayed by them by the film's end. That growth went a long way to making those films feel rewarding. Here the attempt at having Sandler's character display growth is feeble at best. For as long as the film is, the payoff is wholly unsatisfying. Overall, the film plays like someone's poor attempt at telling their version of the Aristocrats joke. So desperate to cram as much in and go as long as possible in building it up, the punchline is a letdown, bordering on an afterthought.

I imagine my grade will probably be lower than what the film may deserve based on its technical merits. Since I don't have to be held to the standard of most professional critics, I can let personal disappointment affect my judgment. I was looking for another classic here, but was severly let down. As unfair as it is, I'll attribute it to Apatow going outside of his usual gang and having Sandler as the lead here. Let's hope next time, Judd goes back to basics and uses some real funny people. Grade: C

Hallowed territory

Here's your first look at Harry Potter and the Deathly Hallows - Part 1 due out next November...

The secret word is...comeback

From EW.com

The Pee-Wee Herman Show is back. Paul Reubens, who created Pee-Wee and played him on stage, TV and film between 1980 and 1991, is bringing his goofy-geeky man-child to the Los Angeles stage for a limited live-performance run at Club Nokia next month. “It’s going to be really, really good! I swear!” Reubens said, wearing Pee-Wee’s signature gray suit and bow tie, at a press conference today.

The full-scale stage performance, produced by Tony Award-winner Scott Sanders (Elaine Stritch: At Liberty) and directed by Alex Timbers (Bloody Bloody Andrew Jackson) will revive the character Reubens first brought to life on stage in a comedy act and then spun into HBO’s The Pee-wee Herman Show in 1980. That show gave rise to two feature films, Pee-Wee’s Big Adventure (1985) and Big Top Pee-Wee (1988), and the CBS children’s program, Pee-Wee’s Playhouse (1986-1991).

After Reubens’ arrest in 1991 for indecent exposure and the subsequent media frenzy, CBS pulled Pee-Wee’s Playhouse off the air. Over the years, Reubens has tried to resurrect the character and the show. In fact, this production is the first step in his dream of a full-scale Pee-Wee comeback. “I want to make a big, giant, epic adventure movie based on Pee-Wee’s Playhouse, ” Reubens said. “This [stage] show is what I did originally to have a career, so why not [do it again]?”

So last summer Reubens approached Sanders, his friend and producer, about mounting a Pee-Wee theatrical production. The result: A 4-week engagement that will reunite the Playhouse gang– e.g. Miss Yvonne, Cowboy Curtis, and puppets Chairry the chair, and Pterri the pterodactyl–in a new plot about Pee-Wee’s hope that he can fly. “It’s really going to be a feast for the eyes,” director Timbers said. The show, which will have a limited run in LA from January 12 through February 7, will feature flying puppets, original songs, and “many, many ticks and surprises,” he said. Plus, because it’s been almost 20 years since Pee-Wee went off the air, this show will be “a little less kiddy,” Timbers said. “If this were a movie, it’d be PG.”

Part comedy show, part play, this stage version of The Pee-Wee Herman Show will be very similar to Pee-Wee’s Playhouse in terms of design (the set is elaborate and colorful) and comedic tone, Reubens said. Social commentary is guaranteed. (Pee-Wee, for instance, is wearing an abstinence ring.) “It’s going to be dazzling,” Reubens said. “It’s 80ish minutes of puppets talking and flying, and doing all kinds of technical things. No one’s ever seen this before.” Fans can expect Miss Yvonne’s hair to be extra tall, a new bear character, and sets that look homemade. “I think its gonna blow people away,” Reubens said, and then added, “I hope I’m right. Ha ha!”

Looks like if the CSI gig doesn't work out, Laurence Fishburne can just dust off his Cowboy Curtis gear.

Scott's Tots deleted scenes

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Ruling with an Iron fist

Here's the first official poster for next summer's Iron Man 2:

(Insert Star Wars pun here)

Here's the trailer for Family Guy's spoof of The Empire Strikes Back, entitled Something Something Something Dark Side.

Theatrical turkeys

In light of the holiday, here's an article from Yahoo news talking about the biggest film bombs of the past decade. A fun read for sure and makes you ask, 'What were they thinking?' with each one.

10. THE SPIRIT

* Release date: December 25, 2008

* Estimated cost: $60 million

* Domestic gross: $19.8 million

Frank Miller, the man who created the comics "300" and "Sin City," and who redefined Batman and Daredevil for the modern age, directed this adaptation of Will Eisner's comic-strip hero. Starring Samuel L. Jackson and a bevy of beauties, it may have looked good on the page. But onscreen, the heavily stylized, nearly black-and-white results were disastrous. The expensive movie was killed by comic fans, who wanted Miller to go back to comics, and critics, who trashed the movie's over-the-top tones and aesthetics. Consequently, the partners at the company behind the production, Odd Lot Entertainment, parted ways after 23 years together. It even killed plans for a Miller-directed version of "Buck Rogers."

9. GRINDHOUSE

* Release date: April 6, 2007

* Estimated cost: $67 million

* Domestic gross: $25 million

Quentin Tarantino and Robert Rodriguez managed to turn twice the filmmaking firepower into half the box office (and a third of the critical praise). With "Grindhouse," what began as an explicit exercise in joyous B-movie cinema homage -- a double bill of '70s-style schlock, one film from each director -- ended up aping its scuzzy genre ancestors a little too closely in the receipts department. After the three-hour-plus "Grindhouse" opened to a mere $11.6 million, Harvey Weinstein split the film's two parts -- "Death Proof" and "Planet Terror" -- and shuttled them to international markets individually. While that recouped a little of the Weinstein Co.'s money, it incurred the wrath of purists who were angry that the original film had been corrupted. Tarantino and Weinstein are famously loyal to each other, and while the writer-director eventually made good on the losses with the $120 million-grossing "Inglourious Basterds" this year, "Grindhouse" was one instance where loyalty nearly brought down the house.

8. ROLLERBALL

* Release date: February 8, 2002

* Estimated cost: $70 million

* Domestic gross: $19 million

Norman Jewison's 1975 comment on violence, corporatism and spectacle has its place in the paranoid '70s-era cult film pantheon. John McTiernan's remake, on the other hand, would be totally forgettable if it weren't so spectacularly misconceived in every way. The cast -- Jean Reno, Chris Klein, LL Cool J and Rebecca Romijn-Stamos -- was a C-list mishmash closer to reality TV than big-budget studio moviemaking. McTiernan had long since dented his box-office bona fides with "Last Action Hero" and "The 13th Warrior." And the studio releasing it -- MGM -- was so aware of its bomb-worthiness that it pushed the release back four times, out of the summer 2001 field and into the barren wasteland of February. In a last act of desperation, the movie was also re-edited from an R to a PG-13 rating, sabotaging any last chance it had at an audience. Ultimately, it pretty much wrecked McTiernan's career (he has directed only one film since).

7. THE INVASION

* Release date: August 17, 2007

* Estimated cost: $80 million

* Domestic gross: $15.1 million

Nicole Kidman couldn't have started the decade any hotter, scoring with "Moulin Rouge," "The Others" and "The Hours." But after 2002, her career went cold in the U.S. ("Stepford Wives," "Bewitched," "Australia" and "The Golden Compass"); it's as if the actress was abducted by some sort of soul-draining body snatcher. But wait, isn't that what she's fighting in "The Invasion," Hollywood's latest remake of the 1956 film "Invasion of the Body Snatchers"? This time around, the eerie premise, based on a novel by Jack Finney, failed to catch fire. The Wachowski brothers' second unit director, James McTeigue, was called in to shoot additional scenes written by the "Matrix" whiz kids after original director Oliver Hirschbiegel was sent packing, having filmed the bulk of the movie. In an omen of things to come, Kidman suffered an on-set fender-bender during the reshoots. When the film arrived in theaters more than a year late, Kidman's regal bearing took another dent.

6. CATWOMAN

* Release date: July 23, 2004

* Estimated cost: $100 million

* Domestic gross: $40 million

It was inevitable after Michelle Pfeiffer stole scenes as Catwoman in "Batman Returns" that her black-latexed anti-heroine would get a spinoff of her own. But when the inevitable occurred in 2004, this time with Halle Berry playing the character, audiences tried hard to cover up the kitty litter. No one involved with the movie came out unscathed. Not Berry, who just two years earlier had won an Oscar for "Monster's Ball"; not Sharon Stone, who chewed up the scenery as the movie's villainess; and not Pitof, the French filmmaker making his American directorial debut. He went back to his native land and hasn't directed a theatrical feature since. The movie is another example cited by studios in their long-held contention that female superhero movies just don't work.

5. TOWN & COUNTRY

* Release date: April 27, 2001

* Estimated cost: $90 million

* Domestic gross: $6.7 million

Twenty-five years after he seduced audiences in "Shampoo," Warren Beatty decided the time was ripe for another sex comedy, albeit one with a somewhat older circle of friends. He somehow persuaded New Line, which usually concentrated on the youth market, to foot the bill. And what a bill it was: With the script still furiously going through rewrites, Peter Chelsom began shooting in June 1998; 10 months and take after take after take later, the film was still shooting. That's when co-stars like Diane Keaton and Gary Shandling had to leave to fulfill other commitments. A full year later, the whole cast regrouped to finish the shoot, which had escalated to more than twice its original $44 million price tag. The completed film was actually something of a tepid affair. Beatty dithers as a New York architect who cheats on his wife with several women; Shandling's his best pal trying to come out as gay. And then there's Charlton Heston, playing against type, as a gun nut.

4. GIGLI

* Release date: August 1, 2003

* Estimated cost: $54 million

* Domestic gross: $6.1 million

If the course of true love rarely runs smoothly, then "Gigli" is an object lesson in how rocky it can get. As the new century dawned, Ben Affleck and Jennifer Lopez -- tabloid code name: Bennifer -- were the couple of the moment. With an Oscar for writing "Good Will Hunting" and starring roles in "Pearl Harbor" and "The Sum of All Fears," his movie career was in high gear; she could boast a solid-gold music resume and rom-com appeal in movies like "The Wedding Planner" and "Maid in Manhattan." Onscreen romantic sparks seemed made to order. So what went wrong? Start with that title, "Gigli," that no one was sure how to pronounce. Add lots of lovey-dovey media appearances that erased a bit of their mystique. And then there was Martin Brest's film itself: a low-rent-mobster-boy-meets-enforcer-chick tale complete with a kidnapping, severed thumbs and Al Pacino in high dudgeon. Bennifer split in 2004, just before sharing the bill in another film not too far away on the flop-o-meter, "Jersey Girl."

3. LAND OF THE LOST

* Release date: June 5, 2009

* Estimated cost: $100 million

* Domestic gross: $65 million

Producer/puppeteers Sid and Marty Kroft were masters of the weird and cheesy; their old Saturday morning TV show, "Land of the Lost," is remembered fondly by kids who grew up in the '70s. But the material experienced something of a time warp when director Brad Silbering tried to give it a hipster spin this summer with the help of Will Ferrell, playing a paleontologist who journeys to a parallel universe where he meets the Sleestaks. Normally, any movie with a rampaging Tyrannosaurus (see "Journey to the Center of the Earth," "Night at the Museum") can't miss, but "Lost" was, well, lost in translation. The movie's PG-13 rating wasn't a comfort to many families when word got around of its toilet humor. Older moviegoers weren't interested, and Kroft purists weren't amused. Over the years, Disney and Sony had both held remake rights, but ultimately this hot potato landed at Universal, where it was one of the factors that resulted in the ouster of the studio's two top executives in October.

2. BATTLEFIELD EARTH

* Release date: May 12, 2000

* Estimated cost: $75 million

* Domestic gross: $21 million

Blame it on the Thetans if you want, but John Travolta's space oddity "Battlefield Earth" virtually imploded on the launching pad. Travolta's career was enjoying a resurgence in the wake of "Pulp Fiction" when he wagered a big chunk of his newfound credibility, as well as some of his own coin, on this passion project. "Battlefield Earth" was based on a 1972 sci-fi novel by Scientology guru L. Ron Hubbard, which Travolta promised would be "like 'Star Wars,' only better." Studios shied away, but Travolta found financing from Franchise Pictures, which would later be sued by investors for overstating the movie's costs as $100 million. Originally, Travolta hoped to play the young hero who leads a rebellion against the alien race that enslaves Earth, but the film took so long to assemble he ultimately opted instead to don dreadlocks and platform shoes to play the villain, barking lines like "Execute all man-animals at will, and happy hunting!" A planned sequel, which would have covered the second half of the novel, never materialized. "Some movies run off the rails," observed Roger Ebert. "This one is like the train crash in 'The Fugitive.'"

1. THE ADVENTURES OF PLUTO NASH

* Release date: August 6, 2002

* Estimated cost: $100 million

* Domestic gross: $4.4 million

Eddie Murphy is some kind of miracle. Five of his recent films lost more than $250 million, and yet he not only still gets hired but also commands his salary quote. But on the flop-o-meter, one Murphy title towers above even "Meet Dave," "Showtime" and "I Spy": Trumpets, please, for "The Adventures of Pluto Nash," whose release was delayed for 14 months. It instantly became the "Cleopatra" of our age. A sci-fi gangster comedy, complete with robot sidekick, set on the moon, "Pluto" was neither fish nor fowl -- but mostly foul. But unlike most stars who are tarnished by a mega-flop, Murphy -- who did take time off from broad comedies to redeem himself with his Oscar-nominated turn in "Dreamgirls" -- just keeps going and going and going.

Shareholder Meeting deleted scenes

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Star praising

Summer movie catch-up continues and this time it's one of the biggest blockbusters from earlier this year, J.J. Abrams' reboot of the Star Trek franchise. Now admittedly, I am anything but a Trekkie or Trekker or whatever their fanbase prefers to be called these days. With that said, my hat goes off to J.J. and everyone else associated with this movie. This is phenomally fun while doing everything in its power to remain faithful to the original series.

Clearly no stranger to science fiction, J.J. does a great job, along with screenwriters Robert Orci and Alex Kurtzman, of creating an engaging science fiction film that has broad appeal. Everything looks awesome here from the sets, to the action sequences, to the visual effects. It seems about as realistic as a sci-fi film set in space is going to look. Watching it, I was struck by how cheesy the most recent Star Wars films look in comparison. George Lucas always claimed that he waited so long to do the prequels because he was waiting for the technology to catch up to his 'vision'. But those movies look like they were done by a kid with a Mac in comparison to this film. The look of the film immediately sucks you in to the point where you completely buy into the world that's being presented.

All the money in the world can buy you good looking visual effects, but if you don't have a decent cast you'll fail to be able to bring your movie to life. That isn't the case here as the casting is superb. The actors chosen were absolutely perfect. They each do a great job of re-introducing us to these well known characters without resorting to parodies or homages of the previous portrayers. It also helps that the script allows each of them to have a moment(s) to shine. John Cho, Simon Pegg, Anton Yelchin, Karl Urban and Zoe Saldana all bring something to the table to make their character interesting while not detracting from the story. Of course, you also have Zachary Quinto playing Spock. I think most had confidence that Quinto would do a worthy job and he didn't disappoint. He is wonderful at portraying the level headed Vulcan, who chooses to keep his raw emotion buried deep with inside himself.

As good as everyone is though, for me, the real star was Chris Pine as Kirk. Based on initial judgments I had severe reservations about this casting. It seemed like they were trying to appeal to the younger generation by just sticking a pretty face in the lead role. I was glad to say I was wrong, as Pine bring such energy to this role. It's a testament to the performance that the guy can play someone who comes off so cocky, yet equally likable. I heard someone compare his Kirk to Harrison Ford's portrayal of Han Solo, which I think is an apt comparison in many ways. The casting of Pine was probably the film's biggest hurdle. You look at a film like G.I. Joe and their casting of Channing Tatum. There was a guy with moderately good looks but the personality of a stump and the acting chops to match it. In that case, the lack of a good lead sagged the film down. Here, Pine's performance drives the film and was one of the main reasons why Star Trek won me over.

In terms of the story, they kept everything relatively simple so as to devote more time to re-introduce these characters to a new audience. There's just enough peril going on, thanks to evil Romulan, Nero (played by an unrecognizable Eric Bana) to keep the audience motivated in seeing the Enterprise crew prevail. Some people may complain about the time travel aspects introduced in the story, especially because of the narrative headaches it can produce. However, I thought it worked well enough here and allowed the filmmakers some wiggle room to tell future stories without having to be considered with devoted fans playing the role of continuity cops.

It's a lot tougher to write reviews when films are really well made. And since I really can't think of too many other faults with the movie, I guess I'll just wrap things up. I'll admit that I had some severe reservations, even as far as 20 minutes into the film. However as soon as the main story kicks into gear, I was hooked and remained that way for the rest of the movie. This film works on multiple levels and is sure to please virtually all audiences. There is a little something for everyone here and I cannot compliment J.J. and the rest of his crew for doing the unthinkable; making Star Trek cool again. If you have any doubts, please give this a try and you too will be pleasantly surprise with how much you will like it. Grade: A-

Fern-tastic

Check out the latest installment of the 'award-winning' Between Two Ferns with Zach Galifinakis

Between Two Ferns with Zach Galifianakis from Between Two Ferns

Coming down to Earth

There are very few certainties in life. Namely, you can count on death and taxes. And for the last fifteen years, you could also add Pixar movies. With every entry added to their library they create another masterpiece that is well done and a delight for everyone from age 8 to 80. In their latest entry, Up (which ironically has two main characters represented by those ages), however, fail to hit their standard homerun.

That is not to say that this film isn't well done. Once again, the Pixar crew has created a gorgeous looking film. Even on my crummy, bubble-tube television the colors pop off the screen in a glorious visual array. As per usual, the animators have made every effort to put in every last detail into what they are depicting. I can only imagine what this film looked like in 3-D. Unlike so many of these films that are trying to cash in on the fad, this is a movie that didn't need 3-D, yet can still be enhanced by the added technology.

For all its beauty, where Up falters is with its storytelling. If you don't know the plot, it's about an elderly man named Carl (voiced by Ed Asner), who, after his wife's passing, decides to fly to a South American destination that they always wanted to go as a couple but never had the opportunity to. Not wanting to part with his house, Carl rigs up thousands of balloons to float him and his humble abode to this location. Unbeknownst to him until after takeoff, Carl discovers a neighborhood boy has stowed away on his porch. Once arriving in South America, the real adventure for the two takes off.

Throughout this adventure, there are some truly excellent scenes that remind us of why these films are typically excellent. The montage at the beginning of the film chronicling Carl's relationship with his wife is touching and heartbreaking and more moving than most scenes in live action films. There are also several inspired comedic moments as well. Many of them come from the keen observations made about the behavior of dogs. The two main characters encounter several dogs, including the scene-stealing Dug, once they arrive in South America. The filmmakers ability to have the dogs speak like humans, yet still act like dogs provide some of the film's most clever moments.

Overall though, my main problem with the film was that I just never bought into the world that they tried to create in this film. It may seem like an odd thing to say about a cartoon, but this is what happens when Pixar sets the bar so high for themselves. The quality of their previous films have allowed me to buy into concepts like talking toys and gourmet rats. This time they ended up trying to have their cake and eating it too. The opening montage that I spoke about earlier is so rooted in reality that when things get cartoonish later on it becomes all the more jarring. I had problems with both the quickness with which Carl was able to concoct this balloon house plan and that someone his age would be able to pull it off. Then the film really plays fasts and loose with the laws of physics once they arrive in South America. Somehow Carl is able to tether himself to his house and drag it along like its a kite. I kept waiting for some sort of explanation for why all of these outlandish events were happening, but it never came.

Perhaps their problem was entering into PG territory for the first time. It may not seem like a big leap, but obviously there are increased expectations once you move out of the G rating. It was clear that Pixar was reaching for the sky with this film, I just don't think they quite made it. Let it be known that this is not a negative review for the film. I still believe that this is an enjoyable movie that is worth your time to check out now that it is out on DVD. However, I believe that this proved that perhaps Pixar cannot simply skate (or in this case float) by on their name alone. Like all good filmmakers they've got to continually earn the praise they receive for their work. The interesting thing though is that with the Oscars allowing 10 Best Picture nominees this year, there is a chance this might receive one. That would be a shame considering some of the far superior films that have come from this company and have been ignored in the past by the Academy. I won't be too upset though, because Pixar certainly deserves the recognition even if Up failed to reach the heights of some of their other classics. Grade: B+

Murder deleted scenes

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Trick in a Box

In the new thriller The Box, a mysterious man (played by the great Frank Langella) gives Norma Lewis (Cameron Diaz) and her family an plain box with a button inside. Langella tells her that if she pushes the button, someone in the world will die, but she will receive $1 million dollars (cue Dr. Evil laugh). The proposition is certainly alluring for Norma. We as the audience are equally intrigued by the thought of a movie centered around this moral dilemma. Sadly, for both the audience and the characters the offer isn't all that it seems.

Director Richard Kelly has great source material to work with (the film is loosely based on a short story by Richard Matheson), but fails to pull it together to deliver a wholly engaging film. At moments, the film evokes genius as it dabbles with moral ambiguity. However, simply dealing with this question isn't enough for Kelly who bogs the film down in sci-fi hokum.

The film comes off for the most point as a wannabe Twilight Zone episode. It tries to create this moody atmosphere that comes off more cheesy than thrilling. The worst offense of this is the film's scores. Trying to fill certain moments with danger and dread, the usage of piano and violins here detracts from the film instead of adding to it.

When the film centers on the actions related to what the characters choose to do with the box, the film works. Those scenes, however, only bookend the film. In the middle is where the film begins to sag. Several elements are continuously added that only cause confusion for the audience members. I couldn't appreciate anything that was happening in the here and now because I was so consumed with trying to figure out how each new, strange twist fit within the context of the film. To the film's credit, it does about as good of a job as possible in explaining everything. None of the answers though were what I considered satisfying.

Kelly attempts to fill the film with symbolism as themes of disfigurement, altruism, free will, and even the work of Sartre are introduced throughout the film. Each alone could have been thought-provoking and worthwhile to explore. However, by cramming all of them into this simple film, none of them get the attention that they deserve. I'm not sure if this is a worst offense than not including any, however since removing them would leave a pretty shallow, empty film.

Unfortunately, The Box is too much work with not enough payoff. The film peppers in moments of inspiration that continue to make you think it's going to turnaround and be something special, but none of them pan out. Instead, what's left is a murky mess that fails to make good on its potential. The film requires your whole attention, so for that reason I would probably suggest you see it at theaters instead of at home if you're still interested in checking it out. However, for most, I suggest you don't push the button and return The Box back to sender. Grade: C

NMR: G.I. Joe: The Rise of Cobra

I didn't expect much here and that's about what I got. This movie was already going to be a tough sell for me since I was never really a fan of the comic books and/or 80s cartoon series, so I had no real affinity for any of the characters. Then again, with the laughable acting by most of the main characters, perhaps it was better I wasn't a fan because I didn't have to worry about seeing beloved characters getting butchered like they were here. If you're able to completely shut off your brain this movie can be palatable at times. But for the most part, it's a noisy mess. The film runs through a gamut of cliches, however, they go from one to the next so quickly you don't even have enough time to groan over their inclusion. I will be real interested to see whether or not a sequel is made. The film ends suggesting one is forthcoming, but the box office for the film was just ok. If they do, let's hope they choose to use the X-Men model, not the Transformers model for creating a second film. As for this film, you're probably better off giving it a pass. Rating: **/Grade: C-

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Hostile takeover

A quick note...I had a free coupon to rent a movie from one of those Redbox machines, so I used it to rent The Taking of Pelham 123. That's why technically this isn't a NMR and why I'll do a bit longer review for this one. I know that's totally arbitrary reasoning, but hey it's my blog, so my rules.

So this is a remake/reimagining of the 1974 Walter Mathau film of the same name. This time around it's John Travolta who hijacks a NYC subway and Denzel Washington, playing the subway dispatcher who is trying to stop him. These two actors have been around long enough to know how to play these characters convincingly. The strength of the film lies in the interplay between them. There are several scenes involving them engaging in conversations about their pasts, their beliefs, and their roles in this situation. Anytime the film gives them this time to do some character disection, the film works. You get drawn in to the games each of them are trying to play in order for this whole ordeal to play out the way they want it to go.

Unfortunately, those moments of dialogue and continuously interrupted with frenetic action scenes that do not really add anything to the film. Travolta's character is demanding a large sum of money, so we see several scenes of the caravan of cop cars racing through NYC in order to get him the money to him before he kills one of his hostages. These scenes, shot with a whip-like nature, are so disparagingly different from the scenes of dialogue between the two main characters that you begin to wonder if you're watching two different films.

You can credit director Tony Scott for the nature of these action sequences. They have his fingerprints all over them. The quick jumps, the zoom maps, the abrupt crashes all here once again, just like they are in so many of his other films. In some cases, like with Enemy of the State, a story needs the infusion of adrenaline that Scott's style can bring. For a film like this or Spy Game, it's just over the top and unnecessary. This could have been such a better film if it just had more faith in letting the actors tell a good story.

In addition to Washington and Travolta, you also get some reliable performances from guys like John Tuturro and James Gandolfini in supporting roles. Gandolfini, playing the mayor of New York, has a particularly engaging performance. There seemed to be a lot more to this guy than just being a figurehead and I wish the film would have delved into his character more.

Like so many action movies, there are a lot of plot holes/gaps in logic. And things kind of break down as the film heads to its conclusion. In a lot of cases, I can look past these indiscretions if the rest of the film is entertaining. However, in this case, those problems got amplified when they are being done with in the hyperkinetic style that Scott used for this film.

There are certainly a lot worse action movies that are made. And the performances by the leads are strong enough to make this worthy of a rental if you're looking for some action. It's just a shame that Tony Scott felt it was necessary to ramp up the adrenaline when a more quite, cerebral film with this story would have worked just fine. Grade: C+

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NMR: Guess the connection

We'll make a little game out of this, see if you can find the common thread between these three films:

Pleasantville: I can't tell you how many times I've seen parts of this film, but this was my first opportunity to watch it all the way through. I felt that the movie is certainly flawed - it plays fast and loose with its rules and leaves a lot unexplained. However, the premise is really interesting and its filled with a lot of good performances from the likes of William H. Macy, Joan Allen, Tobey Maguire, and Reese Witherspoon. Thematically, the film is very rich and has actually given me a couple of ideas to use for possible future academic papers (that is if I ever get this dissertation finished). Rating: ***

The Negotiator: This could have been a standard cop thriller but the film rises above its material thanks to the scenes involving the two leads - Samuel L. Jackson and Kevin Spacey. I liked the chess match that these two negotiators engage in as they try out-talk the other. It kind of makes me sad that Kevin Spacey doesn't do more mainstream films because he's so good, even when the material he's working with isn't. Rating: ****

Executive Decision: The movie is not without its stupid moments, logic gaps, and eye rolling stunts. Despite all that, I found myself fully engaged in this. They did just enough to consistently keep me entertained. They always kept the tension high and made the most out of its cramped setting. Kurt Russell is always a likeable actor and he's good here again. If you just shut your mind off, this is an entertaining thriller. Rating: ****

Johnny 5 is alive!!

From EW.com...

Paul Blart: Mall Cop director Steve Carr will direct the new remake of 1986’s Short Circuit, Variety reports. The remake written by Dan Milano (Robot Chicken) brings Johnny 5 up to date. A military built robot, Johnny 5 is hit by lightning and develops his own personality and then he meets a lonely boy and his family.

I guess we have the popularity of the Transformers movies to thank for this.

Is that a grandfather clock ticking now?

Check out the new video previewing the upcoming 8th season of 24.

Acta foolishness

Tribe tabs Acta to be new manager

I know I'm a little late to the party in talking about this move, but I couldn't let that stop me from expressing my utter disappointment over this move. When I first heard the list of candidates, Acta was at the bottom with only the Tribe's AAA manager ranking below him. Acta was unable to do anything with the Washington Nationals, so that doesn't instill a lot of faith in me that he'll do anything to motivate our similar bunch of rookies and no-names. What frustrates me even more about this move is the quickness in which they made it. From the start it seemed that they had determined that this was their guy without doing a proper search. Even if you have a guy in mind, at least give the city the courtesy of acting like you're looking through at all possible options before making your decision. I felt the same thing happened with the Mangini hiring for the Browns and look at how well that's turned out thus far. I still love my Tribe, I just wish this organization would reciprocate that love to me and the rest of the fans more often.

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NMR: Land of the Lost

I honestly didn't feel like this looked any good when I had seen the trailers/commercials earlier this year, but I still decided to give it a rental. That ended up being a bad move as my instincts were right and this was pretty terrible. Just a hodge-podge of unfunny material and unengaging visual effects. This movie suffers from some major tonal problems. It can't tell if it wants to be a crass comedy or a family film. It can't tell if it wants it's visual effects to look cheesy as an homage to the original TV show or really impressive and eye-catching (Given the trend this year, I have no idea why they didn't offer this film in 3D). Will Ferrell is talented enough to milk a few laughs out of me, but most of the film falls flat. Compounding the problem is that I didn't care for Danny McBride or Anna Friel and since it's primarily the three of them for the entire movie, it made for an unpleasant experience. There is a quote in the film where Will Ferrell says they have traveled to a world where past, present and future meet. Well this is a film where unfunny, stupidity, and ugliness meet. Rating: **

Noooooooooooooo

From EW.com:

At an industry summit in NYC on Oct. 21, News Corp Deputy Chairman Chase Carey revealed that online video hub Hulu will begin charging users for content as soon as 2010, according to Broadcasting and Cable. Carey told reporters that a subscription system is likely, although some content will probably continue to be offered free of charge. “I think a free model is a very difficult way to capture the value of our content. I think what we need to do is deliver that content to consumers in a way where they will appreciate the value,” he said.

I can't wait to see how fast the number of vistors to their site drops come next year. What an awful, awful idea.

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NMR: Bart Got A Room

This one really surprised me. Released in theaters earlier this year, the plot seems pretty familiar - a boy's quest to find a date for prom. However, this one works because it opts to tell a more realistic and sweet story instead of settling for raunch and shock value like so many other bad teen comedies do. The film is filled with a number of recognizable actors like William H. Macy, Cheryl Hines, and Alia Shawkat (Maeby from Arrested Development) who all provide an extra energy to the film. My only complaint is that the film's climax is a bit overwhelming. However, there are plenty of jokes, particularly at the expense of the small Jewish town in Florida where the film takes place in, to make this a pleasant surprise. You don't need to rush out and rent this, but if you're looking for a title, this is a little-known film that will nicely fit the bill. Rating: ****

Here's the Story...

Check out the brand new trailer for Toy Story 3, due out next summer:

Forward thinking

News came out today that ABC new drama, FlashForward was just picked up for a full season. You can read all about it here.

While I'm talking about the show, I might as well give my reactions to it since I just finally watched the first three episodes over the weekend. In general, I think the show has a lot of promise. I would have preferred had we got storylines/flashforwards from people around the country instead of focusing solely on LA, but I get why they did that. There seems to be some logic gaps with the storytelling and some of the characters storylines aren't interesting me (I'm mainly referring to the sponsor and his dead/alive daughter). However, with time those issues may resolve themselves. I'm definitely invested in seeing where they are going with this, so I'm glad it's gotten picked up for the whole season.

Now for a couple off the wild crazy speculations on my end:
- The father of the boy who's in the hospital will be a bad guy
- John Cho's character will be the one who impregnates the female FBI agent

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NMR: Year One

I was really hoping this movie was going to be better. It had great writers and a director, plus funny leads and a unique premise. Sadly though, the whole thing never comes together. Instead of a cohesive film, this ends up being more of a collection of historical skits with the two leads, Jack Black and Michael Cera, as the only consistency running through them. The movie has moments of genius, like the scene involving Abraham (played by Hank Azaria) trying to sacrifice his son, Isaac (played by McLovin). It just seemed like the movie was tinkered with too much and the end result wasn't pretty. I'm not saying you won't laugh at all, because there are some inspired moments, but in general, this was a disappointment of prehistoric proportions. Rating: **

A Millionaire lifeline cast aside

From CNN.com comes word this week that the daily syndicated version of Who Wants to Be a Millionaire is planning on eliminating the Phone-A-Friend lifeline sometime in the near future. This seems like a terrible idea consider how synonymous that lifeline has been to the show. 'Can I phone a friend' became a popular catchphrase after the debut of the show. It's unclear also why they are getting rid of it. Some say it's a financial decision, but frankly I never thought that many contestant actually got that much help from this lifeline, like the guy in the video below.

Most Worthless Millionaire Phone-A-Friend Ever @ Yahoo! Video

NBC may up Chuck earlier

Some great news for Chuck fans from EW.com:

It’s good news (for me), bad news (for NBC): Since its numbers are down and its new and returning shows are mainly DOA (Southland was axed before new episodes even aired!), Chuck’s third season might get to premiere sooner than the March date that’s been bandied about thus far.

“How much sooner” you ask?

As early as late October, my moles tell me. And while it remains unclear whether the little show that could (and has and shall again) would return to its Monday timeslot or find itself a new perch, NBC insiders who’ve seen the first four episodes are calling this season the best yet.

But wait, there’s more. If Chuck does come back sooner rather than later, the chances of NBC ordering additional episodes beyond the 13 it initially commissioned increases dramatically. And they increase further if it performs solidly… which for NBC, at this point, means my cat, Mister Scooch, sits down to watch with me. (Seriously, anything above a 2 rating in the 18-49 demo should do the trick.

The Doctor is in

Here's the trailer for Terry Gilliam's latest, The Imaginarium of Doctor Parnassus. Of course, this film is notable because this is the movie Heath Ledger was working on when he suddenly died last year. Since the film wasn't done, Johnny Depp, Jude Law, and Colin Farrell were brought in to also play Ledger's role. It's a fantasy film, so they could work around the fact that those three guys don't look exactly like Ledger. So what do you think...is the Ledger factor enough for you to go check this out or does it seem a little too mind-trippy for most of you?

NMR: The Brothers Bloom

I've seen my fair share of con man movies, so I was pleased to see that The Brothers Bloom made a familiar genre seem fresh. This is in large part to some really terrific performances from this ecclectic cast. Rachel Weisz, in particular, brings an amazing energy to every scene she's in, playing a wealthy, but lonely woman, who confesses to "collecting hobbies". It is her involvement with the titular con men (played by Mark Ruffalo and Adrian Brody) that allows this film to break free of the conventions of this genre. Rinko Kikuchi and Robbie Coltrane also have a lot of fun with their supporting characters. Director Rian Johnson also tries to infuse a lot of style into this film, using light and touch to convey some of the film's themes. While I appreciated the effort, sometimes it felt like substance was being sacrificed for style. Overall though, this is a fun little film that I highly recommend to everyone. Rating: ****

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NMR: Observe and Report

Wow, I knew the reviews had been bad for this one, but I wasn't prepared for how much I would actually hate it as well. This is bleak, unfunny, and pointless. Seth Rogen's mall cop character is creepy and delusional, yet still somehow portrayed in a positive light by the time the film reaches its unsatisfying conclusion. Not even the inclusion of such funny people as Anna Faris, Patton Oswalt, or Aziz Ansari can save this dog. I don't know what's been going on, but I have not found Seth Rogen funny in the least in the last few projects he has done. And now that he's lost this weight, he's seem to have gained an ego, making him completely unappealing. I'm going off track now. The bottom line here is avoid this movie at any cost. It's seems unfathomable, but Paul Blart was a far superior mall cop movie. Rating: *

Oh happy day!!

All I can say is good riddance! At least the Indians decided to give me an early birthday present. Now if they can find a decent replacement, I'll be doubly happy.

Premiere week report card (Monday night)

Heroes: I've been mildly entertained and intriqued by the storylines that have kicked off their fourth season. However, this show's problem has never been creating interesting storylines, it's been being able to follow through on them. If they once again go off on tangents or drop plot points in favor of their lame attempts to create mood and atmosphere then I will finally throw the towel in on this show. I think the thing that this show needs is a sense of purpose. These are the most lazy, self-serving 'heroes' I've ever seen. They need a rallying cry akin to season 1's 'Save the Cheerleader, Save the World' mantra that they can all be a part of and work towards as the season progresses. B-

How I Met Your Mother: I've been very disappointed in this show thus far this season. The season premiere, in particular, was underwhelming. I don't care for the Barney/Robin pairing at all and I think it takes away the allure of both of their characters in favor of an 'aww' storyline. That's what Marshall and Lily are for, why neuter these other two characters? And as for Ted, I haven't enjoyed his professor storyline thus far. Maybe I'm sensitive since I'm in that profession, but everything thus far has seem cartoonish and unrealistic. This show can be so much more and has been settling for ordinary sitcom laughs lately. C

The Big Bang Theory: Thank goodness for this show or else HIMYM's subpar efforts would be really disappointing. This show continues to rock, as all the characters are fully developed and each bring something unique to the table. Of course, Sheldon continues to be the funniest character in any sitcom these days. As for the Penny/Leonard pairing, as long as they commit to a status for them, I'll be fine with it. It's when you bring in the on again, off again element that I start getting annoyed. If they want them together, then follow the Jim and Pam model. And if not, that's fine too because we can continue to just watch Penny find her inner nerd, which can be just as, if not moreso funny. A-

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Premiere week report card (Sunday night)

The Simpsons: I guess it could be expected for a show that's been running for 20 years now, but I thought this was a rather bland season premiere. The episode, written by Seth Rogen, seemed like a mash-up of plots done before. Worse yet, there was nothing particularly funny in the episode. Just a few days later and I can't recall one thing that really gave me a good laugh. At this point though, I've come to accept that when this show is able to surprise me and/or make me laugh, it's a rarity and not the norm. C+

The Cleveland Show: Even though it's a cartoon and a spin-off, it's tough to judge this because, again, pilots are so character-driven it's tough to know whether or not they will be consistently funny. I've never thought Cleveland was a strong enough character to run his own show, but that remains to be seen. There wasn't a whole lot that was funny, but I am intriqued by some of the characters, particularly Cleveland's bear neighbor. In order for me to stick around, it's going to have to do a lot to seperate itself from Seth's other cartoons. INC

Family Guy: I've never been crazy about the Brian and Stewie road trip episodes and even though their trip was to multiverses this time, it wasn't enough to make this one work either. This felt like it belonged as a short on a Simpsons Halloween episode. I saw most of the jokes a mile away and the ones I didn't, weren't particularly funny. I didn't even get that much joy out of their Disney song spoof. It's a shame how one dimensional (no pun intended) this show has become. C

American Dad: Maybe I was just having an off night because even the usually more reliable AD failed to generate many laughs from me. This show has become Seth's best by taking some really obscure, yet funny approaches to sitcome cliches. However, this episode, which featured Stan enlisting Steve in a Vietnam reenactment in order to sing the National Anthem better didn't do much for me. I just kept thinking they could have done some more interesting things with the plot. I think I'll just chalk my lack of enthusiasm for this one to a combination of being tired and suffering from Seth fatigue. I think I'll try and watch this one first from now on. B-

The Amazing Race: Man, what a frenetic start to this season with a challenge and elimination done before the teams even left for their first destination. It's a shame someone had to be kicked out that early, but it appeared that the team that got the boot would have been one of those annoying, bickering teams, so no great loss. Then things got really wild with the teams heading to Japan and competing in a Japanese game show eating wasabi bombs. I always love the challenges this show creates. They're perfect to engage the audience, while maximizing the frustration between teammates. This should be a very interesting season. There are a lot of capable and entertaining teams and I have no real sense of who the dominant ones will be. Teams made a lot of movement on the leaderboard throughout the two hours, so it seems like it could be anyone's race. A-

Whistle(blow) while you work

This will have to be a condensed review, since I'm trying to cram in as many posts as possible. Last week, I got to see the movie I was most excited about seeing this fall - The Informant!

This is based on a true story about Mark Whitacre, who begins working with the FBI, providing them with information about price fixing that is going on at his company, ADM; a giant in the food industry. As the investigation grows, we learn more about Whitacre himself and his involvement with everything at the company. If you're unaware of this story, you will be amazed at what you see. Whitacre is clearly a guy where there is more than meets the eye.

Playing this complex role is Matt Damon, who had the 'difficult' task of gaining 30 pounds in order to better resemble him. Damon does an amazing job here at portraying the various facets of this man. Most people will see this movie because they know he's in it and he's a star, but they'll stay for the performance he gives. I would not be surprised to see him get an Oscar nomination for it.

Surrounding Damon, though, is a wonderful ecclectic bunch of comedic actors, all in various small roles. Guys like Joel McHale, Tony Hale, Patton Oswalt, Scott Bakula, Tom Papa, and Tom Wilson (yes, Biff from Back to the Future) all show up at various times and add a little something extra to the movie. This is a very funny movie; however the humor that Damon and the rest of the cast provide is very wry and subtle. Don't be going into this expecting a lot of pratfalls and poop jokes.

If I had a complaint, it would be that it is a dense story with a lot of characters and you don't always follow along with what is happening. I am anxious to see this film again as I feel it will be even better the second time around now that I know the basic story. Being familiar with the characters, I'll have a better chance to appreciate all of the film's humor.

This film probably lacks the gravitas or visual artistry to make it a serious contender for Best Picture. That should not dissuade you from checking this out though. This is such an interesting story about corporate America, greed, and stupidity, all of which are quite pertinent in our current economic situation. With this interesting story, plus the dry humor and fantastic performances, there's bound to be something here for everyone to enjoy. Grade: B+

Premiere week report card (Thursday night)

Some quickie thoughts on how my favorite shows have fared in their season premieres.

Parks and Recreation: The show is definitely finding its groove in season 2. A lot of the actors seems to finally be grasping their characters, which is a good sign. The Office really flourished in its second season, so let's hope the same holds true here. I'm not crazy about them trying to pair up Ann and Mark, so let's hope that's fleeting. I'd also like to see them try and add another character as well. Perhaps Louis C.K.'s cop character who showed up in episode 2 is the answer. B+

The Office: Now in it's sixth season, this show's season premiere felt like old times. It was a simple, yet relatable situation that remained within the confines of the office. And most importantly, it was very funny. That gave me a lot of hope that this show is back on top. With Jim and Pam's upcoming nuptials, this could be a big season where the show either cements itself as a sitcom classic or potentially jumps the shark. Given how they've started, things are looking good. A-

Community: It's tough to judge pilots since they're so character driven. There was enough to like to keep me watching. The second episode continued to be a mixed bag. I like most of the cast, but their characters could still use some tweaking. In particular, I want to see Joel McHale's character be a bit more likeable. I'm not sold that this will be a winner, but I'm willing to stick it out a little longer to see where this is going. INC

Survivor Samoa: It's funny how they've spent so much time building up Russell as the biggest villain ever in Survivor history and yet there are several contestants that I like less than him this season. Yes, he may do some evil things, but I'll never criticize a guy for having a game plan. I'm not sure if his plan will make him the winner, but so far it's worked. And how crazy was it for him to find the idol with no clue. This guy is something else. Things have been so entertaining over in his camp, I sometimes forget that there's another tribe. And it seems the producers have as well. Seems like everyone's opinion of this season will depend on their feelings on Russell. For now, consider me entertained. B+

CSI: It's tough to stay relevant nearly a decade later, so CSI has their work cut out for them. I'll give them credit for trying their best. The 'attack' on their lab could have been overdone, but it was effective and made me care about the characters again. Bringing Sara back could have been done more smoothly, but it's still nice to have her around. I also liked the mini cliffhanger they did to end the show. That was a nice effort to generate my interest in the season. While it may not be appointment TV anymore, the opener proved it can still be very entertaining. B

Fringe: You could look at this show's return in two ways...1) Be disappointed that we haven't gotten a lot of answers to the questions posed in the season finale or 2) happy that they're dragging things out because they have a larger game plan and intend on being around for a while. For now, I'm comfortable waiting for answers as long as the show remains entertaining. Both the shape-shifting device and the mutant baby have provided interesting stories the past couple of weeks. The main cast has also developed a wonderful chemistry, so it's fun watching them interact every week. I'm not crazy about the new female FBI agent, so I hope she doesn't last. B+

NMR: Spies and lows

Three Days of the Condor - This is a classic anti-spy movie starring Robert Redford playing Joe Turner, a CIA researcher who comes into his office only to find his co-workers have been murdered. Redford spends the rest of the movie trying to stay alive while figuring out who's behind the attacks. Filled with intrique, espionage, and government cover-ups, this movie laid the foundation for so many spy thrillers we see today. Watching it now, a lot of the films twists and turns feel unoriginal when in reality they were the first to do them. That's the trouble with seeing these older movies these days. Despite the familiarity, the film remains relevant in today's world and is worth checking out. Rating: ****

The Tailor of Panama - This was Pierce Brosnan's first effort to seperate himself from James Bond. He still plays a British spy here, but this guy is nothing like the suave 007. Banished to Panama, he teams up with a tailor played by Geoffrey Rush in hopes of using him to gain intel that will put him back into the good graces of British Intelligence. It ends up with everyone trying to play each other and everyone failing miserably. Based off a John LeCarre novel, I liked the concept and themes here, but still found the film less than engaging. The film's slow pace and less than satisfactory conclusion prevent it from receiving a higher score. Rating: **

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Nielsens, Schmielsens

This has the potential to be very interesting...

Fourteen companies create TV ratings coalition which may challenge Nielsen corporation

NMR: State of Play

Since this is a newer release, I'll give it a post all to itself.

This is the political thriller that came and went fairly quickly from theaters back in April. That's a shame too because this is a very solid film supported by a very strong cast. The premise of the film is actually based on a BBC miniseries of the same name. Russell Crowe stars as a newspaper journalist who finds himself suddenly covering the story of the death of the aide to a congressman, played by Ben Affleck. Compounding the problem is the fact that Crowe and Affleck's characters were college roommates.

What follows that set-up is a very interesting film that delves into a lot of topics including war profiteering, fidelity, and the dying newspaper industry. The stuff related to journalism is probably the most fascinating stuff, particularly to someone like me who studies the media. Rachel McAdams co-stars as a blogger who works for the same newspaper as Crowe. Through these two characters we see the old and new guard of journalism. Crowe represents the reporter who holds onto a story as long as he can in order to get everything right, whereas McAdams' blogger is posting several stories a day online. Helen Mirren, giving a typically great performance plays the editor who tries to deal with both sides. She has the journalistic integrity to side with Crowe but is feeling pressure to remain relevant from her corporate bosses.

While the believablity of Crowe and Affleck being college roommates is questionable, the two do well with their roles and have some good scenes together. The two, needless to say have a complicated relationship, which is compounded by the fact that Crowe may still be in love with Affleck's wife. I should also mention that Jeff Daniels and Jason Bateman show up for smaller roles, but still do the most with these thankless roles.

My lone criticism of the film comes from the fact that they deliver about one twist too many. As the film progresses more and more gets revealed about who really is behind the death of this young woman. If they would have just stuck with their themes more instead of trying to constantly swerve the audience, this could have easily been a best picture nominee. Instead, it's merely a very good thriller that is definitely worth a rental. Grade/Rating: B+/****

I've had dreams like this

In case you missed it, here's the awesome opening segment of last night's Monday Night RAW, hosted by none other than Bob Barker!!

NMR: Wrestling docs

The Spectacular Legacy of the AWA: An interesting look into one of the longest running territorial wrestling organizations. I thought the documentary was fairly even handed showcasing the AWA's strengths and failures. My biggest complaint about this was that it was really more a documentary about Verne Gagne than the AWA as an organization. I would have liked to know more about the AWA's main stars and the key feuds that made the organization as popular as it was. Still, if you really don't know anything about the AWA, this is worth a look. Rating: ****

The Life and Times of Mr. Perfect: Mr. Perfect aka Curt Hennig was one of my favorite wrestlers, so I really enjoyed this look at his career. This is a pretty straight-forward and honest depiction of Hennig's life. There's no burial of him like the Warrior received, nor is there over-exagerrations of his greatness like on the Hogan doc. It really is remarkable how short of a career he had, particularly in the WWE. Yet the fact that he made such an impact during that time shows why he was so great, yet sadly also makes us wonder what could have been. I often compare him to Phil Hartman; both were amazing at what they did, but also taken from us way too soon. This is a must see for everyone, not just fans of Mr. Perfect. Rating: *****

The Rise and Fall of WCW: This is the new set that was just released and what prompted me to watch all of these wrestling documentaries right now. Sadly, this is the worst of the bunch. The story of WCW's history is worth telling, but this show seemed like nothing more than a cash grab. A lot of the stuff on here felt like it was cobbled together from previous WWE released documentaries (in fact all of Bischoff's comments come from the Monday Night Wars DVD). If you aren't that familar with WCW or you don't watch a lot of other wrestling documentaries, than this is probably worth a look. For diehard fans, this is a definite disappointment. Rating: ***

Stare gazing

I talked about The Men Who Stare at Goats recently in my fall preview and we now have our first look at the film. I continue to be intriqued by this oddball film and cannot wait to see it when it comes out.

Who's ready for samoa Survivor?

We're about three weeks away from the new season of Survivor: Samoa to begin, which means it's time to unveil the new set of castaways.

Here's the quick and dirty info on all 20 contestants:
DAVID BALL, 38, an LA fitness instructor
BETSY BOLAN, 48, a Campton, N.H., police officer
MIKE BORASSI, 62, a Marina del Rey, Calif., private chef
BEN BROWNING, 28, an LA mixologist
MARISA CALIHAN, 26, a Cincinnati student
ERIK CARDONA, 28, an Ontario, Calif., bartender
BRETT CLOUSER, 23, an LA T-shirt designer
JOHN FINCHER, 25, an LA rocket scientist
YASMIN GILES, 33, an LA hairstylist
RUSSELL HANTZ, 36, a Dayton, Texas, oil company owner
ELIZABETH KIM, 33, a New York City urban planner
LAURA MORETT, 39, a Salem, Oregon, office manager
MONICA PADILLA , 25, a San Diego law student
JAISON ROBINSON, 28, a Chicago law student
KELLY SHARBAUGH, 25, an LA hairstylist
RUSSELL SWAN, 42, a Glenside, Pa., attorney
ASHLEY TRAINER, 22, a Maple Grove, Minn., spa sales rep
MICK TRIMMING, 33, an LA doctor
SHANNON WATERS, 45, a Renton, Wash., sales rep
NATALIE WHITE, 26, a Van Buren, Ark., pharmaceutical sales rep

It seems like a surprisingly older cast, so we'll see how that plays out. For more info on the 20 players, go here.

In the meantime, you can check out this commercial that just started running, previewing the upcoming season:

NMR: I feel like I'm taking crazy pills

Primal Fear: If not for the performance of Edward Norton, this would be a complete waste of time. In his first major film role, he immediately shows us why he's a talented actor playing the young man accused of killing a bishop in Chicago. The rest of the film, despite a decent cast, is mired in legal cliches that we've seen before, and done better, on most legal shows on TV. If you're a Norton fan, definitely give this a look. Rating: ***

Misery: While this also features an outstanding performance, the movie as a whole is much better than Primal Fear. It's a simple concept that is played effectively, thanks in large part to Kathy Bates' portrayal of Annie Wilkes. That 'hobbling' scene is one of the most gruesome things I've ever seen on film. I'd like to also praise Richard Farnsworth, who brings an added level of energy to the film as the small town sheriff. This is a great movie if you're looking for some thrills and scares without a lot of gore. Rating: ****

Falling Down: I really don't know what to make of this movie. I had a hard time figuring out how we were supposed to react to Michael Douglas' D-FENS, a guy who's out for vengeance against all of society's misdeeds. I think most can relate to some of the things that annoy him in the film, but he himself isn't a very likeable character. The film seems pretty exploitative until the very end when there's a really good scene between Douglas and Robert Duvall, playing a cop on his last day on the job. As good as it is, it's not enough to salvage the film. Rating: **

New Nolan

Here's a teaser trailer for Christopher Nolan's (The Dark Knight) new film, Inception, starring Leonardo DiCaprio. With the way they keep pushing back Shutter Island, who knows, this may be the next DiCaprio film we actually see in theaters.

Fall Movie Preview (3-1)

You'll notice that there was no #4 movie previewed. That's because that slot was being reserved for Shutter Island, the new Scorcese/DiCaprio film that I had mentioned in my Top 30 of '09 list earlier this year. Well wouldn't you know it, news comes today that they are pushing the film back to February. WTF! Fall is usually slim pickings when it comes to movies and one of the few that I was really looking forward to has now been shoved to the film wasteland known as February. Well with it out of the way, it just puts all the more pressure on these last three films to be even better.

3. Extract (September 4)
Plot: In "Extract," writer/director Mike Judge ("Beavis and Butt-Head," "King of the Hill") returns to the fertile territory of the American workplace, rotating his perspective away from the white collar cubicle warriors of "Office Space" and towards a blue collar boss – a small business owner – who employs an odd cast of losers, loners and misfits in his flavor extract factory.

Quick thoughts: This one really snuck up on me. I had never really been a fan of Mike Judge's work. However, this summer I found myself really appreciating King of the Hill reruns. Then I saw the trailer for this and found myself laughing quite a bit. It's got a real great cast and centering the film within the workplace should be perfect for Judge. Let's hope this delivers as well as I think it will.


2. Sherlock Holmes (December 25)
Plot: In a dynamic new portrayal of Arthur Conan Doyle's most famous characters, "Sherlock Holmes" sends Holmes and his stalwart partner Watson on their latest challenge. Revealing fighting skills as lethal as his legendary intellect, Holmes will battle as never before to bring down a new nemesis and unravel a deadly plot that could destroy the country.

Quick thoughts: Robert Downey Jr.'s hot streak looks to continue here. The trailer for this makes it seem like there will be plenty of action to help with the mass appeal, but with it being a Sherlock movie, you know it should also be rooted in a good mystery, which I always appreciate it. It's a shame we have to wait so long still to see this, but I believe it will be worth the wait.


1. The Informant! (September 18)
Plot: Based on the book by Kurt Eichenwald. What was Mark Whitacre thinking? A rising star at agri-industry giant Archer Daniels Midland (ADM), Whitacre suddenly turns whistleblower. Even as he exposes his company's multi-national price-fixing conspiracy to the FBI, Whitacre envisions himself being hailed as a hero of the common man and handed a promotion. But before all that can happen, the FBI needs evidence, so Whitacre eagerly agrees to wear a wire and carry a hidden tape recorder in his briefcase, imagining himself as a kind of de facto secret agent. Unfortunately for the FBI, their lead witness hasn't been quite so forthcoming about helping himself to the corporate coffers. Whitacre's ever-changing account frustrates the agents and threatens the case against ADM as it becomes almost impossible to decipher what is real and what is the product of Whitacre's rambling imagination. Based on the true story of the highest-ranking corporate whistleblower in U.S. history.

Quick thoughts: I'm sure you're all tired of me talking about this movie, but I cannot wait for it. This just seems really quirky and interesting and right up my alley. Matt Damon has really turned into a great actor and I think this is the film that brings Steven Soderbergh back into favor with people after doing several small films that no one cared about. Seeing the trailer for the first time last month cinched it for me. I'll definitely be seeing this one and I hope all of you do as well.

Mascot love

From the recent big track and field event...



And a video from earlier this year of the Milwaukee Bucks' mascot