Kikujiro Movie Review

Kikujiro (Kikujirō no natsu) is an unusual story about little 9 year old Masao, who, when faced with a lonely summer ahead without his friends and just his grandmother for companionship, takes it upon himself to search for his long-lost mother. With the unlikely help of his strange and grave-faced neighbour, ‘Mister’, together they embark on a very poignant and fractured journey filled with random, colourful strangers and bizarre, surprising encounters.

Kitano’s portrayal of ‘Mister’ is really a joy to watch. Ranging from stubborn, rude, very offensive, absurd, off the wall and fearless, his unintentional sensitivity in this tale can leave you feeling often bewildered and enamoured by him.

Likewise, Yusuke Sekiuchi’s portrayal of Masao is worthy of much recognition too as he sinks into deep melancholy and breaks our hearts with his yearning for his mother. It is the bond between Mister and Masao which is the selling point here and the basic premise for the film as a whole, because it really is a journey into friendship and the discovery that love can be found in the most unsuspecting of places.

Visually this film is very appealing and is often told through the use of flashbacks in Masao’s “How I spent my Summer” school project. Kitano lends his own artistic skill to the animation which sporadically appears in the film and gives it an off-beat edge and softens the desperation facing Mister and Masao.

Kikujiro is directed, written and edited by Takeshi Kitano and sets itself apart from his typical violent offerings centred around the usual gangster characters (Boiling Point, Sonatine, Violent Cop) in favour of a more gentle style and change of pace. A much loved and prolific personality in Japan, Kitano goes beyond his comfort zone and gives us something completely different. As Kikujiro, Kitano’s portrayal shouldn’t be loveable, but it is just too difficult to not be endeared by him. This is partly due to the beautifully composed score by Academy Award-winning Jo Hisaishi, as his music compliments the story perfectly with it’s simplicity and is his fifth collaboration with Kitano.

This film is guaranteed to make you laugh, even go so far as to enrage you in places and shock you into submission to see beyond the simplicity of the surface storyline. I urge you to see it!

When in Rome Movie Review

Cast:
Kristen Bell as Beth
Josh Duhamel as Nick
Anjelica Huston as Celeste
Will Arnett as Antonio
Jon Heder as Lance
Dax Shepard as Gale
Alexis Dziena as Joan
Kate Micucci as Stacy
Peggy Lipton as Priscilla
Luca Calvani as Umberto
Keir O’Donnell as Father Dino
Bobby Moynihan as Puck
Judith Molina as Umberto’s Grandma
Lee Pace as Brady Sacks

Review:
Beth (Kristen Bell) has got the kind of bad luck the beautiful leads of Hollywood romantic comedies usually do. Despite literal dream jobs of glamour and interest, every relationship seems destined in finding out an ex-boyfriend is about to be happily married after trying to tell him off for being a commitment-phobe. It’s no wonder she’s become a career woman who avoids real relationships. So it only stands to reason that, while at her sister’s wedding in Rome, she magically forces a group of the most irritating men on Earth to fall in love with her.

It’s not that “When in Rome” is stupid. It kind of is, but no more so than a lot of other movies. It’s not miscast either; in fact it’s hard to believe many of these actors are having such a hard time getting any traction in their scenes. It’s just that on some basic, primeval level, “When in Rome” is deeply, deeply unfunny.

It shouldn’t be. Director Mark Steven Johnson (“Daredevil”) should know how to do these things after coming up as a comedy screenwriter. Off the top it looks like he does. He’s surrounded his star with a talented and genuinely funny supporting cast for her would-be admirers: an itinerant italian painter (Will Arnett), a Chris Angel-inspired street magician (Jon Heder) and a narcissistic model (Dax Shepard).

It’s even got a spark of creativity and originality, with a few instances of genuine inspiration like a bar that is entirely in the dark so no one can see or the fact that Beth’s most likely potential suitor (Josh Duhamel) is well-known for being struck by lightening during a football game. Enough even that you can forgive the idea of Beth making men fall in love with her by taking their coins from an ancient wishing fountain in Rome.

It’s just that someone, somewhere, doesn’t seem to have any faith in any of this good stuff that could probably have made a good movie. Instead it’s all steamrollered under a pile of slapstick that is unnecessary, ill-fitting, and worst of all, unfunny. The basic premise for most of the humor is the same one for most Hollywood comedies; to put the characters into as awkward a situation as possible and watch them squirm.

And then they trip over something. No joke, it seems, can be made funnier by having the characters hurt themselves or someone else. And if you don’t happen to buy into that philosophy, “When in Rome” is going to make you buy into it by repeating it over and over and over again. The worst recipient is Nick (Duhamel) who’s main comedic contribution is a lack of peripheral vision, causing him to run into things often.

The Black Out Bar, where Nick tries to explain that his interest in Beth is real not fantasy, is the perfect microcosm for the film. It’s a genuinely interesting idea ripe for actual comedy. None of the patrons can see each other; only the waiters (who seem to get off on voyeurism) using night-vision goggles. The chances for miscommunication, accident and error are built into it. So instead of using anything from the scene to create tension and humor, the filmmakers instead fill it with Beth’s potential suitors slapping on Nick in the dark and making people bump into things they can’t see.

It’s an insipid waste and that’s “When in Rome” in a nutshell. Every ounce of potential has been steadfastly turned away from in order to make a safe little piece of clowning. A stupid movie is usually bad enough, but a smart movie that seems that seems to have had a lobotomy forced on it is disheartening on every level. Avoid.

Extraordinary Measures Movie Review

Cast:
Brendan Fraser as John Crowley
Harrison Ford as Dr. Robert Stonehill
Keri Russell as Aileen Crowley
Meredith Droeger as Megan Crowley
Diego Velazquez as Patrick Crowley
Sam Hall as John Crowley, Jr.
Jared Harris as Dr. Kent Webber
Patrick Bauchau as Erich Loring
Alan Ruck as Pete Sutphen
David Clennon as Dr. Renzler
Dee Wallace as Sal
Courtney B. Vance as Marcus Temple
Ayanna Berkshire as Wendy Temple

Review:
The worst enemy of drama is sentimentality. It’s like a tiger trap just waiting for well-meaning, experienced filmmakers to come along and walk right into it. The most recent film to do so is “Extraordinary Measures,” directed by Tom (“What Happens In Vegas”) Vaughn.

John Crowley (Brendan Fraser) is living maybe the worst nightmare a parent can; watching two of his children slowly die from a degenerative genetic illness with no cure. His only hope is the groundbreaking work of an absent-minded university professor (Harrison Ford) with no money, no patience, and no social skills.

It would be very, very easy to just write “Extraordinary Measures” off as a big-budget Lifetime movie. In fact, that’s exactly what I’m going to do. “Extraordinary Measures” is just a Lifetime movie with more famous actors. It’s weepy and designed to build melodrama but terrified of confronting it, the kind of film where conflicts are always resolved by heartfelt confession.

A talented salesman, Crowley decides to make capitalism work for him, selling Dr. Stonehill’s research to the private market in the hope that the sheer amount of money involved will speed things along before his children’s time runs out. What follows is a hefty amount of corporate meetings and pep talks as Crowley tries to surf the wave of Stonehill’s truculence and ego, and he is surprised to discover that corporations put money before his children’s well-being.

It’s just… hollow. It does things not because they make any sense in the wake of what’s come before or out of dramatic necessity but because it seems like that’s what’s supposed to happen. Stonehill is a professor in Lincoln, Nebraska so naturally when he gets off work he drives to a local rib joint where everyone calls him “Doc.” He annoys his uptight corporate co-workers–they must be uptight, well, because they work for a corporation–by playing The Band while he works.

“Extraordinary Measures” is a medical drama built from the parts of other medical dramas, trying to get by on the sentiment on screen, but there’s no effort put into making that sentiment matter. It’s just there because the filmmakers need to fill up 120 minutes. Stonehill is mad and angry because he needs to be to come to loggerheads with Crowley when needed. Other than what he does we don’t really know anyone about him. In fact, the only character we’re really offered to engage in is Crowley, who runs straight and true and about as shallow as you can imagine. You know everything you need to know about him in the first 5 minutes, and he never changes from there.

Maybe inspired performances could have made something out of this Hallmark film, and “Extraordinary Measures” does have an excellent cast, but inspiration is not the word of the day here. Mediocrity is. I like Brendan Fraser but he has yet to show real dramatic chops and he’s not particularly tested by this film, nor is he alone in that. The film is filled with good actors being wasted. Only Ford comes through more or less intact as he is (surprise) completely believable as a crusty old guy.

“Extraordinary Measures” is a celery of a film; humorless, flavorless, mediocre through and through.

Tooth Fairy Movie Review

Cast:
Dwayne Johnson as Derek
Ashley Judd as Carly
Stephen Merchant as Tracy
Ryan Sheckler as Mick Donnelly
Seth MacFarlane as Ziggy
Julie Andrews as Lily
Chase Ellison as Randy
Destiny Whitlock as Tess
Brandon T. Jackson as Duke
Dan Joffre as Tooth Fairy #1
Ellie Harvie as Permit Woman
Barclay Hope as Coach
Michael Daingerfield as Announcer
Josh Emerson as Kyle
Dale Wolfe as Color Commentator

Directed by Michael Lembeck

Summary:
Essentially a one-joke movie whose star is unable to fully capitalize on the humor of his situation and is mostly overshadowed by the stronger supporting cast, particularly Billy Crystal and Stephen Merchant.

Story:
Hockey player Derek “Tooth Fairy” Thompson (Dwayne Johnson) is the most violent player in the minor leagues, but when he tells his girlfriend’s young daughter the truth that there is no tooth fairy, he’s forced to perform community service… as a tooth fairy himself.

Analysis:
As much as you might want to give this moronic quote-unquote comedy a pass or write it off as a movie only for kids, “Tooth Fairy” is clearly 20th Century Fox’s attempt at replicating the success of Disney family comedies like the “Santa Clause” movies or “The Game Plan” by using the same formula of a successful but imperfect man who desperately needs to be taught a lesson by being put into a situation of responsibility. At least that might have been an underlying intention for dressing Dwayne “The Rock” Johnson in a tutu and wings and hoping for the best.

In fact, director Michael Lembeck cut his teeth on the “Santa Clause” sequels and presumably that was the movie’s biggest influence, as it’s essentially the same formula as that, but one that was done much better in movies like “Scrooged.” Those movies thrived on the fact that they were vehicles for comedians, while “Tooth Fairy” is based entirely around the premise of a hockey player (and former pro wrestler) dressed up like a tooth fairy. Most of the movie bounces between showing Derek adjusting to this role, trying to maintain his hockey career which is being overshadowed by a cocky younger player and keeping his girlfriend (Ashley Judd) happy by getting along with her two kids.

It’s a terrible role for Dwayne Johnson, something he seems well aware of, putting very little effort into it and barely mustering the enthusiasm of Adam Sandler when forced to down his humor to reach younger audiences with “Bedtime Stories” and “Click.” Johnson used to be a great heel back in his early wrestling days, but when his character is introduced, he’s trying so hard to be all charming and smiley, his “mean” moments aren’t very convincing. In that sense, it’s actually worse than “The Game Plan,” because at least Johnson tried to act natural in that, while here, he goes out of his way to ham it up and half-heartedly play every gag up for further yucks and rarely succeeding. In an attempt to add to the humor, Derek is given all sorts of magic trinkets to help him retrieve teeth from “amnesia powder” and invisibility spray to paste that allows him to shrink, mostly trying to squeeze in as many obvious sight gags out of the relatively flimsy ideas. Johnson isn’t suited to play up the comedy aspects of a role like this, so he resorts to being a caricature, nothing more or less.

Watching Ashley Judd in this movie, you can’t help but be embarrassed for her. Counter to Johnson, she tries too hard to hold back her own instincts as an actress any time she has a line, possibly to stay on his level. To be honest, the girlfriend role could have been played by any two-bit actress because it requires absolutely nothing in terms of acting skill. As hard as Judd tries to pretend she’s not overqualified for the role, she ends up overcompensating, and few will believe what they’re watching.

Ricky Gervais’ right hand man Stephen Merchant tries his best to bring some laughs to the table even if the material is even further below him than it is for Johnson, and he spends much of the movie doing what Gervais might have brought to his role. Wisely, the filmmakers have given him a larger part to try to distract from how bad Johnson is.

Really, the only remotely funny scene is an extended appearance by Billy Crystal as the Tooth Fairies’ equivalent of Bond’s Q, a single bit that’s funnier than anything else in the movie. Unfortunately, any good will Crystal brings to the movie with that scene is countered with an equally embarrassing end credits scene that does little to save the movie. The biggest shame is that the movie features the welcome return of the Julie Andrews to family fare, and she actually endures the experience relatively unscathed compared to the rest of the cast.

Eventually, “Tooth Fairy” spirals into a ridiculous number of subplots from a pointless and unresolved bit about black market “fairy magic” or Johnson trying to bond with his girlfriend’s teen son by boosting his morale to be a rock star. Just as the movie seems to have smoothly transitioned into this new territory, Derek hits a snag on his road to repentance and he’s suddenly even meaner to everyone around him than he was before and the movie tries to get dramatic. That lasts for roughly 10 minutes before we’re back to the hockey rink and Derek is once again trying to do right by his new role and trying to patch things up with his adopted family. Some of this might not have been so awful if the film’s overall cheese factor wasn’t being amplified by a schmaltzy score from George S. Clinton, another carryover from the “Santa Clause” sequels. What ultimately hurts the movie though is it’s unrelenting desire to offer something for everyone while delivering a movie that can’t possibly please anyone.

The Bottom Line:
Dwayne Johnson was once being groomed to be the next Arnold Schwarzenegger, and that basically makes this his “Kindergarten Cop,” except not even remotely as funny. It’s roughly on par with “Paul Blart” without a strong enough comic actor to anchor it, and basically about as bad as it looks. It will continuously test the tolerance and patience of any grown-up trying to endure it for the sake of trying to keep their kids entertained.

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