Man of Steel pretty super.

Movie Review: "Man of Steel"

Many people are familiar with the origin of the oldest and most popular of super heroes, Superman. "Man of Steel" is Warner Bros. attempt to reboot the franchise so we start at the beginning. The origin told in "Man of Steel" runs along the same lines as "Superman" the 1978 film with Christopher Reeve as the title character. But "Man of Steel" decides not to skip over Superman’s earlier days when he was coming to terms with who he was and where he came from. Written by David S. Goyer ("Batman Begins," "Jumper") with the story being credited to Mr. Goyer and Christopher Nolan, who also produced "Man of Steel," we watch a young Clark Kent navigate his way through life with some freakish abilities that makes him odd and different. And, you know, kids can be cruel.

The genesis is the same. The planet Krypton is on its last legs. The scientist Jor-El (Russell Crowe) is the only one prepared for the end. He builds a spacecraft and places his newborn son, Kal-El, in it and sets the coordinates for Earth. Knowing his race will be extinct, Jor-El places a genetic codex with Kal-El that contains the genetic code of the Kryptonian race. Meanwhile, General Zod (Michael Shannon) attempts a failed coup. He is arrested and banished to the Phantom Zone. When Krypton explodes General Zod and his cronies are freed. They begin their search of Kal-El and the genetic codex.

Director Zack Snyder ("300," "Watchmen") starts the story of Kal-El (Henry Cavill) on earth when he is a young man traveling the country taking odd jobs. Every once in a while he is forced to use his mysterious powers which are witnessed by the locals forcing him to move on to escape unwanted attention. Mr. Snyder intercuts segments of Kal-El’s youth with his Earth parents, Jonathan (Kevin Costner) and Martha Kent (Diane Lane), as he tries to contain his overwhelming super powers. We see his insecurity as a child but also the love and encouragement from his parents that make him the man he is to become.

This human side of the man who will become Superman was never explored before and makes for an intriguing story. When he finally understands who he is and his place on this world he puts on the suit and goes about doing good for the world. Of course we are in the twenty-first century and a man who can fly in a blue suit and cape with certain powers makes those responsible for our national security a little nervous. This is another interesting aspect about  a modern day Superman that the filmmakers explore. In earlier stories his goodness is taken for granted.

The movie runs into trouble when General Zod finds his way to Earth. A battle between Zod and Superman is only inevitable and this is an action movie but the execution is poorly done. The fight itself is boring. Also, these two warriors have similar powers and the fight happens long enough that one begins to wonder whether it will ever end. You also realize how big Metropolis is. When the fight does conclude it is anti-climatic.

Mr. Reeve was cast as the original Superman in part for his resemblance toward the comic book character. Mr. Cavill doesn’t have the same impression but his acting covers a wider range. It helps to watch a man called Superman struggle with what to do with himself and although he isn’t human Mr. Cavill makes him so.

 

Directed by Zack Snyder; written by David S. Goyer, based on a story by Mr. Goyer and Christopher Nolan, and characters appearing in comic books published by DC Entertainment; Superman created by Jerry Siegel and Joe Shuster; director of photography, Amir Mokri; edited by David Brenner; music by Hans Zimmer; production design by Alex McDowell; costumes by James Acheson and Michael Wilkinson; visual effects supervisor, John Desjardin; produced by Charles Roven, Mr. Nolan, Emma Thomas and Deborah Snyder; released by Warner Brothers Pictures. Running time: 2 hours 24 minutes.

WITH: Henry Cavill (Clark Kent/Kal-El), Amy Adams (Lois Lane), Michael Shannon (General Zod), Diane Lane (Martha Kent), Russell Crowe (Jor-El), Antje Traue (Faora-Ul), Harry Lennix (General Swanwick), Richard Schiff (Dr. Emil Hamilton), Christopher Meloni (Col. Nathan Hardy), Kevin Costner (Jonathan Kent), Ayelet Zurer (Lara Lor-Van), Laurence Fishburne (Perry White), Cooper Timberline (Clark Kent at 9) and Dylan Sprayberry (Clark Kent at 13).

Iron Man 3 deflates.

Movie Review: "Iron Man 3"

The first attention grabbing scene in writer/director Shane Black’s ("Kiss Kiss Bang Bang") "Iron Man 3" occurs when Tony Stark (Robert Downey, Jr) discovers mystery-breaking information in Tennessee that leads him to the hidden base of the movie’s villains in Florida. It’s not the information about the terrorists or the discovery of their secret location that makes one sit up and take notice. It’s the very next scene when Mr. Stark drives from Tennessee to Florida. It’s the only scene up to that point filled with drama. The Iron Man suit is out of commission and the desperate need to get to that hideaway comes out. "Iron Man 3" is a well financed action picture benefitting from the momentum of the first two movies and the blockbuster "Avengers" movie. The studio’s focus was on getting this movie into theaters and the audience into their seats as soon as possible. Mr. Black and his collaborator Drew Pearce seem handicapped by the studio’s time constraints and the depth of the story and its development of the characters has suffered because of it. The focus should have been on making a memorable and legend worthy film. The story lacks a sense of obligation toward the fans whose money it is that keeps this series alive. Instead we get the fourth part of an interwoven franchise which was treated as a sitcom episode rather then a movie event.

It is always a let down in a movie when the authorities can’t seem to get anywhere in an investigation but the hero easily finds the clues and breaks the case. The Mandarin (Ben Kingsley) is the terrorist claiming responsibility for bombings around the world and in the United States. No one can locate him until Tony Stark does an investigation. And Mr. Stark sets off to find the Mandarin only after he challenges him on live television (a bit amateurish) and the Mandarin responds by destroying his home (to obvious). How Mr. Stark discovers the important clues prompts the question, why couldn’t the authorities have figured this out? The filmmakers don’t want to steal the thunder from Iron Man especially in an Iron Man movie but making everyone inept doesn’t make Tony Stark any smarter and it cheapens the intrigue. It doesn’t help that the villains aren’t memorable. The first creative brainstorming the writers should have done when continuing the series is to create villains that aren’t easily thwarted and will cause dramatic impact several movies down the line. Instead they are cheaply drawn. Guy Pierce is interesting to watch in anything he does. He’s not given much of a character to handle in the nerd turned villain Aldrich Killian. He’s supposed to be smart and conniving but the writers fail on both counts. Rebecca Hall does a nice job with the most complex character of the movie, Maya Hansen. You’re never really sure what motivates her character or what her goals are until the end. Then there’s the slimly drawn villain Eric Savin (James Badge Dale) who seems to do everything he can to announce to the world he’s a terrorists including behaving like an adolescent in waiting rooms. Yet no seems to notice, except for Happy Hogan (Jon Favreau). And no one pays attention to him until he’s injured in an attack.

The regulars, besides Mr. Downey, Jr., are Gwyneth Paltrow and Don Cheadle. Ms. Paltrow plays the roll of Mr. Stark’s life partner tring to wrestle him away from his business and superhero life. We hope that Mr. Cheadle’s check didn’t bounce. An actor of his talent on the payroll should have been given more to do. The screen writers know who they have to play their characters. The first thing they should have figured out was how to add juice to their rolls. Instead they handed out characters as dry as the Mojave Desert. The only exception is Mr. Kingsley as the Mandarin. It’s a small part but Mr. Kingsley is a diamond amongst the noise and distractions and is the one reason that makes viewing "Iron Man 3" worth it. His performance is more entertaining than any scene filled with special effects. That should be a lesson for the filmmakers and studio.

Mr. Downey, Jr. was interesting as Tony Stark during the first two movies. He played the character with a swagger and arrogance necessary for a billionaire weapons manufacturer. But he also added enough charm to make him likable. I don’t know if Mr. Downey, Jr. has grown tired of the character in "Iron Man 3" but the charm and likability have disappeared. The story is third rate and it looks like that was the level Mr. Downey, Jr. set his performance at. It would help the franchise as well as ticket sales if more time was put into the story. Franchises cannot live on special effects alone. That’s why a simple car ride from Tennessee to Florida can feel like the biggest revelation in a one hundred and thirty minute movie.

 

Directed by Shane Black; written by Mr. Black and Drew Pearce, based on the Marvel comic book Super Hero Iron Man; director of photography, John Toll; edited by Jeffrey Ford and Peter S. Elliot; music by Brian Tyler; production design by Bill Brzeski; costumes by Louise Frogley; special effects supervisor, Dan Sudick; produced by Kevin Feige; released by Marvel Studios and Walt Disney Pictures. Running time: 2 hours 9 minutes.

WITH: Robert Downey Jr. (Tony Stark/Iron Man), Gwyneth Paltrow (Pepper Potts), Don Cheadle (Col. James Rhodes), Guy Pearce (Aldrich Killian), Rebecca Hall (Dr. Maya Hansen), Stephanie Szostak (Ellen Brandt), James Badge Dale (Eric Savin), Jon Favreau (Happy Hogan), Ben Kingsley (the Mandarin) and Ty Simpkins (Harley).

White House Down along with two hours of our lives.

Movie Review: "White House Down"

The first shot of adrenaline that hits the brain while watching director Roland Emmerich’s "White House Down" happens a little more then half way through the movie. It occurs during a car chase. The brain is triggered into action to decipher if what we are witnessing is a hint of genius, a new approach toward action movies or just pure stupidity. Then, as the cars are riddled with bullets, the brain begins to re-create the origin of this thrilling sequence: Movie Executive, "What this movie needs is a car chase!" Screenwriter, "But all of the action takes place within the confines of a house." Movie executive, "Not my problem!" As the cars complete their second lap around the fountain on the White House lawn forgotten childhood memories of Duck,Duck Goose materialize.

It’s just not the absurdity of the chase that stands out but also the originality. Anything original is needed in "White House Down" since the movie clearly follows, almost to the detail, the blueprint of director John McTiernan’s 1988 action movie "Die Hard" starring Bruce Willis. The similarities are uncanny. From the concept of the story- a group of heavily armed men take over a building with only one man to stop them- to the tiniest of details- first name and wardrobe of protagonist- the story is "Die Hard" in the White House. The filmmakers, to their credit, wanted to add a shot of emotion to their ending and since emotion is vacant in "Die Hard" they lifted a scene from the 1939 movie "Gunga Din."

The only other difference between the two movies is the protagonist himself. John McClane (Mr. Willis) was a cynical New York City cop. The McClane character of the earlier movies was a bit more flawed which made the action sequences more adventurous. His hand to hand combat skills were a bit sloppy, his handling of weapons was adequate but his survival skills were unquestionable. Even Mr. Willis’ unpolished acting style helped lend an everyday working man’s persona to McClane. John Cale (Channing Tatum) is a nice guy from small town U.S.A. Mr. Tatum, who is developing a consistency of strong performances, makes this character believable within an unbelievable context. Mr. Tatum doesn’t overdue it when his character has to face up to his amateurish parenting skills but can turn up the heat enriching the action sequences. Mr. Tatum, in fact, adds depth to this action hero.

John is put in the position, after failing to make the cut for the Secret Service, of having to protect The President (Jamie Foxx). Mr. Foxx’s portrayal of a President is another breath of fresh air squeezing itself out of an asthmatic production. This president isn’t a graduate of any Ivy League establishment nor does he possess any combat skills from previous tours of duty. He takes a stand against the military industrial machine which sets the story in motion. This President is strong when it comes time to shape the big picture but while being protected by John his survival skills are questionable which gives the action sequences their only sense of intrigue. When the time comes his moral clarity is apparent in the decisions he makes which focuses on the good of the whole instead of any individual in the movie. Keeping conventionality away from this President is a little bone the credited screenwriter James Vanderbilt ("Zodiac," "The Amazing Spider-Man") throws his audience.

The rest of the cast is formidable. They include heavyweights such as James Woods, Maggie Gyllenhaal, Richard Jenkins and Michael Murphy. Every one does what they can to fill a shell of a script with spirit but to no avail. With every turn Cale makes through the halls of the White House Mr. Vanderbilt and Mr. Emmerich evoke memories of "Die Hard." Cale and the President find refuge on top of an elevator of which the villains are transporting heavy artillery; a close associate of one of the villains is killed by Cale and seeks revenge; Cale is under assault by a villain and he takes cover under a kitchen counter; Cale has a fire fight with the enemy on the roof of the White House while the military begins an attack on the White House only to be stopped by the heavy artillery and there is even a computer geek (Jimmi Simpson), complete with nerdy glasses, whose task it is to break into and disable the national security system of the United States. With the memory of the original "Die Hard" growing strong it comes as a confused surprise to watch the car chase around the fountain. In a film of originality it would be subjected to ridicule and marked as nothing but a disciple of stupidity. But in a weak copy cat it is a relief.

 

Directed by Roland Emmerich; written by James Vanderbilt; director of photography, Anna J. Foerster; edited by Adam Wolfe; music by Thomas Wander and Harald Kloser; production design by Kirk M. Petruccelli; costumes by Lisy Christl; produced by Bradley J. Fischer, Mr. Kloser, Mr. Vanderbilt, Larry Franco and Laeta Kalogridis; released by Columbia Pictures. Running time: 2 hours 11 minutes.

WITH: Channing Tatum (John Cale), Jamie Foxx (President Sawyer), Maggie Gyllenhaal (Finnerty), Jason Clarke (Stenz), Richard Jenkins (Raphelson), Joey King (Emily), James Woods (Walker) and Lance Reddick (General Caulfield).

Movie Review: "Star Trek: Into Darkness"

J. J. Abrams’ "Star Trek Into Darkness" is the second installment of his rebooting of the Star Trek franchise. Unlike, say the Star Wars trilogy, Mr. Abrams’ second film has very little connection, other then the continuation of some romances, to the first. It would have helped the drama of this franchise if, like "Return of the Jedi," there was a dark twist of which our heroes must battle through so we’d have to wait for the next installment to see if they are successful. But it is not to be. Instead "Into Darkness" stands on its own without drawing much attention to itself.

 

One of the sub plots that runs through this reboot is whether Captain James T. Kirk (Chris Pine) has the ability to hold down his position. Being adverse to rules and regulations and going with his "gut" against all odds and logic is a magnet for insubordination charges. It happens at the outset of this movie. He loses his command so he must work to get it back. That journey begins when a secret Starfleet command center in London is bombed and all of the Starfleet commanders convene to plot out how to bring the perpetrator to justice. One would think that a location with all of Starfleet’s commanders present would be well fortified. Not the case here. The group is attacked by a rogue Starfleet agent John Harrison (Benedict Cumberbatch) and commanders are killed. Kirk is part of the Enterprise crew assigned with tracking Harrison down and killing him.

The story is straightforward. There are some moral discussions about whether or not they should kill Harrison or capture him and bring him to justice. There are a few surprises that fans of the series will relish but will be missed by everyone else. A few characters from the earlier movies and the television series make appearances. But what makes "Into Darkness" entertaining and worth the price of admission is the motley assortment of characters that have to live and work with each other in the confines of the Enterprise.

Mr. Pines has the formidable task of recreating one of the most beloved cinematic characters of which William Shatner has left his mark. Mr. Pines wisely doesn’t mimic Mr. Shatner’s portrayal. Instead he is tuned in to this well defined character and lets the circumstances dictate his reactions. He doesn’t allow Mr. Shatner to be missed. The best foil for Mr. Kirk’s gung-ho approach is the logic minded Spock (Zachary Quinto). The clashing personalities are more interesting then the drama that has ignited them. Validating the term "three’s a crowd" is Dr. McCoy (Karl Urban) whose temperament is somewhere in the middle of Spock and Kirk’s. Then there’s Uhura (Zoe Saldana) who is navigating through a relationship with the emotionally reserved Spock. "Into Darkness" introduces the beloved engineer Scotty (Simon Pegg) who might be argued is the real hero of the franchise since he’s the one who manages to get the Enterprise to work just when the moment of truth arrives.

The characters are what make this movie. They’ve been developed for decades starting with the television series. Each episode had a point which was relative to the time Star Trek was created. The creators of "Into Darkness" tried to make t

he story relevant for today but have come up short. But going on this adventure with the crew is worth it and increases the anticipation of sharing the next one with the same old friends.

 

Directed by J. J. Abrams; written by Alex Kurtzman, Roberto Orci and Damon Lindelof, based on “Star Trek” by Gene Roddenberry; director of photography, Dan Mindel; edited by Maryann Brandon and Mary Jo Markey; music by Michael Giacchino; production design by Scott Chambliss; costumes by Michael Kaplan; produced by Mr. Abrams, Mr. Kurtzman, Mr. Orci, Mr. Lindelof and Bryan Burk; released by Paramount Pictures. Running time: 2 hours 12 minutes.

WITH: John Cho (Hikaru Sulu), Benedict Cumberbatch (John Harrison), Alice Eve (Carol), Bruce Greenwood (Captain Pike), Simon Pegg (Montgomery Scott), Chris Pine (Capt. James T. Kirk), Zoe Saldana (Nyota Uhura), Zachary Quinto (Spock), Karl Urban (Dr. Leonard McCoy), Peter Weller (Starfleet Admiral Marcus) and Anton Yelchin (Pavel Chekov).

World War Z is worth the Fight.

Movie Review: "World War Z"

Place and mood are just as essential to the horror genre as the creatures or killers who set the story in motion. Usually its one or two people trapped in an isolated area that has to escape or fend off their nemesis. The intimacy of the locale with limited light and movement restriction adds to the suspense. A long stretch of hallway with a door at the end and a mystery behind it can be more nerve-racking then witnessing the most frightful characters chasing down their victims. Practically every horror film from as early as "Dracula" of 1931 to the "Saw" franchise has relied on this formula to build suspense.

Director Marc Forster’s "World War Z" is a different type of horror movie. There is a zombie infection and its world wide. The streets are overflowing with chaos and there doesn’t seem to be a town, city or country that isn’t being overrun by these creatures. Philadelphia native Gerry Lane (Brad Pitt) and his wife, Mireille (Karin Lane), along with their two daughters are caught up in the panic as the healthy try to flee from the swarming infected zombies. These zombies seem to be hungry for human flesh but all they do is bite and move on. Unfortunately, if a human is bitten you can add one more to Team Zombie.

Gerry is lucky enough- in this situation- to have worked for the United Nations so he is called back to duty by his former boss Fana Mokoena (Theirry Umutoni), the UN Deputy Secretary- General. Gerry and his family are flown to an aircraft carrier where the military has set up their headquarters. Fana asks Gerry to team up with a virologist, Dr. Fassbach (Elyes Gabel), to find the source of the infection with the intent of discovering an antidote for the virus. This is where "World War Z" veers away from the usual rules of a horror flick and for that matter the action picture.

Mr. Forster’s sly opening credits show a hint at how this disease was able to get as far as it did. During a montage of television broadcasts, squeezed in between low brow talk shows and fluff newscasts are scientists warning viewers of a possible epidemic that will spread wildly if we don’t do something about it soon. Did anyone do anything about it? Sound familiar? After the opening credits Mr. Forster doesn’t waste any time turning on the action. He creates tension as the family is stuck in traffic and several odd occurrences are noticed by Gerry. Soon they are swallowed up by a wave of panic that has spread through the Philadelphia streets. Gerry and family find their way to a Newark, New Jersey apartment complex where they await a helicopter to take them to the aircraft carrier. Here Mr. Forster relies on the old formula of creatures pursuing the family in dark hallways and close quarters. Mr. Forster is one of a handful of directors working today who knows how to shoot a simple action sequence. The norm for an action sequence today is blurry images cut multiple times hoping the chaos generates excitement. Unfortunately it only sows confusion. The viewer cannot grasp who is doing what to whom. Mr. Forster’s sequence of Gerry’s family eluding zombies is clear and concise which in turn increases the intensity.

When Gerry and family get onto the ship the movie becomes something else- a mystery thriller. He is assigned to find the origin of the virus with Dr. Fassback who heightens the intellectual angle of the movie by outlining what they’re looking for. The Doctor explains that their adversary is Mother Nature and She is the greatest of all serial killers. But she leaves clues around because like all serial killers she wants to be discovered. The solution may be hiding in plain sight. The intrigue builds when pieces of information are fleshed out and questions are answered. Why was South Korea the first to report zombie-like activity? Why is there no zombie infections reported in North Korea? Why was Israel the only country to build a wall to keep the zombies at bay?

Mr. Pitt is so much in the tabloids that every movie he appears in is a fresh reminder of what a talented actor he is. With Gerry there is no bravado ala Stallone, Schwarzenegger, Willis or Smith. He cannot blast his way to save civilization. Instead Gerry carries around real feelings- fear, tenderness, an intellectual intensity- making him one of the more interesting action heroes created for the movies. Of course with an action hero you do need action and Mr. Pitt is convincing as he fends off zombies. This could be the new action character of the twenty-first century and it is a breath of fresh air.

"World War Z" pits humans against Mother Nature when potential natural disasters get out of hand. It is a movie that subtly lets the world know that to ignore the problem will cause unmitigated headaches later. But it also puts its faith in the intellect and determination of people to solve these issues. It is a very entertaining, suspenseful and creepy movie as well.

Directed by Marc Forster; written by Matthew Michael Carnahan, J. Michael Straczynski, Drew Goddard and Damon Lindelof, based on the novel “World War Z: An Oral History of the Zombie War,” by Max Brooks; director of photography, Ben Seresin; edited by Roger Barton and Matt Chessé; music by Marco Beltrami; production design by Nigel Phelps; costumes by Mayes C. Rubeo; visual effects supervisor, Scott Farrar; produced by Brad Pitt, Dede Gardner, Jeremy Kleiner and Ian Bryce; released by Paramount Pictures. Running time: 1 hour 56 minutes.

WITH: Brad Pitt (Gerry Lane), Mireille Enos (Karen Lane), James Badge Dale (Speke), Daniella Kertesz (Segen), Matthew Fox (Parajumper), David Morse (Burt Reynolds), Fana Mokoena (Thierry), Abigail Hargrove (Rachel Lane), Sterling Jerins (Constance Lane), Ludi Boeken (Warmbrumm), Fabrizio Zacharee Guido (Tomas), and Peter Capaldi, Ruth Negga and Moritz Bleibtreu (W.H.O. Doctors).

Almodovar Gets Excited!

Movie Review: "I’m So Excited" – Foreign, Spanish

The landing gear for a commercial flight from Spain to Mexico is jammed. The closest available airport is in financial crisis and there is no one to help land the plane. This story has all the ingredients of a disaster film. Instead it is the premise of Pedro Almodovar’s comedic farce "I’m So Excited." The crew of the distressed aircraft find a way to circumvent the drama and panic by drugging the passengers and half the crew. With the tension discarded we can now get on with the show.

Mr. Almodovar has ventured into the dark recesses of the human mind and has told intense stories about parents and children, religion, lust and love, fate and circumstance. Once in a while he will ease up and deliver lighter fare such as "Women on the Verge of a Nervous Breakdown." He has done that with "I’m So Excited." Although both are comedies "Women" had more substance. "I’m So Excited" seems more of a mischievous exercise for Mr. Almodovar.

To say there is no drama in "I’m So Excited" is a misnomer. For the crew there is plenty of drama. Joserra (Javier Camara), Ulloa (Raul Arevalo) and Fajardo (Carlos Areces) are the three gay flight attendants who put the rest of the plane under sedation. With the situation stable they are able to concentrate on their own issues. Joserra’s lover is married. Ulloa cannot get enough lovers, alcohol or drugs and no one seems to be home when Fajardo prays for his co-workers to abandon their vices. The pilot (Antonio de la Torre) has a shadowy past. The co-pilot (Hugo Silva) wonders what its like to be a homosexual until at the end of the flight and then there’s some confusion about what it is to be heterosexual. The four passengers who avoid being drugged have their own issues and mysteries but nothing that cannot be predicted.

What "I’m So Excited" is is a homosexual romp that plays like an American teenage romantic comedy of today. That means more raunch and sexually explicit innuendos. Being this is a Spanish movie and the Europeans are less squeamish about sex than Americans and Mr. Almodovar being blunt there is no airbrushing the needs or actions of the characters in this movie. Having three gay lead characters some audience members might not be ready for this movie.

Mr. Almodovar is a quick wit and has good comic instincts. You can tell he was having a lot of fun making this movie and may have been letting off some steam. All of his other movies left something to ponder long after they ended. "I’m So Excited" won’t do that but it will cause you to laugh and squirm for ninety minutes.

Written and directed by Pedro Almodóvar; director of photography, José Luis Alcaine; music by Alberto Iglesias; choreography by Blanca Li; art director, Antxon Gómez; costumes by Tatiana Hernández; produced by Agustín Almodóvar and Esther Garcia; released by Sony Pictures Classics. In Spanish, with English subtitles. Running time: 1 hour 35 minutes.

WITH: Antonio de la Torre (Alex Acero), Hugo Silva (Benito Morón), Miguel Ángel Silvestre (the Groom), Laya Martí (the Bride), Javier Cámara (Joserra), Carlos Areces (Fajas), Raúl Arévalo (Ulloa), José María Yazpik (Infante), Guillermo Toledo (Ricardo Galán), José Luis Torrijo (Mr. Más), Lola Dueñas (Bruna), Cecilia Roth (Norma) and Blanca Suárez (Ruth).

Now You See Me, Now You Shouldn't

Movie Review: "Now You See Me"

The movie "Now You See Me" is tale of four magicians Daniel (Jesse Eisenberg), Henley (Isla Fisher), Jack (Dave Franco) and Merritt (Woody Harrelson) who are assembled by a mysterious stranger so they can rob banks through their collected talents and distribute the loot to the needy. The public first notices them during a Las Vegas show. They pick someone randomly from the audience and tell him they are going to rob his bank and give the money to the audience. Their "volunteer" happens to be from Paris and his bank is French. With a camera strapped to his teleport helmet he is transported into the bank’s vault. The audience is able to watch as he walks around brinks of money. The magicians ask him to leave his Las Vegas ticket and a playing card on which he signed his name in the middle of the stack of money. They then suck the money up from the vault and miraculously it descends upon the audience. Needless to say they become a big attraction.

They also attract the authorities led by FBI agent Dylan Rhodes (Mark Ruffalo). Agent Dylan is one of those hard nose street wise agents who know nothing of magic but knows how to knock some heads around. He is teamed up with French Agent Alma Dray (Melanie Laurent) from Interpol who is investigating the robbery of the French bank. Another interested party is Thaddeus Bradley (Morgan Freeman) who as an ex-magician making a living at debunking other magician’s tricks. He follows the group and records their show breaking down how they’re able to perform the stunts that they do. Add to that Arthur Tressler (Michael Caine) who bank rolls the groups’ shows until he becomes a target. Dylan asks for Thaddeus’ help since he is clueless about magic while Alma teaches herself about the origins of magic. Thaddeus tells them that magic is deception and illusion. The point is to focus the audience’s eyes on one spot while the trick is happening somewhere else. He warns the detectives not to look too closely or they’ll miss "the big score" the group is setting up. The premise of this story is exciting. The actual movie is as empty as the box the rabbit goes in to.

Just as magic is an illusion so are the movies. But the illusion of the movies works when the audience can connect with it. First and foremost that is where story and characters come into play. Written by Ed Solomon ("Men in Black," "Charlie’s Angels"), Boaz Yakin ("Safe," "Death in Love") and Edward Ricourt the schemes are explained partially but still feel empty and untrue. The elaborate set-ups are preposterous and would have been better left unexplained. The dialogue hasn’t been this lousy since the low-budget movies of the 70’s. A romance was thrown in for who knows why and there is a twist that is so shocking that it makes as much sense as the rest of the movie. Twists work when there are clues spread around that come together at the end. This twist comes from no where.

At least the director Louis Leterrier ("The Transporter," "Clash of the Titans") does all he can just short of rewriting the script to keep things moving. He is helped by an all star cast who take the dialogue seriously and does their best to sell it. Unfortunately we aren’t buying.

Mr. Ruffalo is especially good at portraying one of those cops who takes a case personally and is way out of his element. There is a throwback moment that reminded me of "The Thomas Crown Affair" (1968) when the police detective finds out he’s been partnered with the agent from the insurance company played by Faye Dunaway. Mr. Ruffalo has the same reaction when he finds out he’s being teamed with Agent Dray. He seems to be drawing from the cop movies of the 70’s and its very entertaining to watch. The rest of the cast make the movie worth sitting through although they have strong competition from a wasteful script.

Directed by Louis Leterrier; written by Ed Solomon, Boaz Yakin and Edward Ricourt, based on a story by Mr. Yakin and Mr. Ricourt; directors of photography, Larry Fong and Mitchell Amundsen; edited by Robert Leighton and Vincent Tabaillon; music by Brian Tyler; production design by Peter Wenham; costumes by Jenny Eagan; senior visual-effects supervisor, Nicholas Brooks; produced by Alex Kurtzman, Roberto Orci and Bobby Cohen; released by Summit Entertainment. Running time: 1 hour 56 minutes.

WITH: Jesse Eisenberg (J. Daniel Atlas), Mark Ruffalo (Dylan Rhodes), Woody Harrelson (Merritt McKinney), Mélanie Laurent (Alma Dray), Isla Fisher (Henley Reeves), Dave Franco (Jack Wilder), Common (Evans), José Garcia (Etienne Forcier), Michael Caine (Arthur Tressler) and Morgan Freeman (Thaddeus Bradley).