Brave

Directed by Mark Andrews and Brenda Chapman.

2012. Rated PG, 93 minutes.

Cast:
Kelly Macdonald

Emma Thompson

Billy Connolly

Julie Walters

Robbie Coltrane

Craig Ferguson

Kevin McKidd

John Ratzenberger

Once upon a time, there lived a princess with an unruly mane of shocking red hair. Her name is Merida (Macdonald). One day, when she is still a very little girl, a ravenous bear known as Mor’du attacks their village. While Merida is whisked away to safety by her mother, Queen Elinor (Thompson), her dad, King Fergus (Connolly) stays behind to fight the animal off. He’s successful, but loses a leg in the process. Cut to Merida’s teenage years. Much to the Queen’s chagrin, Merida has no interest in being a dainty little princess. She really doesn’t care to be married, either. However, the queen informs her that’s precisely what’s about to happen. To whom is the only thing yet to be decided. Three young suitors will come to their home and compete to win her hand. None too pleased with this turn of events, Merida takes matters into her own hands.

After that set up, which takes great pains to show how diametrically opposed the princess is to the queen, we get a fun and occasionally harrowing tale of mother/daughter bonding through girl power. There are some fun action scenes involving archery and/or bears. The story between them holds together quite nicely and includes a few gut-wrenching moments. These happen when we realize the queen may be losing to her affliction and what’s in her future is not pretty.

Brave is also a beautiful looking film. Beginning with our heroine’s expertly rendered hair, it’s a wonderful mix of photo-realistic scenery and cartoonish people. Nearly every frame has a touch or two that are a treat to lay eyes on. This is especially true of any scene involving water. If I didn’t know it wasn’t real, I’d hesitate to say it’s not the genuine article.

Where Brave falls short is in the humor department. Many of the attempts to make us laugh simply fall flat. We get a couple nice chuckles but they are few and far between. The big issue seems to be that all the jokes are telegraphed. There is almost no element of surprise to them, save for some unexpectedly bare buttocks. It’s mostly stock humor rehashed from other kiddie flicks.

Despite some unfunny “funny” stuff, Brave is a very pleasant watch. There are some amazing visuals and a few solid action scenes to go with its fairy-tale. Admittedly, things can get a little predictable and occasionally sappy, but not to an unbearable degree. It’s not quite the masterpiece we’re used to getting from Pixar, but still a very nice effort.

Gulliver's Travels

Directed by Rob Letterman.
2010. Rated PG, 85 minutes.
Cast:
Jack Black
Jason Segel
Emily Blunt
Amanda Peet
Billy Connolly
Chris O’Dowd
T.J. Miller
Stewart Scudamore
David Sterne

Occasionally, even actors who’s personas proceed them like to stretch their wings. They like to step away from what they’re known for, if for no other reason, to prove they can do something different. This is not that movie. The latest version of the classic tale Gulliver’s Travels is pure Jack Black through and through. Either he cracks you up, or he doesn’t. There isn’t much else to tip the scales in the movie’s favor. That’s because the story constructed around his hijinks and shenanigans is merely bland when it is at its very best. Most of the time it just takes all that’s good from its source material and pummels it into submission.

Our new Gulliver (Black) is a mail-room clerk at a New York City newspaper. Despite his near constant big talk he seems destined to remain at the same station in life until dying alone. In a desperate attempt to prove he’s more than hot air he decides to ask out writer Darcy (Peet) whom he’s had a crush on for five years. He botches this so bad he accidentally winds up with a promotion and gets assigned to write an article on the Bermuda Triangle. Yup, that’s what I said. Once in the legendary Triangle he’s sucked in by a heinous looking storm, knocked unconscious and deposited on the shores of a place called Liliput. When he wakes up he finds out he’s literally a giant, taller than their tallest buildings and he is being held captive. The Liliputians are also constantly battling their neighbors, the Blefuscians. That’s about all this movie has in common with the original story. From there, we get the normal Jack Black routine: anatomy and bodily fluid jokes, pratfalls, other sight gags and more empty big talk. Some of it is funny, most is not. Imagine another Black vehicle, Kung Fu Panda without the charm, animation or kung fu.

Since all of this plays out pretty much as expected, there is no reason for people who aren’t Jack Black fans to bother. It is precisely what he’s come to be known for. If you’re a fan of the original story, or even of earlier screen versions of Gulliver’s Travels I suggest you avoid this movie at all cost or you will be severely disappointed. On the other hand, if you’re looking for something fairly innocuous, have at it.

MY SCORE: 3/10

The Boondock Saints II: All Saints Day

Directed by Troy Duffy.
2009. Rated R, 118 minutes.
Cast:
Sean Patrick Flanery
Norman Reedus
Julie Benz
Billy Connolly
Clifton Collins Jr.
Bob Marley
Brian Mahoney
David Ferry
Judd Nelson
Peter Fonda
Gerard Parkes

The McManus Brothers, Connor (Flanery) and Murphy (Reedus) have taken refuge somewhere in Ireland after the events of the first movie. In that movie, they hunted down and killed over 20 of Boston’s bad guys. Now, ten years later, they’re compelled to return to their hometown when they learn that a local priest has been murdered in cold blood, but not before they shave.

Sometimes a comedian will step on stage and bomb. His routine will be stale and sensing his own failure, he starts sweating profusely. If that weren’t bad enough, he’s the only person laughing because obviously he thinks his material is funny even if no one else does. Essentially, this is the problem with All Saints Day. While the first movie is a ripoff of Quentin Tarantino, it is at least occasionally clever and often entertaining. It also contains a wonderfully quirky performance by Willem Dafoe. This time it goes straight for screwball comedy, mixed in no subtle manner with gun-porn and homo-eroticism.

Also evident are the countless hours spent studying movies like Shoot ‘em Up and Smokin’ Aces plus everything Tarantino and Guy Ritchie have done since 1999. There’s also the countless other films it references and uses as inspiration for its never-ending succession of bad jokes. Yes, it quite literally laughs at them alone. I can’t count how many times a character says something supposedly witty then bursts into an uncontrollable guffaw. We’re supposed to recognize the movie it just poked fun at (Panic Room, The Godfather, The Untouchables, GoodFellas, so many more I lost count) and laugh along. It never quite works that way.

Among those inspirations, of course, is the original The Boondock Saints. Agent Smecker (Dafoe) only appears briefly. The running gag is that Eunice (Benz) has taken his place and basically does an impersonation of him. This is supposed to be funny mostly because he was a homosexual while she is actually a woman. It is not funny. Neither is the goofy Three Stooges routine by our three local cops assigned to help her. They’re just caricatures of what they were in the first movie which were caricatures to begin with.

Even the violence is played for laughs, unsuccessfully. What should be a reprieve from the annoying only grows moreso. What is funny, if only to us, is that the plot with a “sins of the father” slant could’ve made for a great movie. It’s told in a manner that borrows heavily from The Godfather Part II. However, the joke is on us. The execution is murderously bad. This makes the two hour runtime feel unbearably long.

This experience reminds me of something Roger Ebert once wrote: "Better to wait for a whole movie for something to happen (assuming we really care whether it happens) than to sit through a film where things we don’t care about are happening constantly." In The Boondock Saints II things we don’t care about happen constantly.


The Opposite View: Matthew Razak, Examiner.com

What the Internet Says: 6.5/10 on imdb.com (7/5/10), 21% on rottentomatoes.com, 24/100 on metacritic.com


MY SCORE: 2/10

The Boondock Saints

Directed by Troy Duffy.
1999. Rated R, 108 minutes.
Cast:
Sean Patrick Flanery
Norman Reedus
Willem Dafoe
David Della Rocco
Billy Connolly
Gerard Parkes
David Ferry
Brian Mahoney
Bob Marley

After a skirmish with some of the local soldiers of the Russian mob, the McManus brothers, Connor (Flanery) and Murphy (Reedus) decide to become vigilantes. They start going after Boston’s bad guys in order to dole out their own brand of justice.

The dialogue is mostly sharp and often funny. Characters relate to one another in a manner that somehow feels natural despite the unnatural circumstances in which they find themselves. Director and writer Troy Duffy’s prose owes a lot to Guy Ritchie’s Lock, Stock and Two Smoking Barrels and even more to the canon of Quentin Tarantino. This is most noticeable when the characters have conversations that seem to be pointless but help establish personalities and more noticeably when they reference pop culture.

The action scenes are also a plus. They’re fun, bloody and don’t always go according to plan. Through the flashbacks they’re shown through we discover that our heroes are generally sloppy in their work. That helps endear them to us. They don’t seem to be indestructible beings mowing down hundreds of faceless villains. True, they defy the odds but they seem lucky to do so.

To me, the best part of the movie is Willem Dafoe. As Agent Smecker, the federal agent assigned to find out who’s killing all the crooks, Dafoe is marvelous. He’s certainly over the top, but he does it so well. From his opening scene where he’s dancing through the alley while concocting a theory through his near last scene in a dress, it’s a virtuoso performance. Some will say it’s too much, but to me it’s perfectly suited to the movie it’s in.

The problems become apparent the closer we get to the end. For instance, once we meet Il Duce it’s like the air gets let out of the balloon. At that point, TBS crosses the line from being ridiculous in a fun way to just being ridiculous. The contrived court-room scene is worst of all. It reeks of trying to be cool instead of actually being so.

In all, it’s a fun movie that does what it wants: entertain us with witty, occasionally quotable dialogue and stylized violence. However, it can’t quite overcome it’s shortcomings to really be great. It never outdoes the movies it emulates. A copy is never as sharp as the original.


MY SCORE: 6.5/10