The Purge: Anarchy

Selma

Alex Cross

Directed by Rob Cohen.

2012. Rated PG-13, 101 minutes.

Cast:

Tyler Perry

Edward Burns

Matthew Fox

Jean Reno

Carmen Ejogo

Rachel Nichols

Cicely Tyson

John C. McGinley

Werner Daehn

Bonnie Bentley

Giancarlo Esposito

Alex Cross is the lead character in a series of novels written by James Patterson. He was previously brought to the big screen in 1999's Kiss the Girls and 2001’s Along Came a Spider with Morgan Freeman playing the role. Here, the honors belong to Tyler Perry. Our reintroduction to the detective/psychologist starts with him finding out that his wife (Ejogo) is pregnant with their third child. Actually, it starts with a perp chase that’s totally irrelevant to the plot except for being an easy way to introduce us to Alex’s team, but that’s neither here nor there. By the way, the team consists of Alex, his partner and best friend since forever Thomas (Burns) and fairly new to the crew Monica (Nichols). After getting the news about his family’s expansion Alex and company gets called in on a case where a very wealthy young lady and all her bodyguards were found murdered at her home. Getting his Sherlock on, our hero intuits that it was only guy responsible, he tortured the rich chick just for fun, was drawing a picture of her as she was dying, despite not actually being able to see any real evidence of this, and that she was not the main target. The drawing leads his team to dub the bad guy Picasso (they do eventually find a drawing). Trying to catch the artist ensues while he kills more women.

By now, you should see my main problem with this movie. No, it’s not the star. More on him, later. I get that Alex is a genius with immense powers of deductive reasoning. However, to figure out a lot of things in this movie he’s more psychic than psychologist. Take the drawing, for example. Granted, I’m certainly not a crime scene investigator. However, from the information before him I’m not seeing how Alex just decides this guy was drawing a picture of his victim. A few moments later, voila! Thomas finds a picture. A short while later, he’s folding the drawing in precisely the right manner to uncover a clue left by Picasso.

This gift for precise premonition isn’t limited to our hero, either. The bad guy seems able to quickly know things he really shouldn’t. In particular, he magically knows where Alex is going to be in one scene and where another cop lives in the next. It feels lazy, as if the writers just relied on the fact that similar things happen in movies all the time so we probably won’t question it.

Things eventually cycle back in Alex’s favor. This is where we get our most egregious misuse of our hero’s ability. The movie’s entire runtime is spent on the cat and mouse between Alex and Picasso, which is fine, but never clearly establishes reason and motive for the events. Instead, after what we think is the finale, Alex just suddenly knows a lot more information and we have a bit more movie to watch.

In the lead role, Tyler Perry was just fine. He won’t make anyone forget anything Morgan Freeman ever did, but he performs admirably. In roles that require him to show his own face he’s usually bland, hardly engaging. Here, those qualities work for him because it gives the analytical Cross the proper distance from most of the atrocities being committed. It is my understanding that Idris Elba was originally signed to play this role. I think Elba is the better actor, but plays even his non-action roles with too much brawn for this character. Perry’s a better fit and did a good job.

The rest of the cast also does well. Matthew Fox as our bad guy is particularly good. He gives us a solid psychopath. Filling out the rest of the roster are a bunch of folks capable of great work, but given very little to do: Jean Reno, Rachel Nichols, Giancarlo Esposito, Carmen Ejogo, and possibly John C. McGinley. Director Rob Cohen has assembled a nice group but made little use of them with a paint-by-numbers screenplay filled with easy answers.

Sparkle (2012)

Directed by Salim Akil.

2012. Rated PG-13, 116 minutes.

Cast:

Jordin Sparks

Whitney Houston

Carmen Ejogo

Derek Luke

Mike Epps

Tamela Mann

Tika Sumpter

Omari Hardwick

Brely Evans

Michael Beach

Cee Lo Green

Terrence J

Sparkle (Sparks) is a songwriter with stage fright. Since she still wants her music to be heard, she recruits her oldest and most brazen sister named Sister (Ejogo), no less, to take a bus across town and sing her songs at a nightclub. Eventually, the girls meet up with Stix (Luke), a budding promoter. With dreams of making them into the next Supremes, by the way this is 1968, he recruits their middle sister Delores and transforms the trio into a girl group. He then begins getting them work all over Detroit in hopes of making it big. Even though the girls are grown, Sparkle is the youngest at 19, all of this requires repeatedly sneaking out the house of their tyrannical mother Emma played by Whitney Houston in her final feature film before her death in February of this year. Yes, this is a remake of the 1976 ‘hood classic.

If the title leads you to believe this movie is about Sparkle, you’re only partially right. We don’t focus on her until the final act. Honestly, the original did the same so that, in and of itself, isn’t a major complaint. The difference is the girl’s relationship with their mother takes center stage in this version while it was only occasionally touched upon in its predecessor. This moves our title character down to third on the totem pole. It’s probably just as well. Jordin Sparks isn’t a very good actress so lightening her load makes some sense.

In the older movie, the mother is a supportive sideline player. Here, she’s the complete opposite. To make sure we know who’s in charge, Whitney Houston is in full blown, stark raving mad lunatic warden mode. You get the feeling the girls have to ask permission to use the restroom or risk her wrath. She embodies the role well. Sadly, it’s a role that feels specifically written for her. Emma is a woman who has battled drug addiction along with the ups and downs of the music business and now wants to protect her daughters from suffering the same fate, or worse. As she continually rages, it’s difficult to watch her, listen to the sounds come from her obviously shredded voice box and not think of her tumultuous real life and the once flawless pipes with which she serenaded us all. It’s distracting and depressing which makes it a morbidly effective portrayal.

Also of more importance than Sparkle is Sister. She’s clearly the most like her mother. Indeed, much of the film’s fireworks are made up of shouting matches between the two. In the role, Carmen Ejogo gives a powerhouse portrayal rivaling Lonette McKee’s in the same role in the original. Sister’s story also contains another excellent performance, albeit from a surprising source. As comedian Satin Struthers, the movie’s lone unrepentant villain, Mike Epps turns in what is easily his best work. Though playing a comic, which is how he started in his real career, he really does bring this character to life and not just rehash the old Mike Epps schtick.

People who love this movie, and there will be plenty, will do so on the strengths of the aforementioned performances, the music and prerequisite ups and downs of high octane melodrama. However, there are serious problems. Beginning with the second act, the movie shifts into overdrive, propelling itself forward at breakneck speed. The various strands resolve themselves suddenly and/or predictably, leaving plot holes in their wake. In this regard, it pretty clearly follows the Tyler Perry template of filmmaking: scream, bicker, fuss and fight until an instant moment of clarity, kiss, make up.

In comparison with the original, Sparkle also suffers mightily in the charm department. That one is flawed, but it has a much more genuine feel. The grit and grime of the Harlem setting infused the characters not only with a sense of urgency about changing their station in life but also a naiveté about the temptations even minor success may bring. It also gives us a sense of danger. The same could’ve been achieved for this movie in Civil Rights-era Detroit. However, we’re given what feels like a glamorized version of the city wherever the girls perform. At their nicely sized suburban home they want for nothing tangible and can retreat from one another in a way the girls in the original could not. There is a real sense of a unit breaking up as the older movie progresses. Here, each of the sisters wears their individuality proudly on their sleeve, weakening both their bond to one another and ours to them. The glossiness of the sets, flossiness of the outfits and four ladies constantly proclaiming “I am woman, hear me roar!” mark this effort as falling off the assembly line of movies aimed at black females over the last decade. Girl power is great and I generally applaud movies for the attitude but it misses the point of its predecessor.

MY SCORE: 5/10

Away We Go

Directed by Sam Mendes.
2009. Rated R, 98 minutes.
Cast:
John Krasinski
Maya Rudolph
Carmen Ejogo
Jeff Daniels
Maggie Gyllenhaal
Catherine O'Hara
Allison Janney
Jim Gaffigan

Plot: Verona (Rudolph),who is six months pregnant, and her boyfriend Burt (Krasinski) travel to various locations in North America they have ties to in search of the perfect place to start their family.

The Good: In Verona and Burt, we have a couple that feels, more or less, real. They aren't glamourous or overly hip, they're just a couple regular thirtysomethings trying to make their way in the world. To that end, director Sam Mendes coaxes some very natural performances from his two stars. On the other hand, he also gets some great, and perfectly over the top work from his supporting cast. In particular, Maggie Gyllenhaal shines as the eccentric, and eccentrically named, LN. What happens is the bit players, and Burt, give us most of our laughs while Verona plays our "straight man" and the movie effectively revolves around her. This also helps reveal bits and pieces of our heroes.

The Bad: Some opportunities for comedy are lost because the movie rarely deals with Verona's pregnancy. Their is the running gag about keeping the baby's heart rate up, but nothing ever comes of it. Also, some of the supporting characters beg for bigger roles but are all quickly ushered off-screen as our heroes travel from one city to the next.

The Ugly: LN, breast-feeding, strollers and the "family bed." Wow.

Recommendation: This is a different sort of rom-com. Instead of the usual boy-meets-girl, this picks up where others leave off. It's smart, cute and funny. That said, fellas be warned: it's a full-blown chick-flick. It's a solid one, but a chick-flick, nonetheless.

The Opposite View: Richard Corliss, Time

What the Internet Says: 7.4/10 on imdb.com (2/8/10), 66% on rottentomatoes.com, 58/100 on metacritic.com

MY SCORE: 7/10