In with the New Blogathon: The Departed

Thursday Movie Picks: Movies with Ensemble Casts - Hidden Gems

It's Thursday once again, so it's time for another entry in Wanderer's Thursday Movie Picks Meme. In case you're just joining us on this little adventure, and please do, bloggers are asked to pick three movies every Thursday based on the subject she has selected. You can either go with the best (or your favorites), the worst (or least favorites), hidden gems, or take a crack at multiple categories.

This week's subject is movies with ensemble casts. As opposed to last week's meme, this one is an extremely broad topic. With so many out there, I chose to go with hidden gems. These aren't totally obscure, to be sure, but they've gotten a lot less recognition than I think they deserve. I just want to shed a little light on three pictures that have faded away with the 90s.

My hidden gems are:

The Big Hit

(1998)

The Ensemble: Mark Wahlberg, Lou Diamond Phillips, Bokeem Woodbine, Antonio Sabato Jr., China Chow, Christina Applegate, Lela Rochon, Avery Brooks, Robin Dunne, Sab Shimono, Lainie Kazan, Elliott Gould

Less than a year earlier, Mark Wahlberg had his first real big hit, another ensemble cast flick by the name of Boogie Nights. When this action-comedy flick hit theaters, it opened #1 at the box office, but was quickly forgotten in subsequent weeks. I find it to be a very funny movie about a team of underappreciated team of assassins. When they take a job kidnapping a rich Japanese businessman's daughter, their star player, Wahlberg, finds himself trying to protect the girl. Much like in Boogie Nights, he's just lovably goofy. Lou Diamond Phillips is amazing, here. So, too, are most of his co-stars. Most critics dismissed it. Audiences were rather lukewarm. I had a great time watching it.

Get on the Bus

(1996)

The Ensemble: Charles S. Dutton, Andre Braugher, Isaiah Washington, Hill Harper, Ossie Davis, Bernie Mac, Wendell Pierce, De'aundre Bonds, Thomas Jefferson Byrd, Gabriel Casseus, Albert Hall, Steve Hall, Charles Robinson

A year earlier, Louis Farrakhan and the Nation of Islam led The Million Man March on Washington, D.C. It was to be a day of atonement for African American men. It was well attended with many communities sending busloads of black men to the event. Spike Lee's Get on the Bus is a fictional account of one such trip. There are a broad cross-section of personalities representing all walks of life. It's a fun ride with something to say. As far as the public was concerned,  it was met with indifference. It was well reviewed, but has fell out of favor over the years. I'm not sure why. Sure, it's not one of Spike's best, but I found it thoroughly enjoyable.

Set it Off

(1996)

The Ensemble: Jada Pinkett Smih, Vivica A. Fox, Queen Latifah, Kimberly Elise, Blair Underwood, John C. McGinley, Ella Joyce, Charles Robinson, Dr. Dre, Chaz Lamar Shepherd

It's not a list of hidden gems unless it uncovers a 'hood classic. This one follows a group of four young ladies facing some serious financial woes. What other way is there to fix your money issues than to start robbing banks? Well, maybe there are other ways, but that's what these ladies decide to do. It becomes an inner-city crime drama that tells most of its story from the bad girls' point of view. There are a number of really good performances, but the real treat here is Queen Latifah. Her character Cleo is by far the most thugged out of the crew. Everything about Cleo runs completely counter to Latifah's well crafted public persona. I don't know how well known it is outside of 'hood movie aficianados, but it did well at the box office grossing roughly four and a half times its $9 million budget. Still, it was hardly a huge crossover success. That's why I call it a hidden gem. It's an underrated heist movie that deserves more eyeballs.

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Pointless List: Greatest Rappers Turned Actors

Yesterday, we talked about the movie depicted above, New Jack City. That means it's a perfect time to speak about just how far rappers have come on the big (and small) screen. New Jack was one of the first movies to feature a rapper in a prominent role that wasn't him/herself. In the time since, they've become a persistent, if not always consistent, part of Hollywood. For me, these are the best actors of all time...who started as emcees.

10. Eve

Best Movie Performance: as Terri in The Barbershop franchise

The self-proclaimed “pit bull in a skirt” proved she could hang with the fellas with two really good performances in the Barbershop movies. She parlayed that into a fairly successful sitcom, the simply titled Eve. From there, she ventured into more dramatic fare and was widely praised for work in the unsettling Kevin Bacon vehicle The Woodsman. Since then she's done some TV and small indie films. I hope she gets better acting opportunities because I think she really is a talented actress.

9. Ludacris

Best Movie Performance: as Skinny Black in Hustle & Flow

It's probably a little hypocritical of me to put a guy on the list whose best performance is playing a rapper. But he was genuinely good as Skinny Black in Hustle & Flow.  He was also solid in Best Pic Winner Crash. The real reason he's here, though, is because he has carved out a very nice career for himself, including as a vital member of the ensemble for the Fast and Furious franchise.

8. Ice-T

Best Movie Performance: as Jack Mason in Surviving the Game

Ice seems to have been around forever. He was an unknown rapper who landed a part playing himself, but only rapping not speaking, in 1984’s Breakin’ (and it’s sequel). He had some musical success locally in LA but it was still a few years until he had a national hit. It was a few more years until he got back onto the big screen. This time, he had a major role in 1991’s New Jack City. He gets lots of points for being a pioneer in this Hip Hop to Hollywood game. Even though, I can’t recall ever thinking he was a really good actor, he’s been reliable and perhaps more importantly he had a period where he was really bankable. His early movies made money. Whenever he guest-starred on TV’s New York Undercover the ratings shot through the roof. He's since become a solid performer in smaller roles and has settled in as a regular on Law & Order: SVU.

7. LL Cool J

Best Movie Performance: as God in In Too Deep

Like Ice-T, LL has been at this acting thing for quite a while now. In fact, the two share a really similar career arc. LL started with a cameo as himself way back when in 1985’s hood classic Krush Groove He would do the same the following year in the Goldie Hawn football movie Wildcats. He was one of the first rappers to star in his own sitcom, In the House, which had a solid 5 year run. His turn as a big time gangsta who called himself God opposite Omar Epps in In Too Deep is perfect. This is especially praise-worthy since LL’s always been more of a lover than a bad guy. He has charm, charisma and a presence few can match and none can deny. None other than famed film critic Roger Ebert has commended him on this. Honestly though, if he had, or starts, picking better movie projects he’d be near the top of this list.

6. Ice Cube

Best Movie Performance: as Doughboy in Boyz N the Hood

Honestly, since his winning debut in Boyz N the Hood, Cube hasn't been anywhere near as good. However, that hasn't stopped him from becoming one of Hollywood’s most bankable stars. With rare exceptions, his movies make money…lots of money. He’s simply a force to be reckoned with at the box office. As a rapper, he helped create gangsta-rap and has been involved with arguably three of the best albums the genre has ever seen, Straight Outta Compton as a member of NWA and Amerikkka’s Most Wanted and Death Certificate as a solo artist. Therefore, it feels kind of strange to say that he’s one of the most profitable comedic actors in the world, but it’s true. As proof, he’s the face of three highly lucrative comedy movie franchises: Friday, Barbershop, and Are We There/Done Yet?. That doesn't even count him having a major role in the Jump Street movies. Earlier this year, his buddy cop movie Ride Along, co-starring Kevin Hart, was a huge financial success. Love his movies or hate them, he gets it done where it counts, at the box office.

5. Tupac Shakur

Best Movie Performance: as Bishop in Juice

Tupac was less a person than a pure force of nature. It was impossible to take your eyes off him. His immense presence combined with an ability to be completely sincere no matter what he was saying led to some powerful performances. His turn as Bishop in Juice is wonderfully twisted. It has become legendary among hood-movie connoisseurs. As Lucky in Poetic Justice he was perfectly standoffish, yet vulnerable. He was even more vulnerable and all around flawless in Gridlock’d. Though I rate Juice as his best performance, I’d have to call this #1A. His fervent fans will tell me he should be #1. Talent-wise, it’s definitely arguable that he should be. Sadly, the brevity of his life and career kept him from giving us anything more than the few gems he left us with and from being even higher on this list.

4. Mos Def

Best Movie Performance: as Vivien Thomas in Something the Lord Made

Mos Def is one of the most underrated actors working today. He has a list of credits that’s not only as long as my arm but it hits nearly every demographic and goes back over two decades, starting with a role in TV’s God Bless the Child in 1988. He’s done just about every genre you can think of: action (16 Blocks, The Italian Job), comedy (Be Kind Rewind, Next Day Air), Sci-Fi (The Hitchhiker’s Guide to the Galaxy), drama (The Woodsman, Monster’s Ball), voiceover (The Boondocks)…he’s done it all. No matter what he’s been asked to do, he’s excelled. In 2005, he was a Golden Globe nominee for his work in the HBO movie Something the Lord Made.

3. Queen Latifah

Best Movie Performance: as Cleo in Set it Off

The Queen is on my short list of most important rappers of all time. However, that has as much to do with what she’s done outside of rap as it does actually rapping. Her career as a thespian started with a brief yet powerful tirade against Wesley Snipes’ character in Spike Lee’s Jungle Fever. From there, she had a few bit parts in TV and movies until she landed the part of Cleo in Set it Off. She gave a phenomenal performance. It’s a character that’s as far removed from her carefully crafted public persona as possible, yet she’s effortlessly believable. She hasn’t stopped working as an actress since, except by choice. She’s had a successful sitcom, Living Single. She’s been in some major money-makers (like Chicago and the Ice Age movies), some low-budget but well received fare (like Beauty Shop, Stranger Than Fiction, and The Secret Life of Bees), and everything in between. In 2003, she received an Oscar nomination for her work in Chicago In 2006, she became the first rapper to receive a star on the Hollywood Walk of Fame. In ’08, she won a Golden Globe and earned an Emmy nomination for her role in TV’s Life Support.

2. Mark Wahlberg

Best Movie Performance: as Dirk Diggler in Boogie Nights

A former Calvin Klein underwear model with six pack abs, a brother that made it big with New Kids on the Block (Donnie, a fine actor in his own right) and a catchy rap song (the hugely successful "Good Vibrations"), Marky Mark was tailor made for the MTV crowd. He parlayed that into a cameo as himself in TV’s The Substitute and then into a role in the Danny DeVito vehicle Renaissance Man. He was widely praised for his work in Boogie Nights. I'll forever maintain that he should have gotten an Oscar nomination for this role. Though he himself didn't get one, the movie was nominated for 3 Oscars. He did make big money with that movie as well as a number of others. Most notably, The Big Hit, Three Kings, The Perfect Storm,The Italian Job, and 2 Guns. 2006’s The Departed finally earned him that Oscar nomination, for Best Supporting Actor. He also received critical acclaim for his fantastic work as real life boxer Micky Ward in 2011's The Fighter.

1. Will Smith

Best Movie Performance: as Chris Gardner in The Pursuit of Happyness

This guy’s success at whatever he’s tried is nothing short of phenomenal. As the rapping part of the duo DJ Jazzy Jeff and the Fresh Prince, he won the first ever Grammy for Best Rap Album. He took the Fresh Prince persona to the small screen and starred in the hugely successful sitcom The Fresh Prince of Bel Air. It was the first and still by far, the most successful sitcom any rapper has ever starred in. While there, he honed his acting skills and received critical acclaim with his role in 1993’s Six Degrees of Separation. Since then, he’s become nothing short of the biggest movie star in the world. The list of his movies that reached #1 at the box office seems endless and growing. He’s starred in 14 movies that have grossed over $200 million worldwide, 10 of them made over $300 million. Five of them, Independence Day, Men in Black, I Am Legend, Hancock, and Men in Black 3 have made over $500 million. He's the only actor to have eight consecutive movies gross better than $100 million here in the U.S and ten straight pull in at least $150 million worldwide. That's not the only rapper/actor, the only actor, period. However, he’s managed to have some substance with all that style. He’s twice been nominated for Best Actor at the Oscars, for 2001’s Ali and 2006’s The Pursuit of Happyness.


As always, feel free to let me know who I've left out.

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Pain & Gain

Directed by Michael Bay.

2013. Rated R, 129 minutes.

Cast:

Mark Wahlberg

Dwayne Johnson

Anthony Mackie

Rebel Wilson

Tony Shalhoub

Ed Harris

Ken Jeong

Rob Corddry

Bar Paly

Michael Rispoli

Daniel Lugo (Wahlberg) knows that you'll never get anywhere in life without going after it, full throttle. He's a personal trainer tired of the dead-end position he holds at the gym where he works. Knowing that he's capable of much more, he talks his way into a better job at Sun Gym which is barely keeping its doors open. Within six weeks, he triples its membership, turning the place into the latest fitness hot spot. He still trains some of the clients himself. One of those people is Victor Kershaw (Shalhoub), a millionaire deli tycoon. Lugo befriends him and then hatches a plan to kidnap and extort him. To carry it out, he recruits his bestest buddy Adrian (Mackey), a body builder trained by Lugo who also happens to be impotent thanks to all the steroids he takes. That's the easy part. The hard part is getting a third party to join in. He manages to convince Paul Doyle (Johnson), an ex-con/body builder who has recently given his life over to Christ, but is in desperate need of income. Since none of the three is a criminal mastermind, things fall apart quickly. Blood and wackiness ensues. Oh, almost forgot, it's based on a true story. Mostly.

I'll just go ahead and say it right off the bat. This film is much better than it has any right to be. Let's keep it real. The first of this post, directed by Michael Bay, doesn't inspire confidence in me. I get a sense of dread when those words flash across the screen. That said, he has made a few movies I enjoy. I thought the first of the Transformers flicks was damn good, and so was The Island. I didn't hate The Rock, either. And sue me, but I'm an apologist for both Bad Boys movies. Ironically, seeing the first Bad Boys is a drawback going into Pain & Gain. That may be because I've seen Bad Boys way too many times, but the two films are way too similar looking. Lots of P&G is shot through the same orange filter. Many of the same establishing shots of the city are used. In fact, he repeats so many it often appears he's using stock footage. Finally, the way he shoots his characters is drenched in the familiar Michael Bay style, lots of low angles with the camera swirling around them. While those things detract from the movie, it's where Bay goes against his own grain that the movie excels. He lets the story breathe, giving us something to contemplate, and thankfully cuts way back on the explosions.

Helping that story sink its teeth into us are three very fun performances from this group of stooges. Lugo is clearly the Moe of this group. He's smarter than they are, but not anywhere near as intelligent as he thinks. The somewhat thoughtful Doyle is our Larry with Adrian stepping into Curly's shoes. Granted, this is a seriously demented version of the comic legends, but they pull off the act nicely. They have a nice chemistry that is glued together by Mackie. His character is a dim bulb that manages to make us laugh nearly every time he speaks. The Rock is also an underrated comic actor, and does fine work here. Of the three, he plays it straightest, giving Doyle an obliviousness that serves the movie well. Wahlberg, also underrated in the funny business, treads similar territory to his work in The Big Hit, Three Kings, and, most recently, 2 Guns. The major difference being that Lugo is easily recognizable as a slug right from the start and is just not likable.

As good as those guys are, the best performance in the movie belongs to Tony Shalhoub as their victim. He's also a disagreeable person. However, being that he's the one kidnapped and tortured we sort of feel for the guy. Sort of. Shalhoub plays it as a sweat soaked ball of slime. Really, it's that bad. Of course, bad means good. He causes a serious conflict in the viewer. We know we should sympathize with him, but he himself is so despicable we have to fight the urge to wish him harm.

We're not sure how we should feel about any of this. This is part of the movie's charm. We see things happen and laugh at them as we are appalled by them. When people get into tight situations, we want them to be punished AND to get away with it. At least early on. As the movie goes on, these people shred the hope that there is anything redeemable about them. This is where some people will be turned off. If you're looking for someone to root for here, you're watching the wrong movie. The two who come closest to fitting that description are Rebel Wilson in a hilarious turn and Ed Harris as our voice of reason. We like her because she's an innocent bystander in this outlandish turn of events. We get behind him because he is the de facto good guy. He's not fleshed out enough for us to really care about him, but we know he wants to see the right thing done.

Pain & Gain is not an easy movie to watch. As mentioned, it's a bunch of stupid and unlikable people doing stupid and unlikable things. Starts off sleazy, and only descends further from there. Much of humor is of the juvenile sort and, thanks to Adrian's impotence, is built upon an endless string of dick jokes. Somehow, in the midst of all this, it gives us a film provokes some thought in us even as we might be recoiling from all the scummy behavior. I'm not trying to tell you this is some high-minded drama worthy of Oscar praise. I will say that it is an enjoyable, if twisted adventure.

MY SCORE: 7/10

Shooter

Directed by Antoine Fuqua.

2007. Rated R, 125 minutes.

Cast:

Mark Wahlberg

Danny Glover

Kate Mara

Michael Pena

Rhona Mitra

Ned Beatty

Tate Donovan

Elias Koteas

Justin Louis

Rade Serbedzija

Bob Lee Swagger (Wahlberg), what a name, is a former military sniper who was part of one of those missions that can't be confirmed nor denied. Rather salty about how the whole thing went down, he's now become a bearded recluse living in the mountains with just his dog. One day, the government comes calling, in the form of Colonel Isaac Johnson (Glover). The colonel says he has reliable intel that an attempt will be made on the President's life during an upcoming speech and that the shot will be fired from an incredible distance. Since our hero is the only one known to have made such a long shot, they are asking his help in figuring out how and from where the deed could be done in order to prevent it from happening. One thing leads to another and before you know it, Bob Lee winds up with a couple bullets in him and is on the run from the authorities.

This is a movie built on the cat-and-mouse between Bob Lee and the colonel. It works pretty well as the two make formidable adversaries. Wahlberg gives us the scowling hero look which has served him nicely in the past. It does here, as well. Glover is really a slimy sort. He gives the most interesting performance in the film. I don't think he gets enough credit for playing bad guys. I've seen him give audiences a good one a few times. I guess it's tough to escape the long shadow he himself cast as half of the Lethal Weapon duo. Ned Beatty is also solid as a crooked politician. Meanwhile, Kate Mara does nice work as the girl who believes our hero.

Besides Glover, the standouts are Michael Pena and Rhona Mitra. Pena plays the rookie FBI agent who smells a rat and is determined to get to the bottom of things. Mitra is a fellow agent who slowly comes around to the right side of things. They have their own little cat-and-mouse going with the agency at large as they do their snooping from within the system. Neither is doing award-worthy work her, but they provide some nice interludes between the scenes involving our stars.

In all, Shooter is a passable flick. It's solid action fare that provides enough excitement and suspense for us to make it through no worse for the wear. The ending that's better than the rest of the movie may elevate it in some people's mind beyond what it likely deserves. It deserves to be thought of as decent, definitely worth a watch, but not something that really stands out.

MY SCORE: 6/10

2 Guns

Directed by Baltasar Kormákur.

2013. Rated R, 109 minutes.

Cast:

Denzel Washington

Mark Wahlberg

Paula Patton

Edward James Olmos

Bill Paxton

Robert John Burke

James Marsden

Greg Sproles

Fred Ward

We meet Bobby (Washington) and Stig (Wahlberg) Reservoir Dogs style, sitting in a diner having a fun conversation and planning a bank robbery. They also go to see Mexican Cartel boss Papi Greco (Olmos) in order to make an exchange of fake passports for cocaine. That doesn’t go quite as planned. Quickly, we find out that Bobby is not who he seems. He is a DEA agent and all of this is part of his plan to take down Papi. In his grand scheme, Stig is just collateral damage. He is to be arrested after the bank robbery. In reality, the robbery goes off without a hitch, because Bobby’s people fail to show. Additionally, what was supposed to be three million dollars, at most, turns out to be forty-three million. $43.125 million, to be exact. And everyone is trying to get their hands on it. Then, there is the little matter of Stig’s actual identity. Or who anyone is, for that matter. Basically, everyone trying to kill everyone else over this money ensues.

2 Guns hastily becomes one of those movies where all the good guys are dirtier than the bad guys, providing no safe haven for our heroes. The tougher task for the viewer is figuring out who isn’t crooked. The various angles from which the characters approach things plays out in elaborate fashion. Every few minutes gives us a new reveal which sends the movie careening in another direction. This is interesting for a while, but gets to be a bit much.

On the plus side, the movie recognizes where its strength lies. It is within the personas of our two leads. Denzel does Denzel and Wahlberg does Wahlberg. Turns out, the two have great chemistry. Together, they are just fun to watch. We laugh often at their exchanges and wonder why it has taken so long for them to work together. Because of them, as I am sure it was intended, the whole thing has a Lethal Weapon or Bad Boys vibe that works really well. Regardless of the plot’s machinations, we can enjoy watching two guys who appear to be having a blast.

The other major strength of 2 Guns is something true to the title. Between all the cheeky banter of the good guys and sinister posturing by everyone else we get lots of action. Things go boom real good and at fairly regular intervals. The best sequence, in my opinion, actually features our heroes squaring off against one another via car chase. Somehow this includes fisticuffs between them while both vehicles are moving. Please do not try this at home.

When all is said and done, 2 Guns is a fun movie that rides its two stars to whatever success it enjoys. We are spared their life stories in favor of the chatter that entertains us pretty well. As mentioned, this chatter is aided by the action. It all works to mask its over-populated and convoluted story and does a good job. If ever a movie could breeze by on charm and personality, this is it.

Ted

Directed by Seth MacFarlane.

2012. Rated R, 106 minutes.
Cast:
Mark Wahlberg
Seth MacFarlane
Mila Kunis
Joel McHale
Giovanni Ribisi
Aedin Mincks
Patrick Warburton
Matt Walsh
Jessica Barth
Bill Smitrovich
Sam J. Jones
Norah Jones
Tom Skerritt
Ryan Reynolds

As a boy, John (Wahlberg) doesn’t have any friends. He is so unpopular even the kids who get beat up all the time don’t want to hang out with him. Desperately needing companionship, John wishes that his teddy bear would come to life so they could be best friends forever. Since it is Christmas, John’s wish comes true. The bear, named Ted (MacFarlane) of course, becomes a celebrity but never forsakes his pal. Fast forward twenty-five years or so. Ted is no longer a celeb but is still bestest buds with John. On the other hand, John is trying to maintain a meaningful relationship with girlfriend Lori (Kunis). Unfortunately, hanging out with Ted keeps getting in the way. Teddy bear profanity, drug use, drinking and sex ensues.

Let’s not beat around the bush. The draw of this movie is the novelty watching a stuffed animal do raunchy stuff. Luckily, much of it is rather hilarious. Just as good, it fits neatly into bromance vs. romance motif it sets up. The tugging on John from both directions sets up both the humor and emotion of the movie. The humor is certainly of the no-holds barred variety. Though every joke doesn’t hit its mark, many do. For this, much credit is due to director/star Seth MacFarlane rechanneling his Peter Griffith voice into the bear. His delivery is perfect throughout and he even references the Griffith character. By the way, this movie includes possibly the funniest fight scene of all time.

The emotion of Ted is pretty standard rom-com fare, but it works better than similar material in other movies. Kunis is sufficiently upset with her man for not being all he can be. She expresses disappointment and delivers ultimatums with the proper zest. Wahlberg’s man-child act wonderfully pulls both sides of the story together. He plays the role with a likeable naiveté that makes him a sympathetic figure. We feel he really wants to do the right thing. Sometimes, he just can’t. Other times, he’s not even sure what the right thing is. In several similar movies and roles, Seth Rogen endows his characters with harsh sarcasm, vocal selfishness and aloofness that works against the films because he seems hard to like for females in the audience. Wahlberg has no such issue. He wants to please them. He just seems weak as opposed to Rogen’s stubbornness. Of course, it helps that the popular opinion is that Wahlberg’s much easier on the eyes.

Where Ted falters is a third act that fails us twice. First, it integrates a kidnapping that feels artificial to the story. It doesn’t wreck the movie and has some laughs of its own, mostly from a fantastic performance by the creepily funny Giovanni Ribisi. Still, it feels like it’s there to inject an action scene where it isn’t needed. Second, when the credits roll nothing has been resolved. It’s meant to be a touching finale. Unfortunately, I couldn’t help thinking that everyone involved is back to square one.

See Ted for the toilet humor, or what doesn’t get into the toilet in one case. Somehow, through all the expletives and general crassness this movie achieves a level of cuteness that doesn’t seem possible. Don’t see it if you’re easily offended or actually looking for any sort of depth. The fact that the bear talks is about as deep as it gets.

MY SCORE: 7/10

The Fighter

Directed by David O. Russell.
2010. Rated R, 115 minutes.
Cast:
Mark Wahlberg
Christian Bale
Amy Adams
Melissa Leo
Mickey O’Keefe
Jack McGee
Melissa McMeekin
Bianca Hunter
Frank Renzulli

Micky Ward (Wahlberg) has lost his last three fights and is at a crossroads in his professional boxing career. He is trained by his brother Dicky (Bale). Dicky is a local legend, having been a former fighter himself. He’s quick to tell anyone within earshot that he once knocked down Sugar Ray Leonard (who has a brief cameo as himself). Dicky is also extremely unreliable due to his addiction to crack. His pro career combined with his drug habit have brought him to the attention of cable network HBO. They have a camera following him around. He tells everyone they are making a documentary about his comeback, though he doesn’t seem to be working towards one. He is the center of attention, just the way he likes it. However, his demons threaten to sabotage his brother’s career.

Micky’s mom, Alice (Leo) also serves as his manager. She’s well meaning but not the best at either job. She’s often preoccupied with Dicky’s misadventures. With everyone except Dicky, she’s a domineering matriarch ruling her clan with an iron fist. In Dicky’s case, she’s a pushover. The entire family is this towards Dicky. This includes a litter of sisters. Micky’s dream of being a champion is in their hands.

The family dynamic plays itself on a loop in Micky’s life. He’s at the gym, ready to work, but his brother is nowhere to be found until hours after they were supposed to have started training. Alice gets him bad fights with little or no strategy for actually building his career. Micky’s father George (McGee) tries to be the voice of reason. He clearly sees that what’s going on isn’t benefiting his boy. Unfortunately, he’s always shouted down by Alice. Eventually, Micky has to fend for himself. More accurately, he has to have better people fend for him. When this starts to happen is when the family suspects there is a problem. How dare he go outside their numbers for support without him?

We watch this drama unfold in a fashion that feels excruciatingly real. This is where the power of The Fighter lies. We’re either a part of, or have known families exactly like this. If we’re a part of such a family, our empathy for Micky is boundless. If we’ve only know families like this, he has out sympathy. We wish we could save him. We root hard for Charlene (Adams) because she is obviously trying to do just that. We cheer her every action during her run-ins with Alice and the sisters.

Carrying out such a display of not always humane humanity requires great acting. This movie has it in spades. Much has been made of Christian Bale’s work as Dicky. It’s well deserved, he’s magnificent. However, it’s the battle of wills between Alice and Charlene that drives the movie. Leo and Adams each play their roles with undeniable conviction. Every rolling of the eyes, raising of the voice, expressing of concerns, swilling of a shot and puffing of a cigarette rings true. More than becoming familiar with them, we really know them. We know that they both feel they are right beyond a shadow of a doubt. In the lead, Wahlberg gives a perfectly subtle performance. When he finally explodes emotionally, it’s not some overly showy display of acting. It’s completely within the realm of how we think he would behave.

For the uninformed, this is based on a true story. I don’t think I’m spoiling anything by saying there is an eventual triumph. In this way, it’s much like hundreds of other sports movies. Rocky leaps to mind, for obvious reasons. So too, does Invincible, another Wahlberg flick and The Blind Side. They’re both football movies based on true stories. Those two are built one cliché after another until the inevitable feel-good finale. Invincible is more or less average in every way. The Blind Side has the benefit of a remarkable performance by Sandra Bullock. They both feel like a Hollywood version of what really happened, smoothed over and watered down. The Fighter utilizes many of the same conventions. Somehow though, it makes them feel much more real.

The Other Guys

Directed by Adam McKay.
2010. Rated PG-13, 107 minutes.
Cast:
Will Ferrell
Mark Wahlberg
Eva Mendes
Steve Coogan
Michael Keaton
Damon Wayans Jr
Rob Riggle
Dwayne “The Rock” Johnson
Samuel L. Jackson
Natalie Zea

After the death of the city’s two most heroic cops, Det. Hoitz (Wahlberg) decides it’s time for he and his partner Det. Gamble (Ferrell) to step up and fill the void. The problem is heroism doesn’t come easy for these gents. Hoitz is a hothead, itching to get into some real action while Gamble’s name is pure irony since he’s perfectly content to sit at his desk all day, every day.

The vast majority of people reading this will either love this movie or hate it to no end. In other words, it’s a Will Ferrell comedy. Over the top stupidity is the default mode of humor. Occasionally, something slyly intelligent sneaks onto the screen. If you’re already laughing at the stupid stuff, you’ll howl when something smart happens. If you’re not already laughing, these will be the few occasions you’ll chuckle, just a bit.

Ferrell returns to the familiarity of his best known characters. He’s well meaning and high-spirited, but also a bit neurotic and certainly naïve. Of course, in every buddy cop flick, the buddies have to be polar opposites. Therefore, Wahlberg plays Hoitz as high strung, ready to jump into the fray, but still generally down on himself for some mistakes he’s made. Their contrasting personalities is just the first of the action flick clichés put through the ringer. There are many to be skewered and The Other Guys tries to hit as many of them as possible. My favorite being Gamble’s rant on people coolly strolling away from explosions in the movies.

Knowing that this movie is aware how dumb it is may be the key to enjoying it. If you take it seriously, either as an action flick or a comedy, you’ll be severely disappointed. If taken as a riff on the action-comedy genre then you might have fun with it. Even so, I will grant that some jokes either go on too long or simply fall flat right away. While it’s not one of Ferrell’s best, it definitely has its moments. This movie succeeds in most areas where Kevin Smith’s Cop Out tries and fails miserably. TOG actually works in some areas.

There is one thing TOG takes seriously. Unfortunately, that one thing is product placement. The brand-name dropping and label shots reach distracting proportions. Perhaps worst of all, it often feels like a really long commercial for the Toyota Prius. Everyone in the movie cracks jokes about it, but when push comes to shove, she performs like a champ. I’m still not even thinking about buying one, so there.

In the end, this is a take it or leave it sort of picture. It’s exceedingly dumb, but in enough of the right spots. If you’re a glass half full type and think dumb can work, take it. If you think that dumb is just dumb and should be ignored, leave it. Better yet, how much do you like Will Ferrell?

MY SCORE: 6.5/10

Date Night

Directed by Shawn Levy.
2010. Rated PG-13, 88 minutes.
Cast:
Steve Carell
Tina Fey
Taraji P. Henson
Mark Wahlberg
Jimmi Simpson
Common
William Fichtner
Ray Liotta
Mark Ruffalo
Kristen Wiig
James Franco
Mila Kunis

Phil (Carell) and Claire Foster (Fey) are stuck in a rut. They’ve been married seemingly forever and have settled into a monotonous routine. To spice things up, they decide to go to a chic new seafood joint. Through a case of mistaken identity, they suddenly find themselves on the run from some very bad people who wouldn’t mind seeing them dead.

Yes, Steve Carell and Tina Fey are our headliners. However, aside from that, nothing about this movie screams comedy. The opening scenes where we get to know our lawfully wedded heroes are more sad than funny. They may even be too familiar for some of us. The rest of the movie plays like a chase movie. The focus is in the wrong place. We see them doing a lot of things they wouldn’t ordinarily do, which is fine. However, the focus is on the action scenes that result from this and not the humor. The comedy complements the action flick when it should be the other way around.

When it does give the action a break, it does comedy very well. Mark Wahlberg’s first scene is all sorts of funny. For my money, its easily the best in the movie. The scene with James Franco and Mila Kunis is also very good. Occasionally, the two stars get to cut loose, as well. Their impromptu dance scene is the best one that centers on them. Mostly, they are at their finest when reacting to the other zany characters on the screen.

In the end, the loving couple has certainly had an adventure. Still, we can’t tell if this makes them more or less likely to venture out of their comfort zone in the future. Finding this out seems to be the point of the movie, but we don’t get an answer. We merely get that it happened. It’s not quite funny enough or packed with enough action to ignore its shortcomings. Despite an excellent and very game cast, and despite some excellent scenes of both comedy and action, Date Night adds up to less than the sum of its parts.

MY SCORE: 5.5/10

The Lovely Bones

Directed by Peter Jackson.
2009. Rated PG-13, 136 minutes.
Cast:
Saoirse Ronan
Stanley Tucci
Mark Wahlberg
Rachel Weisz
Susan Sarandon
Michael Imperioli
Rose McIver
Reese Ritchie
Carolyn Dando
Nikki SooHoo
Christian Thomas Ashdale

Susie (Ronan) is your everyday, boy-crazy 14 year old in 1973. Well, we think she is. However, we very quickly discover she’s already been murdered. She even tells us that Mr. Harvey (Tucci) is her killer. Since we get all this information at the beginning of the picture, we know this is no ordinary murder mystery. But there is mystery. The obvious question becomes will Mr. Harvey be caught? There are other questions to be answered, as well. Mainly, how does Susie’s death affect her family. That aspect is explored in-depth. We can see how each person copes, or doesn’t cope with the situation. This includes Susie, who continually narrates to us from the other side while trying to find her way to Heaven.

Speaking of narration, I’ve never been a huge fan of it in movies. I freely admit if it is done right, it’s a great asset to a film. Here, it’s done right. The key is Susie rarely, if ever, crosses the line of giving us too much information. More importantly, she steers clear of simply recapping what we just saw or telling us what we’re about to see, for the most part. Essentially, she thinks out loud so that we see her perspective changing as we move along.

Playing the role of Susie, Ronan does an excellent job. Even though she spills the beans on the major details early, her performance conveys the idea there is much still to be discovered. As she, and we, come upon these revelations she is appropriately amazed and dismayed. While Ronan is good, there are two other performances that are simply perfect. The one you may know about is Stanley Tucci’s Oscar nominated portrayal of our villain, Mr. Harvey. It’s an amazing piece of work. Helpfully, it is a very well written character. He’s downright gentlemanly in his approach to most things. If we didn’t know any better, we’d think he was just some non-descript fellow who lives in the neighborhood, the scariest kind of boogeyman. The other great performance has flown under the radar. Susan Sarandon as the chain-smoking, and chain-drinking grandmother is absolutely fabulous. Her drunken wisdom and lack of domestic capabilities add both levity and comic relief. Sarandon strikes the perfect balance. In the process, she becomes the linchpin that keeps the family and potentially the movie from spiraling completely out of control.

There are times when the movie does indeed seem to take leave of its faculties. Most of these occur when the focus is on Samantha’s excursions in the afterlife. These portions of the film try to wow us with exoticvisuals. Instead, it takes what’s already a far-fetched premise and pushes it to the brink of total inaccessibility. There is also her constant lament of not having had a first kiss while alive. While that’s understandable from a teenage girl, the way this particular issue is resolved is a bizarre piece of b-movie madness that threatens to sink the movie. The same goes for her sister’s lame-brained effort at heroism that miraculously turns out far better, far easier than it should. Those issues aside, TLB is an excellent watch that intrigues us at almost every turn. It makes us empathize with Susie’s family. Eventually, we feel as if we lost a loved one. And though it’s not a horror film, it frightens us just enough to keep us on the edges of our seats.

MY SCORE: 8/10