Baggage Claim

Directed by David E. Talbert.

2013. Rated PG-13, 96 minutes.

Cast:

Paula Patton

Derek Luke

Jill Scott

Adam Brody

Taye Diggs

Jennifer Lewis

Boris Kodjoe

Trey Songz

Djimon Hounsou

Lauren London

Christina Milian

La La Anthony

When Montana (Patton) learns that her younger sister Sheree (London) is getting married soon, and before she is, her world is sent spiraling out of control. Not only is Montana not married, she doesn’t have any prospects. This is a big problem. She’s been raised to believe that she simply is not a lady if she’s not married by thirty. That her sister will tie the knot first is a travesty of epic proportions. At the very least she wants to find Mr. Right in time to escort her to the wedding which is a mere thirty days away. Obviously, this is a daunting task, but it helps that she is an airline stewardess. However, rather than meeting men as she normally would in her profession, her work buddies talk her into what they think is a genius plan. They will track down her ex-boyfriends as they travel to see if any of them has developed into the man of her dreams since they broke up.

Let’s just get this out of the way, first. That is an astonishingly dumb idea. Setting aside the fact that these are guys that she’s already found out were not “the one” for one reason or another, the execution of this plan is idiotic, at best. It involves her dropping everything the second her pals call her to let her know one of these guys is on a  flight, high-tailing it to the airport to make said flight, and trying to instantly rekindle the flames. Yes, she always makes it to the plane just in time, but as you might imagine, these guys have the same problems that caused their break-up the first time around.

In the midst of all the chaos that is her life, she has one stable relationship with a straight man. She grew up with the guy who lives across the hall. In fact, they are best friends. His name is William Wright (Luke). Hey, wait a sec…let me just repeat his name in case you somehow dodged that sledgehammer. William Wright. WRIGHT. Uh-huh.

The overwhelming majority of romantic comedies are inane, predictable affairs. This is certainly no exception. The next moment is always precisely what you think it’s going to be. It simply runs down the rom-com checklist in order and on time. This strict adherence to the formula drains the life out of most jokes. It’s hard to laugh when you already know the punchline.

Likewise, it is difficult to get wrapped up in the dilemmas on the screen when the performances of them are so plastic. Paula Patton normally does solid work. Here, I can see her ‘acting’ which is empirical evidence that the performer is doing a bad job. Her voice has the fake quality of a person trying but failing to prove that they are honest. The rest of the cast seems to be in a contest to see who can be the most photogenic. They take turns reciting their lines through the pearly whites of their megawatt smiles, just like in the pic above. Don’t get me wrong, it’s an impressive looking group of people and an accomplished bunch of actors, but to this particular production they bring all the depth of a cookie sheet. The only characters with any spunk whatsoever are Montana’s partners in romantic crime: Sam (Brody), her gay male friend, and Gail (Scott), her busty and perpetually horny gal pal. Sam is a walking stereotype, but at least he gets most of the movie’s best lines. Gail gets the best gestures and is the most interesting person in the movie. Love her or hate her, she has a zest for life and an independence sorely missing from the protagonist. A better movie could probably have been made about her.

Everything I’ve mentioned thus far makes Baggage Claim a bad movie. Regardless of how terribly they go down, all of these elements are rather innocuous. They are things that render this fit for the skyward reaching junk pile of rom-coms, all of which are indistinguishable from the rest. However, right from the start this is a potentially damaging film. It repeatedly and explicitly pushes the idea that a woman absolutely, positively must have a husband or she is a failure at life. Sam impotently tries to dissuade Montana from this notion once or twice. When Montana herself comes to understand the fallacy of this ideal, the movie’s own finale completely undermines her. Honestly, it’s baffling that she believed this in the first place given the fact that marriage hasn’t actually worked for her own mother (Lewis), the one pushing this whole mindset. Mom’s been married five times, and even Montana understands she marries simply for the sake of being married. This is not a model to live by. The entire thing is an exercise in archaic thought. Sure, we all want someone to grow old with. Branding someone worthless for having yet found that person is backwards, at best, and anti-feminist, if not downright misogynist, at worst.

To blame for this atrocity we have writer/director David E. Talbert, or Tyler Perry 2.0, as I like to call him. He’s taken essentially the same path to Hollywood as Mr. Madea. Talbert wrote and directed his own plays which he successfully toured around the nation targeting African-American female audiences. His work, that I’ve seen anyway, has a similar mix of Christianity and secularism, is thematically similar, but tends to be a bit more risqué. This holds true as their work translates to the big screen. Unfortunately, Talbert fails to realize that the time for labeling single women near (or in) their thirties as barren old maids has long since past. It’s also a terrible message for the young ladies in the audience. I’m not normally a cinematic moralist. I don’t need movies to have positive messages for me to enjoy them, but I don’t like to be brow-beaten, either. This is so persistent with its assertions, it galls me to no end.

MY SCORE: 2/10

Seeking a Friend for the End of the World

Directed by Lorene Scafaria.

2012. Rated PG-13, 101 minutes.

Cast:

Steve Carell

Keira Knightley

Martin Sheen

Connie Britton

Rob Corddry

Patton Oswalt

Derek Luke

T.J. Miller

Melanie Lynskey

Mark Moses

Nancy Carell

What would you do if you knew for certain the world were going to end in three weeks? That’s the question facing us all in Seeking a Friend for the End of the World as a seventy mile wide asteroid is on a collision course with Earth and all attempts to stop it have failed. More specifically, it’s the question facing Dodge (Carrell). It’s also become exponentially more difficult to answer now that his wife has decided this would be the perfect time to leave him. Everyone around him is truly living each day like it’s the last, engaging in whatever activity their hearts desire while Dodge sits around and mopes. He finds someone to commiserate with in the flighty Penny (Knightley). She’s similarly distraught, having broken up with her boyfriend. Eventually, the two decide to help each other do the one thing they each must before it’s too late. An apocalyptic adventure ensues.

Early on, the movie focuses as much on our decaying societal mores as it does on the lives of our protagonists. Here is where most of its humor lies. The jokes are largely to be expected, generally revolving around people getting all the sex and drugs they could possibly want, but still fun to see play out. There are only two other jokes: the occasional ominous yet loony newscast and the situations Dodge and Penny find themselves in because of the outbreak of riots. The violence, and any humor derived from it, ends when a very odd man takes a bullet to the throat. You’ll have to see for yourself to understand how and why this could possibly be funny. A short while later, the sex and drugs part of the movie climaxes with a trip to a chain restaurant. Unfortunately, we still have half the movie to go.

Immediately upon finishing the very strange dining experience of our heroes, the movie settles into a string of predictable events in an effort to create a romance. Problem number one, again, is that the comedy disappears almost entirely. Instead, we’re stuck in this drama which never surprises us and will have to either deliver the depressing finale we've been trudging toward or, concoct some ridiculous BS for the sake of giving us a happy ending. Problem number two is that we never feel strongly enough about the couple in question to overcome problem number one. Dodge and Penny aren't two people we can see together under any circumstances. Making an exception because people are bound to do things and be with people they normally would not even consider. However, this just makes things seem even more preordained. This, combined with the fact that everything happens so perfectly on schedule, our pulse rate never increases. Our performers give it their all, but their interactions lack the magic needed to make us ignore these blemishes.

All is not terrible for the second half of the film. First, there is a wonderful scene, albeit a bit of a painful one, between Dodge and his dad played by Martin Sheen. It’s the one time we truly sense the emotion of the two people speaking. Second, the final scene is one of endless tenderness. It is by far the most enjoyable exchange between Dodge and Penny. If somehow, you find yourself caring by this point, you might even have to wipe away a tear or two. Odds are, you won’t.

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

Captain America: The First Avenger

Directed by Joe Johnston.

2011. Rate PG-13, 124 minutes.
Cast:
Chris Evans
Hayley Atwell
Tommy Lee Jones
Hugo Weaving
Sebastian Stan
Stanley Tucci
Dominic Cooper
Toby Jones
Neal McDonough
Derek Luke
Samuel L. Jackson

To say Steve Rogers (Evans) is weak is an understatement, at least in a physical sense. Mentally, he’s uncommonly pig-headed…er…determined. It’s 1942, and he’s hell-bent on getting into the military. After all, he hates bullies and there are none bigger than Hitler and his Nazis. Unfortunately, 90 pound asthmatics get turned away from service repeatedly. As it turns out, Dr. Abraham Erskine (Tucci) has been watching him. The doctor thinks Steve’s qualities, both physical and mental make him the perfect candidate to be the guinea pig in an experiment to create a super soldier using a special serum the doc invented. Lest you think Rogers is the only pumped up soldier in the world, high-ranking Nazi Johann Schmidt (Weaving) had already gotten a hold of an early version of the serum. He’s also gained possession of an ancient magical thingamajig that pretty much eviscerates anything its pointed at. So there’s that to deal with.

Captain America pulls the trick lots of other comic book movies struggle with. The origin story is at least as good as what happens after our hero becomes super. Rogers is established as such an underdog and is so feisty we can’t help but root for him. He feels ripped straight from the pages of the old comics. Not from the stories themselves, mind you. He’s from that ad in the back where the weakling gets sand kicked in his face. By the way, I’d be remiss if I failed to mention that this early portion of the film contains some of the more remarkable uses of cgi. We have no problem believing Chris Evans is short and scrawny. This also aids Evans in giving one of his very best performances.

Once our guy actually becomes the hero, which takes a while after he undergoes his metamorphosis, we get the action we came for and of course, the villain we came for. In the role of the bad guy, Schmidt AKA Red Skull, Hugo Weaving delivers the goods as usual. It’s not quite the iconic work he turned in as Agent Smith in the Matrix trilogy, but he has a way of making us feel uneasy without going over the top. When his true face is revealed, it does enough on its own. Wisely, he doesn’t break out in histrionics trying to act crazy. He has the confidence of a man who knows he’s frightening. He doesn’t have to prove it.

Marvel has managed to get its last few films right. This, along with Thor and Iron Man 2 before it, works as stand alone entries into the comic book giant’s film canon. They also work as catalysts for translating the idea of a Marvel universe to the big screen with this upcoming summer’s The Avengers. Before these three, each comic book movie was its own self-contained reality. Things have changed. Allowing these characters to be linked also allows for them to develop. We see Captain America do just that. Along the way there are bumps in the road. How he arrives where he does by the finale is bittersweet. It also leaves us very ready for The Avengers.

MY SCORE: 7/10

Notorious

Notorious
2009. Rated R, 114 minutes.
Director: George Tillman, Jr. Starring Jamal Woolard, Derek Luke, Angela Bassett, Antonique Smith, Marc John Jeffries, Christopher Jordan Wallace, Amanda Christopher, Naturi Naughton, Anthony Mackie.

Plot: The life and times of Christopher Wallace, AKA The Notorious B.I.G.

The Good: Even better than simply not making our hero a saint, the movie doesn't try to justify his indiscretions. It's content to show him as a guy who often has to learn the hard way. It also manages to show him as thoughtful, if a bit selfish. Woolard in the title role is simply note-perfect. Unfortunately, he's so good and has a look enough like Biggie I can see him struggling to land other roles. Actually, the title role is shared by Woolard with Biggie's real-life son, Christopher Jordan Wallace, who ably plays his dad as a kid. The movie also makes effective use of Biggie's music as both a score and a soundtrack.

The Bad: I've often complained about movies, especially comedies, that simply run too long. However, I'm a firm believer that biopics should be at least two hours long. This one is a bit shy of that mark and suffers because of it. In particular, his various attempts at reconciliation with the women in his life are either glossed over or just plain left out as things between he and them go from bad to good instantaneously. It also limits character development in others who should/could have had major roles. Lil' Kim (Naturi Naughton) suffers the most as the script makes her completely selfish, lacking any compassion and most other human emotions besides anger. The circle around Biggie known as Junior MAFIA also suffers, only depicted as flunkies and hangers on when by most accounts he did have real friendships within the group. Even his friendship with Puffy is never dealt with.

The Ugly: How he gets "inspired" to make his hit song Juicy.

Recommendation: This is a pretty good biopic that sticks to the headlines from its subject's life. For hip hop fans, it's a worthy first entry into the genre. It could've used some more fleshing out to be great. Even though it's no disappointment, one can't help but wonder how much better a movie about Biggie's friend turned nemesis, the more interesting and dynamic personality Tupac Shakur, could be.

The Opposite View: Rob Daniel, Sky Movies

What the Internet Says: 6.0/10 on imdb.com (4/27/09), 50% on rottentomatoes.com, 60/100 on metacritic.com

MY SCORE: 7/10