He’s the best there is at what he does, but what he does isn’t very nice. The Wolverine: my “Reel Faith” 60-second review.
It’s not a great film, but it’s a pretty good one. This year, that’s enough to make The Wolverine not only the season’s best superhero film, but arguably its best popcorn action movie: a gingery palate cleanser in a summer of overcooked Big Macs.
Returning screenwriters Jonathan Abel and Glenn Berger recognize that what’s needed is deeper emotions and darker themes as well as more action and higher stakes … At the same time, the movie makes three key mistakes.
This Karate Kid may not be competing at the same level as the original, but it respects the tradition, and if it doesn’t really have anything new to say, it still says it in a reasonably engaging way.
The action, though no more realistic than the most cartoony chop-socky movies, is really intense — too intense for sensitive youngsters. For kids up for rolling with the punches, though, Kung Fu Panda may just be DreamWorks Animation’s most entertaining and endearing CGI cartoon to date.
Rush Hour 3 is a half-hour of brilliance, preceded by an hour of dreck. That’s a roughly comparable dreck-to-brilliance ratio to the first two Rush Hour movies, I guess, and par for the course for Jackie Chan’s Hollywood films (and a fair number of his Asian ones). It’s just that the earlier Rush Hour movies are hit-and-miss throughout, whereas Rush Hour 3 is basically non-stop missing for an hour, saving all its hits for the end.
Ralph Macchio stars in what is still his signature role as Daniel LaRusso, a sensitive lad reared in the nurturing enclaves of Newark, New Jersey who finds the harsh realities of life in southern California a bit overwhelming after he move across country with his single mother (Randee Heller), who’s just taken a new job.
The fact is, Jackie’s appeal is hard to sum up in a single sentence. Ask five different Jackie Chan fans what they like about him, and you may get five different answers.
In the end, though, it turns out that the House of Flying Daggers is something the film doesn’t actually care about that much. So much is this the case, in fact, that the last time we hear tell of them, the warriors called the Flying Daggers are about to get into this huge climactic battle with the enemy soldiers, whom we see advancing slowly into the bamboo forest where the Flying Daggers are hiding… at which point the story cuts to another plot thread, never to return.
The story is pure Hong Kong melodrama, set at the dawn of the Chinese Imperial Era in the third century BC. … Yet there’s nothing even marginally conventional about Hero’s overpowering visual splendor, its effulgent riot of color and texture, its overwhelming spectacle of scale.
Without a doubt, the best thing about Frank Coraci’s Around the World in 80 Days is the fight scenes.
The Matrix is simultaneously a philosophical model and a popular myth — a postmodern analogue to both Plato’s cave and Homer’s Odyssey, Descartes’ daemon and Pilgrim’s Progress, the brains-in-vats scenario and Star Wars.
Morpheus’s expository speech to Neo in the first film about the history of the power behind the Matrix — particularly the bit about the solar issue and the moment when he holds up the battery — is both the least persuasive and the least interesting thing about the film. It’s a perfunctory plot-level explanation that one accepts for the sake of the action and the hero’s journey, not something one particularly cares about for its own sake.
Beyond that, unlike Reloaded, which featured an impressive but hardly groundbreaking freeway chase scene as its biggest set piece, Revolutions has startling new sights to offer, notably a spectacular siege scene that recalls the first act of The Empire Strikes Back with its Walker attack on the Hoth Rebel base. In fact, The Matrix Revolutions arguably had the potential to be the Empire Strikes Back to The Matrix’s Star Wars, had the Wachowskis not squandered that opportunity six months ago with Reloaded.
Be that as it may, scratch the surface of the vast body of commentary and discussion devoted to The Matrix, and you could start to get the impression that Morpheus’s comment is a fairly accurate description of the film itself. The Matrix has been described as everything from a neo-gnostic parable to a Christian allegory, from a strikingly innovative action film to a derivative rip-off of kung-fu clichés and stock anime conventions. Commentators have found influences from Plato and Descartes, Lewis Carroll and Star Wars. At the end of the day, can anyone really say what The Matrix is?
Jackie’s current string of Hollywood buddy movies (the Rush Hour and Shanghai flicks; The Tuxedo) have brought him success in the U.S. — but at a price. For one thing, he’s never been allowed to do the kind of really elaborate, extended action-comedy sequences that were the heart and soul of solo efforts like First Strike and Rumble in the Bronx. For another, he’s had to share the spotlight with a string of costars ranging from alternately funny and irritating (Owen Wilson, funny in Shanghai Noon but irritating in Shanghai Knights, and Chris Tucker, alternatingly funny and irritating throughout both Rush Hour movies) to just plain irritating and not funny (Jennifer Love Hewitt in The Tuxedo).
After fifteen years of trying, Jackie Chan finally broke into the U.S. market with Rumble in the Bronx and Jackie Chan’s First Strike; but it wasn’t until Rush Hour that he really connected with mainstream American audiences.
Rush Hour 2 follows so closely in the footsteps of its hugely successful predecessor that an actual review is practically unnecessary.
That includes this film’s predecessor, Shanghai Noon, which, as its witty title suggests, was a clever East-meets-Old-West tribute to the classic Hollywood Western. This sequel, set in London, barely manages to be a tribute to Shanghai Noon. Yet in his inventive, elaborate stunt choreography Jackie pays wordlessly eloquent homage to the great physical performers of the past: The Three Stooges, Gene Kelly, Keystone Cops, Harold Lloyd. And two ladder-fu sequences recall one of Jackie’s own memorable triumphs in Jackie Chan’s First Strike.
The suit is in fact the Tactical Uniform Experiment (TUX), a high-tech weapons system that acts directly on the user’s nervous system, instantly enabling Jimmy — who, unlike most of Jackie’s characters, has no special skills of his own — to dance like Fred Astaire, climb walls and ceilings like Spider-Man, and, of course, fight like Jackie Chan.
Miramax execs would like you to think of Iron Monkey as this year’s Crouching Tiger, Hidden Dragon. It might be more accurate, though, to call it this year’s The Legend of Drunken Master.
The story is said to be set in 19th-century China, but its roots are older, reaching for a mythic age of larger-than-life heroes and superhuman derring-do. Heroes with paranormal abilities were also a theme of the recent Unbreakable; but Crouching Tiger, Hidden Dragon has what was lacking in Unbreakable: a sense of wonder, of exhilaration, of mystery and beauty and hope.
Copyright © 2000– Steven D. Greydanus. All rights reserved.