© 2004 Ray Wong
On paper, 13 GOING ON 30 sounds like a female version of BIG – a young kid trapped inside an adult body trying to navigate through an adult world. The comparison is inevitable.
On closer look, the new Jennifer Garner film has more similarities with PEGGY SUE GOT MARRIED, only in reverse. The moral of the story is: learn from your past mistakes. Only in this case, the hero has no idea what she did.
The year is 1987, and Jenna Rink, an awkward, book-smart girl, desperately wants to grow up and become popular. Her best friend, Matt, has a secret crush on her. On her 13th birthday, she gets her wish and wake up the next morning as a 30-year-old woman with a gorgeous but dumb hockey-player boyfriend, circa 2004. Soon Jenna discovers that she is the same person (or so she thinks) who has no memory of the last 17 years of her life. She is now a senior editor at her favorite magazine, Poise, and her best friend is Lucy, her childhood rival. Shocked and disoriented, she tracks down Matt, now a successful photographer, for moral support. Eventually, Jenna begins to enjoy her new life as a teenager masquerading as an adult and finds herself actually popular – she is chummy with Madonna, for heaven’s sake. That is, until she realizes what a horrible person her alter ego once was. Trying to find herself, while apologizing for and fixing the problems her “old self” has caused, Jenna falls for Matt. Unfortunately, he is about to get married. Through her problems and heartaches, Jenna soon learns what is important, but it may be too late.
In her first movie lead role, Garner (ALIAS) is effervescent and affecting as the giddy 13-year-old girl with a killer body. She exudes both childishness and maturity at the same time, and you cannot help but want to go on this journey with her. When her boyfriend starts to striptease for her then licks her earlobe, Garner’s “yuck, gross, get away from me” expressions are priceless. Ruffalo (ETERNAL SUNSHINE OF THE SPOTLESS MIND) is so consistently good at everything he does lately that he has emerged as the ubiquitous “everyman” of our time. It is wonderful to see a nice guy win at last. The rest of the cast deliver superb performances as well, including Greer (WHAT WOMEN WANT) as the conniving “best friend” and Andy Serkis (LORD OF THE RINGS), shedding his Gollum skin to become Poise’s high-strung but lovable Editor-in-Chief. Christian B. Allen and Jack Salvatore, Jr. make a good couple as young Jenna and Matt respectively.
The writers (WHAT WOMEN WANT) have crafted an amiable and cute, yet cliché-ridden and predictable story. Right from the start, we know how it is going to unfold and end. The film would have been more poignant had the writers opted for a bittersweet ending as in BIG. Instead, they aim low and go for the easy fix – the “happy ever after.” Even so, the film is entertaining and enjoyable, thanks to a great cast and some funny and heartfelt scenes. Director Winick (TADPOLE) dapples the story with 80’s hit songs and pop culture – it is a blast from the past, even though the party scene where everybody dances to “Thriller” is a little too much. Winick also has the smarts to capitalize on Garner’s appeal and increasing popularity. She lifts the film to a higher level than what it would have been.
Stars: Jennifer Garner, Mark Ruffalo, Judy Greer, Andy Serkis, Kathy Baker, Phil Reeves
Director: Gary Winick
Writers: Cathy Yuspa, Josh Goldsmith
Distributor: Columbia
MPAA Rating: PG-13 for sexual situations, alcohol and drug references
RATINGS:
Script – 6
Performance – 8
Direction – 7
Cinematography – 6
Music/Sound– 6
Editing – 6
Production – 7
Total – 6.6 out of 10
Connie and Carla
© 2004 Ray Wong
I am now convinced that there are no original ideas in Hollywood, which is littered with movie remakes, recycled TV shows and comic-book flicks. CONNIE AND CARLA is the latest entry -- it unabashedly steals from SOME LIKE IT HOT, VICTOR/VICTORIA, and PRISCILLA - QUEEN OF THE DESERT. The result falls far short of these original classics.
Best friends Connie and Carla are two Chicago lounge singers struggling to make ends meet. After witnessing a mafia hit, they are on the run to Los Angeles, the most unlikely place for their hideout since there are no “musicals, dinner theaters and culture.”
Soon, they stumble into a West Hollywood gay bar and decide to try out for the headline act -- as drag queens. It is an opportunity from heaven. Not only are they paid to sing and dance, they will be incognito under the heavy makeup and ridiculous costumes in an obscure gay bar. Along the way, they make friends with a group of drag queens and develop a dinner theater featuring all of their fabulousness. The problem is, they are so good that they become a local hit, and eventually words get out. To complicate matters, Connie has fallen in love with Jeff, the straight brother of Peaches, one of the drag queens. Jeff is confused by his attraction to “Connie” while she cannot reveal her true identity to him. When the mafia finally finds them, Connie and Carla not only have to deal with the imminent threat, they also have to deal with the chaos and disappointment resulting from their deception.
The performance is generally adequate. Vardalo is likeable as Connie, although she lacks that comedic edge she displayed in MY BIG FAT GREEK WEDDING. Collette (THE HOURS), on the other hand, shows terrific comedic skills -- and by golly, does she look like a real drag queen. Duchovny (X-FILES) is wooden and unfunny as the straight man -- there is no chemistry between him and Vardalo to make us believe that he could fall for a “guy in drag.” The quartet of drag queens, however, is a hilarious group, played effectively by Logan (SAVING SILVERMAN), Mapa (PLAYING BY HEART), newcomer Kaiser, and Spinella (OUR TOWN). Spinella, in particular, shows true poignancy, weight and complexity as Robert/Peaches.
To say CONNIE AND CARLA is riddled with clichés is an understatement. The plot is super thin and the characters are mostly one-dimensional stereotypes. I am disappointed by the screenplay. At times, the film feels like a long, drawn out musical review and drag show. Granted, there are some genuinely funny jokes and a few sentimental moments (especially the subplot about the relationship between Jeff and Robert/Peaches). Mostly, it is simply irritating to see yet another musical number and if I have to hear “Mame” one more time, I may have to scream. Director Lembeck (SANTA CLAUSE 2) tries to make the best out of the material, giving us a silly, broad comedy; yet the direction and editing are still under par. In the end, CONNIE AND CARLA is a slight, irrelevant piece of fluff that one can take their grandmother to. There are a few laughs, but nothing more.
Stars: Nia Vardalos, Toni Collette, David Duchovny, Stephen Spinella, Alec Mapa, Chris Logan, Robert Kaiser, Ian Gomez, Debbie Reynolds
Director: Michael Lembeck
Writer: Nia Vardalos
Distributor: Universal
MPAA Rating: PG-13 for gay content, sexual humor, drug and alcohol references
RATINGS:
Script – 3
Performance – 6
Direction – 5
Cinematography – 5
Music/Sound– 6
Editing – 5
Production – 6
Total – 5.1 out of 10
I am now convinced that there are no original ideas in Hollywood, which is littered with movie remakes, recycled TV shows and comic-book flicks. CONNIE AND CARLA is the latest entry -- it unabashedly steals from SOME LIKE IT HOT, VICTOR/VICTORIA, and PRISCILLA - QUEEN OF THE DESERT. The result falls far short of these original classics.
Best friends Connie and Carla are two Chicago lounge singers struggling to make ends meet. After witnessing a mafia hit, they are on the run to Los Angeles, the most unlikely place for their hideout since there are no “musicals, dinner theaters and culture.”
Soon, they stumble into a West Hollywood gay bar and decide to try out for the headline act -- as drag queens. It is an opportunity from heaven. Not only are they paid to sing and dance, they will be incognito under the heavy makeup and ridiculous costumes in an obscure gay bar. Along the way, they make friends with a group of drag queens and develop a dinner theater featuring all of their fabulousness. The problem is, they are so good that they become a local hit, and eventually words get out. To complicate matters, Connie has fallen in love with Jeff, the straight brother of Peaches, one of the drag queens. Jeff is confused by his attraction to “Connie” while she cannot reveal her true identity to him. When the mafia finally finds them, Connie and Carla not only have to deal with the imminent threat, they also have to deal with the chaos and disappointment resulting from their deception.
The performance is generally adequate. Vardalo is likeable as Connie, although she lacks that comedic edge she displayed in MY BIG FAT GREEK WEDDING. Collette (THE HOURS), on the other hand, shows terrific comedic skills -- and by golly, does she look like a real drag queen. Duchovny (X-FILES) is wooden and unfunny as the straight man -- there is no chemistry between him and Vardalo to make us believe that he could fall for a “guy in drag.” The quartet of drag queens, however, is a hilarious group, played effectively by Logan (SAVING SILVERMAN), Mapa (PLAYING BY HEART), newcomer Kaiser, and Spinella (OUR TOWN). Spinella, in particular, shows true poignancy, weight and complexity as Robert/Peaches.
To say CONNIE AND CARLA is riddled with clichés is an understatement. The plot is super thin and the characters are mostly one-dimensional stereotypes. I am disappointed by the screenplay. At times, the film feels like a long, drawn out musical review and drag show. Granted, there are some genuinely funny jokes and a few sentimental moments (especially the subplot about the relationship between Jeff and Robert/Peaches). Mostly, it is simply irritating to see yet another musical number and if I have to hear “Mame” one more time, I may have to scream. Director Lembeck (SANTA CLAUSE 2) tries to make the best out of the material, giving us a silly, broad comedy; yet the direction and editing are still under par. In the end, CONNIE AND CARLA is a slight, irrelevant piece of fluff that one can take their grandmother to. There are a few laughs, but nothing more.
Stars: Nia Vardalos, Toni Collette, David Duchovny, Stephen Spinella, Alec Mapa, Chris Logan, Robert Kaiser, Ian Gomez, Debbie Reynolds
Director: Michael Lembeck
Writer: Nia Vardalos
Distributor: Universal
MPAA Rating: PG-13 for gay content, sexual humor, drug and alcohol references
RATINGS:
Script – 3
Performance – 6
Direction – 5
Cinematography – 5
Music/Sound– 6
Editing – 5
Production – 6
Total – 5.1 out of 10
Ella Enchanted
© 2004 Ray Wong
Based on Gail Carson Levine’s Newberry novel, ELLA ENHANTED is a cross between THE PRINCE BRIDE, SHREK and CINDERELLA. The result is a romantic fantasy that is both fun-loving and neurotic.
When Ella of Frell is only a baby, her ditzy fairy Godmother Lucinda gives Ella a gift she simply cannot refuse: obedience. Ella has no choice but do everything other people tell her. After Ella’s mother’s death, her father remarries Lady Olga, the quintessential evil stepmother with two equally wicked daughters: Hatti and Olive. When Hatti figures out Ella’s unfortunate “gift,” Ella sets out to find Lucinda to take back the curse. She meets Prince Charmont, a kind-hearted knucklehead who has no clue of what being a future king means. Little do they know that his evil uncle Edgar is scheming to kill the Prince for the throne.
Together, Ella and Prince Charmont embark on an adventure, meeting elves and ogres and giants on the way. With the help of her aunt Mandy and an enchanted book, Ella has to find a way to undo her curse, fall in love with the Prince, save him and his kingdom, sing and dance all on the same day.
While the plot does seem somewhat complicated, the result is actually quite a simple tale. Director O’Haver (BILLY’S HOLLYWOOD SCREEN KISS) paints the film with a delightful, storybook look with a brisk, happy pace. Of course, no modern updates of medieval tales are complete without silly rock songs and pop culture references: the grand opening of a “mall,” civil right protests for ogres and elves, and a Queen song or two. The few musical numbers are actually the highlights of the film, including a sweet rendition of Queen’s “Somebody to Love” by Hathaway (who knew she could sing?) Like in A KNIGHT’S TALE, this concoction of old and new works well together, creating a hip yet sincere confection that is sure to bring a smile or a chuckle. The editing, however, can use some work. There are scenes that look choppy, chaotic and disjointed. Fortunately, the script keeps the story light and cheery, avoiding the common sap that usually plagues such fairytales.
The cast is generally charming. Hathaway (THE PRINCESS DIARIES) has a knack for portraying headstrong fairytale heroines. Her girl-next-door appeal and sincerity serve her very well here. Dancy (BLACK HAWK DOWN) is a perfect Prince, reminding us of a younger Orlando Bloom or Cary Elwes (THE PRINCESS BRIDE), who in turn plays the role of the evil Edgar with sleazy charm and self-deprecating glee. The large, multiethnic cast gives us broad comedic performances that are suitable for this genre. Lumley (ABSOLUTELY FABULOUS), in particular, is delicious but underused. Driver is suitably subdued as Aunt Mandy. Fox, however, is somewhat annoying as the ditzy Lucinda, and the comedic talents of both Nagra (BEND IT LIKE BECKHAM) and Mistry (THE GURU) are rather wasted here. The special effects range from cheesy to fabulous, giving us a general storybook feel. Overall, while the film lacks the edge of THE PRINCESS BRIDE or SHREK, it is an enchanting story that the whole family can enjoy.
Stars: Anne Hathaway, Hugh Dancy, Cary Elwes, Minnie Driver, Vivica A. Fox, Joanna Lumley, Jimi Mistry, Eric Idle, Parminder K. Nagra, Lucy Punch, Patrick Bergin
Director: Tommy O’Haver
Writers: Laurie Craig, Gail Carson Levine (novel)
Distributor: Miramax
MPAA Rating: PG for mild language
RATINGS
Script – 6
Performance – 7
Direction – 7
Cinematography – 7
Music/Sound– 8
Editing – 5
Production – 7
Total – 6.7 out of 10
Based on Gail Carson Levine’s Newberry novel, ELLA ENHANTED is a cross between THE PRINCE BRIDE, SHREK and CINDERELLA. The result is a romantic fantasy that is both fun-loving and neurotic.
When Ella of Frell is only a baby, her ditzy fairy Godmother Lucinda gives Ella a gift she simply cannot refuse: obedience. Ella has no choice but do everything other people tell her. After Ella’s mother’s death, her father remarries Lady Olga, the quintessential evil stepmother with two equally wicked daughters: Hatti and Olive. When Hatti figures out Ella’s unfortunate “gift,” Ella sets out to find Lucinda to take back the curse. She meets Prince Charmont, a kind-hearted knucklehead who has no clue of what being a future king means. Little do they know that his evil uncle Edgar is scheming to kill the Prince for the throne.
Together, Ella and Prince Charmont embark on an adventure, meeting elves and ogres and giants on the way. With the help of her aunt Mandy and an enchanted book, Ella has to find a way to undo her curse, fall in love with the Prince, save him and his kingdom, sing and dance all on the same day.
While the plot does seem somewhat complicated, the result is actually quite a simple tale. Director O’Haver (BILLY’S HOLLYWOOD SCREEN KISS) paints the film with a delightful, storybook look with a brisk, happy pace. Of course, no modern updates of medieval tales are complete without silly rock songs and pop culture references: the grand opening of a “mall,” civil right protests for ogres and elves, and a Queen song or two. The few musical numbers are actually the highlights of the film, including a sweet rendition of Queen’s “Somebody to Love” by Hathaway (who knew she could sing?) Like in A KNIGHT’S TALE, this concoction of old and new works well together, creating a hip yet sincere confection that is sure to bring a smile or a chuckle. The editing, however, can use some work. There are scenes that look choppy, chaotic and disjointed. Fortunately, the script keeps the story light and cheery, avoiding the common sap that usually plagues such fairytales.
The cast is generally charming. Hathaway (THE PRINCESS DIARIES) has a knack for portraying headstrong fairytale heroines. Her girl-next-door appeal and sincerity serve her very well here. Dancy (BLACK HAWK DOWN) is a perfect Prince, reminding us of a younger Orlando Bloom or Cary Elwes (THE PRINCESS BRIDE), who in turn plays the role of the evil Edgar with sleazy charm and self-deprecating glee. The large, multiethnic cast gives us broad comedic performances that are suitable for this genre. Lumley (ABSOLUTELY FABULOUS), in particular, is delicious but underused. Driver is suitably subdued as Aunt Mandy. Fox, however, is somewhat annoying as the ditzy Lucinda, and the comedic talents of both Nagra (BEND IT LIKE BECKHAM) and Mistry (THE GURU) are rather wasted here. The special effects range from cheesy to fabulous, giving us a general storybook feel. Overall, while the film lacks the edge of THE PRINCESS BRIDE or SHREK, it is an enchanting story that the whole family can enjoy.
Stars: Anne Hathaway, Hugh Dancy, Cary Elwes, Minnie Driver, Vivica A. Fox, Joanna Lumley, Jimi Mistry, Eric Idle, Parminder K. Nagra, Lucy Punch, Patrick Bergin
Director: Tommy O’Haver
Writers: Laurie Craig, Gail Carson Levine (novel)
Distributor: Miramax
MPAA Rating: PG for mild language
RATINGS
Script – 6
Performance – 7
Direction – 7
Cinematography – 7
Music/Sound– 8
Editing – 5
Production – 7
Total – 6.7 out of 10
Hellboy
© 2004 Ray Wong
Guillermo Del Toro (BLADE II, MIMIC) is possibly one of the most respected comics-turn-flick directors in the business today. His style has always been visually stunning yet dark in mood with a splash of self-effacing humor. HELLBOY is no exception. To fans of comic books that are familiar with the Dark Horse hero, HELLBOY is a welcome treat.
During WWII, the Nazis have enlisted the Russian mystic Rasputin to transport a deadly weapon from another dimension: Somehow Rasputin has discovered a portal to transport the gods of chaos to Earth. Meanwhile, an expert in paranormal phenomena, Professor Bruttenholm (Hurt, Contact), led a coalition troop in an operation to stop the madness. They succeed, only to find that something has crossed over -- a crimson infant with horns, a large stone arm, a tail, and a sweet tooth. Bruttenholm adopts the boy and appropriately calls him Hellboy.
Forty years later, the grown-up Hellboy (Perlman, LOONEY TUNES) is now part of the FBI’s secret Bureau of Paranormal Research and Defense. Hellboy is a loose canon, tough on the outside (almost indestructibly tough) but soft on the inside, specifically having a repressed crush on Liz (Blair, A GUY THING), a fellow “freak” who would burst into hellish flame when provoked. Meanwhile, Bruttenholm is dying, and he finds a potential replacement in a meek FBI agent, John Myers (newcomer Evans). The team also include the telepathic Abe Sapien (voiced by Pierce), an aquatic creature that is half-man, half-fish. One day, Rasputin and his minions resurfaced and all hell break loose, literally. The good vs. evil adventures take off from there, complete with hellish monsters and deadly consequences. And that’s just barely scratching the surface.
Del Toro has a unique visual style, and the action sequences are quite exciting, though claustrophobic. HELLBOY does have a funny side, most notably Perlman’s one-liners and his feud with comic relief Dr. Manning (Tambor, EUROTRIP). I suspect that nobody can play Hellboy better than Perlman, a hulking, bald stab of testosterone. Blair is skillful as the sweet but sultry Liz. Evans is likeable, yet a little too green for a major role as agent Myers. Hurt is the standout here, portraying Bruttenholm with wit, sensitivity and dignity. The problem with HELLBOY is not the cast, however, or the production value. The script is so convoluted with so many major and minor characters and subplots that one needs to exert great mental energy just to keep track. Thankfully, the love triangle subplot is a humorous and refreshing diversion from the non-stop action. Though the special effects are decent and the product value high, nothing is new here. One can’t help but notice the influence from other films: X-MEN, BATMAN, ALIENS, MIMIC, MATRIX, to name a few. Unless you’re familiar with the comics, you are likely to leave the theater in a state of confusion: What are the gods of chaos? Where do they come from? Why? Who? And How? To the die-hard fans of the comics or an action-packed machismo, though, HELLBOY is a hell of a ride.
Stars: Ron Perlman, Selma Blair, Jeffrey Tambor, Rupert Evans, John Hurt, David Hyde Pierce
Director: Guillermo Del Toro
Writers: Guillermo Del Toro, Peter Briggs
Distributor: Columbia
MPAA Rating: PG-13 for violence
RATINGS:
Script – 4
Performance – 6
Direction – 5
Cinematography – 7
Music/Sound– 6
Editing – 6
Production – 8
Total – 6 out of 10
Guillermo Del Toro (BLADE II, MIMIC) is possibly one of the most respected comics-turn-flick directors in the business today. His style has always been visually stunning yet dark in mood with a splash of self-effacing humor. HELLBOY is no exception. To fans of comic books that are familiar with the Dark Horse hero, HELLBOY is a welcome treat.
During WWII, the Nazis have enlisted the Russian mystic Rasputin to transport a deadly weapon from another dimension: Somehow Rasputin has discovered a portal to transport the gods of chaos to Earth. Meanwhile, an expert in paranormal phenomena, Professor Bruttenholm (Hurt, Contact), led a coalition troop in an operation to stop the madness. They succeed, only to find that something has crossed over -- a crimson infant with horns, a large stone arm, a tail, and a sweet tooth. Bruttenholm adopts the boy and appropriately calls him Hellboy.
Forty years later, the grown-up Hellboy (Perlman, LOONEY TUNES) is now part of the FBI’s secret Bureau of Paranormal Research and Defense. Hellboy is a loose canon, tough on the outside (almost indestructibly tough) but soft on the inside, specifically having a repressed crush on Liz (Blair, A GUY THING), a fellow “freak” who would burst into hellish flame when provoked. Meanwhile, Bruttenholm is dying, and he finds a potential replacement in a meek FBI agent, John Myers (newcomer Evans). The team also include the telepathic Abe Sapien (voiced by Pierce), an aquatic creature that is half-man, half-fish. One day, Rasputin and his minions resurfaced and all hell break loose, literally. The good vs. evil adventures take off from there, complete with hellish monsters and deadly consequences. And that’s just barely scratching the surface.
Del Toro has a unique visual style, and the action sequences are quite exciting, though claustrophobic. HELLBOY does have a funny side, most notably Perlman’s one-liners and his feud with comic relief Dr. Manning (Tambor, EUROTRIP). I suspect that nobody can play Hellboy better than Perlman, a hulking, bald stab of testosterone. Blair is skillful as the sweet but sultry Liz. Evans is likeable, yet a little too green for a major role as agent Myers. Hurt is the standout here, portraying Bruttenholm with wit, sensitivity and dignity. The problem with HELLBOY is not the cast, however, or the production value. The script is so convoluted with so many major and minor characters and subplots that one needs to exert great mental energy just to keep track. Thankfully, the love triangle subplot is a humorous and refreshing diversion from the non-stop action. Though the special effects are decent and the product value high, nothing is new here. One can’t help but notice the influence from other films: X-MEN, BATMAN, ALIENS, MIMIC, MATRIX, to name a few. Unless you’re familiar with the comics, you are likely to leave the theater in a state of confusion: What are the gods of chaos? Where do they come from? Why? Who? And How? To the die-hard fans of the comics or an action-packed machismo, though, HELLBOY is a hell of a ride.
Stars: Ron Perlman, Selma Blair, Jeffrey Tambor, Rupert Evans, John Hurt, David Hyde Pierce
Director: Guillermo Del Toro
Writers: Guillermo Del Toro, Peter Briggs
Distributor: Columbia
MPAA Rating: PG-13 for violence
RATINGS:
Script – 4
Performance – 6
Direction – 5
Cinematography – 7
Music/Sound– 6
Editing – 6
Production – 8
Total – 6 out of 10
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