Punisher: War Zone Blu-Ray Review

Rated R (Pervasive Strong Brutal Violence, Language and Some Drug Use)

Running Time: 1 Hour & 43 Minutes

Cast:

Ray Stevenson-Frank Castle/The Punisher

Dominic West-Billy ‘The Beaut’ Russoti/Jigsaw

Doug Hutchison-James Russoti/Loony Bin Jim

Julie Benz-Angela Donatelli

Colin Salmon-FBI Agent Paul Budiansky

Dash Mihok-Detective Martin Soap

Wayne Knight-David Linus ‘Microchip’ Lieberman

Stephanie Janusauskas-Grace Donatelli

Romano Orzari-Nicky Donatelli

Directed by Lexi Alexander

"Vengeance has a name."

Despite being a fairly well-known character in the Marvel Universe, the big screen success achieved by his more colorful superhero peers continues to elude the Punisher, who first appeared as a villain in Amazing Spider-Man #129 in 1974. Created by Gerry Conway, Ross Andru, and John Romita, Sr., the Punisher was an instant hit among readers and was granted his own series after a string of guest appearances. However, his popularity waned during the mid-1990s and it wasn’t until writer Garth Ennis and illustrator Steve Dillon’s acclaimed twelve-issue limited series in 2000 that brought the Punisher back to the forefront at Marvel. Ennis returned the character to his lone vigilante roots with an increased focus on gritty crime-based stories with a dose of black humor. Like Captain America, there were a number of film adaptations, the first starring Dolph Lundgren as the titular character in 1989. This version was never shown theatrically in the United States due to New World Pictures’ financial difficulties and instead released direct-to-video in 1991. Reviews were negative and Frank Castle was noticeably missing his iconic skull emblem. Fifteen years later, Marvel decided to give the Punisher another shot with Thomas Jane in the role. While I liked the 2004 version well enough, the film received negative reviews and barely recouped its production budget at the domestic box office with a final worldwide gross of $55 million. DVD sales were strong (there was even an extended cut released with approximately seventeen minutes of new footage) so a sequel was green-lit. However, it was hampered by creative differences, forcing Jane to pull out of the project in 2007. This third attempt is a reboot with Ray Stevenson replacing Jane. The third time wasn’t the charm as “Punisher: War Zone” was a major flop with critics and at the box office. However, “War Zone” is actually the best of the bunch as it is the most faithful to the source material. Sure, the film suffers from a generic story and cringe-worthy dialogue but it delivers the action in spades, reveling in all the bloody ultra-violence on display. If nothing else, “Punisher: War Zone” is never boring and even proves to be an entertaining flick for a boring weekend. 

Frank Castle (Ray Stevenson) has been the Punisher for close to six years since his family was brutally killed for witnessing a mob execution. Armed to the teeth, he assaults a mob party held by Gaitano Cesare and guns down everyone in sight but Billy ‘The Beaut’ Russoti (Dominic West) escapes to his recycling plant hideout. Two NYPD detectives staking out the party, Martin Soap (Dash Mihok) and Saffiotti (Tony Calabretta), inform Castle on where to find Russoti, tacitly approving of his actions. Arriving at the recycling planet, a gun battle ensues between Castle and Russoti, who trips and falls into a glass-crushing machine that leaves him horribly disfigured. FBI agents arrive on the scene but as he escapes, Castle discovers to his horror that one of the men he killed was an undercover FBI agent named Nicky Donatelli (Romano Orzari). The partner of the deceased agent, Paul Budiansky (Colin Salmon), arrives in New York City to bring the Punisher to justice with the help of Detective Soap, who leads the ‘Punisher Task Force.’ Wrecked with guilt over his actions, Castle attempts to make reparations to Donatelli’s wife Angela (Julie Benz) and their daughter, Grace (Stephanie Janusauskas), to no avail. He considers retiring from his life as the Punisher but his weapons supplier, Microchip (Wayne Knight), informs him that Russoti, now known as Jigsaw, is still alive and will go after Donatelli’s family for revenge. To help him get rid of the Punisher once and for all, Jigsaw frees his deranged, cannibalistic brother, James (Doug Hutchison), nicknamed ‘Loony Bin Jim,’ from the mental hospital and recruits an army of thugs to become the new crime boss of New York City. 

“Punisher: War Zone” is a generic vigilante tale complete with hackneyed dialogue, little to no character development, and a conflicting tone that veers from overly melodramatic to silly black humor but all this matters little because people watching the film are here for the action. On that front, it successfully delivers. Like Louis Leterrier’s 2008 reboot “The Incredible Hulk,” it tacitly acknowledges the 2004 version but alters several details, largely pertaining to Frank Castle’s back-story to align it closer to the source material. The Punisher was the first in a series of psychologically-troubled anti-heroes and is one of the few Marvel characters who lack any real powers, relying instead on his extensive military training and arsenal of weapons. In this way he is like Batman but what made him unique is that he had no moral qualms about executing the criminals he hunts. A commonality among superheroes is that there’s a line you just do not cross and no matter what, you do not kill. Castle sees the world in very black-and-white terms and views the justice system with contempt, believing it to be ineffective and broken. His brutal nature has often come in conflict with other Marvel characters and some have even tried to stop him. It raises all sorts of interesting debates regarding the ethics surrounding his actions but unfortunately, director Lexi Alexander and writers Nick Santora, Art Marcum and Matt Holloway just aren’t interested. Sure, there’s a half-hearted attempt where the film questions the validity of Castle’s war on crime with its high risk of collateral damage but nothing is ever made of it. The dialogue isn’t very good (and that’s putting it in a nice way) and it does not help when much of the cast overacts with the delivery just feeling…off. Still, I consider it somewhat of an improvement from the 2004 version, where too many one-liners either made you cringe or tried too hard to be clever. The black comedy also feels at odds with its grim tone, especially when it comes to how Jigsaw is depicted. At one point, he recruits an army of thugs while standing in front of an American flag as patriotic music plays in the background, which comes off as rather goofy and only serves to undermine the menacing nature of his character. 

“War Zone” is at its best during the action scenes, with Stevenson even training with U.S. Marines. The results are plain on-camera as he moves with precise precision and I liked the little detail where he reloads every weapon whenever there is a lull in a battle. Although the previous installment was rated R, this one truly earns its rating and none of the violence is watered down. In addition to being shot to bits, people are decapitated, horribly disfigured, dropped from high buildings or just blown to pieces. Hell, a mob boss’ wife gets her neck snapped at a painful angle, a hospital orderly gets bloodily cannibalized and even an old lady gets half her head blown off by a shotgun blast. Alexander really did not hold back when it comes to the mayhem. The same cannot be said of the acting. Ray Stevenson (famous as Titus Pullo from BBC/HBO’s television series “Rome”) is the best of the bunch and while he never cracks a smile, he is Frank Castle come to life, bringing both a quiet vulnerability and a no-nonsense determination. It’s a shame we won’t see him in the role again. Everyone else overacts, with Dominic West and Julie Benz acting like Italian stereotypes, complete with the strong accent. Doug Hutchison goes off the rails as Loony Bin Jim and I don’t know whether I should applaud or laugh at him. Wayne Knight is a welcome sight as Microchip, even if his screen-time is small but Colin Salmon and Dash Mihok’s characters could’ve been excised without harming the film to create a tighter narrative. 

“Punisher: War Zone” arrived on Blu-Ray back in March 2009 and the results are quite impressive. Alexander’s goal was to mimic the palette of the comics and to utilize only three colors on-screen at any given time, resulting in a rather dark film. While black levels are solid and facial detail is strong, the odd filters used sometimes make certain scenes appear muddy or soft but this is a relatively minor occurrence. The stylized filters also recall other Lionsgate productions such as “Saw” or “Hostel.” Audio is a whole different matter and is relentless with its thumping action score and all manner of weapons being fired. I wouldn’t be surprised if neighbors knocked on your door asking if you discharged a firearm! Dialogue and ambient noise is also sharp. Although labeled as a ‘2-Disc Special Edition,’ the extras are disappointing and only the audio commentary with Alexander and cinematographer Steve Gainer is worth a look thanks to its honesty. The other featurettes are really too short to provide a complete picture on the making of the film. 

Released on December 5, 2008, “Punisher: War Zone” received rather negative reviews with a low 27% on Rotten Tomatoes. Critics noted the film ‘recalls the excessively violent, dialogue-challenged actioners of the 1980’s, and coincidentally feels two decades out of date.’ Made on a production budget of $35 million, it couldn’t even make that modest amount back as it was huge flop at the box office, making a paltry $10 million worldwide and disappeared from theaters in three weeks. Since then, Marvel has put the Punisher on the backburner for now. I guess audiences just aren’t interested in watching him. “Punisher: War Zone” isn’t the abomination most critics make it out to be and the result is surprisingly enjoyable despite its thin plot, all thanks to Stevenson’s presence and the gleefully over-the-top violent action. Fans of the character will walk away pleased and it’s at least worth a rental. It is what it is, nothing more, and nothing less.

Final Rating: 3 out of 5

“Let me put you out of my misery. This is just the beginning.”

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Cowboys & Aliens Review

Rated PG-13 (Intense Sequences of Western and Sci-Fi Action and Violence, Some Partial Nudity and a Brief Crude Reference)

Running Time: 1 Hour & 59 Minutes

Cast:

Daniel Craig-Jake Lonergan

Harrison Ford-Colonel Woodrow Dolarhyde

Olivia Wilde-Ella Swenson

Sam Rockwell-Doc

Keith Carradine-Sheriff John Taggart

Noah Ringer-Emmett Taggart

Adam Beach-Nat Colorado

Clancy Brown-Meacham

Paul Dano-Percy Dolarhyde

Walton Goggins-Hunt

Raoul Trujillo-Chiricahua Apache Chief Black Knife

Abigail Spencer-Alice

Ana de la Reguera-Maria

Directed by Jon Favreau

Daniel Craig and Harrison Ford protect the Wild West from extraterrestrials in Jon Favreau's "Cowboys & Aliens."

I’ve lost count of the number of times I’ve seen the “Cowboys & Aliens” trailer, which has played in front of every film I’ve seen so far this year. Based upon the 2006 graphic novel of the same name created by Scott Mitchell Rosenberg and published by Platinum Studios, “Cowboys & Aliens” has been in development for quite some time since 1997 but the film adaptation is only loosely based on it. Mixing a Western with science fiction elements is certainly novel and I was excited to see the film but despite its far-fetched premise, the final product is disappointingly ordinary and does not deviate from the formula of other, well-known alien-invasion flicks. Still, “Cowboys & Aliens” functions as perfectly fun and adequate summer entertainment, with the added presence of Daniel Craig and Harrison Ford a big plus that elevates the material. 

In 1873 Arizona, a wounded man named Jake Lonergan (Daniel Craig) wakes up in the middle of the desert with no memory of who he is or how he got there. A strange metal device is attached to his wrist but he is unable to remove it. Three bandits happen upon Jake and mistaking him for an escaped criminal, they attempt to capture him to collect the reward. Jake defends himself and kills the three bandits with almost no effort. Taking their horse and weapons, he arrives at the small town of Absolution and is stitched up by a kindly doctor. Absolution was once a prosperous town thanks to a nearby gold deposit but nowadays, its only source of income rests with Colonel Woodrow Dolarhyde’s (Harrison Ford) cattle business. Dolarhyde’s son Percy (Paul Dano) uses this fact to his advantage by behaving in a reckless manner, knowing the townsfolk will not stand up to him in fear of disrespecting his father. He gets into an argument with the local saloon keeper, Doc (Sam Rockwell), but Jake puts Percy in his place. Angry at being humiliated, he attempts to shoot Jake but accidentally wounds the Sheriff’s Deputy. Sheriff John Taggart (Keith Carradine) arrives on the scene to arrest Percy and Jake is hailed as a hero by the townsfolk. At the saloon, Jake encounters a strange woman named Ella Swenson (Olivia Wilde) who questions him on where he came from and how he obtained the strange bracelet on his wrist. Later, Taggart notices a Wanted poster and realizes that Jake is a fugitive, despite him having no recollection of his past life. He orders him taken into custody but Dolarhyde rides into town to free his son and recognizes Lonergan, as he apparently stole some gold from him. As tensions rise among the townsfolk, strange lights begin to appear in the night sky and these ‘demons’ brutally lay waste to Absolution, abducting several people in the process. Lonergan manages to free himself and shoots down one of the ships using his metal bracelet. It soon becomes clear that these ships are not of this world, forcing Lonergan and Dolarhyde to put aside their differences in order to stop a full-scale alien invasion. 

There’s no shortage of big names in “Cowboys & Aliens” with Ron Howard serving as producer and Steven Spielberg as executive producer so it’s disappointing to see how pedestrian the story is. Aliens wielding advanced technology attack Earth, forcing the embattled humans to put aside their differences and work together in order to stay alive. If this all sounds familiar, it’s because we’ve seen it before in similar flicks such as “Independence Day.” This does not mean that it’s a bad film but given the amount of potential promised by its premise, the script is rather predictable and many of its subplots aren’t sufficiently developed. What little drama is provided by Dolarhyde and his right-hand man, Nat Colorado (Adam Beach) but the characters do not have any other motivation beyond the fact that they have to save the people that were abducted, a shame really because much of the cast, especially Craig and Ford, do not have as much screen-time together as the trailers initially promised. Director Jon Favreau attempts to inject some sort of subtext into the film but it comes off as half-baked. European settlers and the United States during the 19th century used their advanced technology to subjugate Native Americans when expanding their borders or forming colonies but this time it is the aliens who want to expand and the humans who are at a disadvantage, leading to a bit of irony when the cowboys have to ask for help from the tribes whose land they’ve stolen. Unfortunately, this analogy does not really hold up to scrutiny given what is written in the history books. 

I was surprised at how serious the tone of the film was since the title elicited laughter whenever the trailer was shown. While there’s humor, it’s only the occasional one-liner or low-key gag. “Cowboys & Aliens” also suffers from some lapses in logic, largely pertaining to the science fiction elements and it feels like the film would’ve worked better if it was a full Western. When the cowboys and their Native Americans allies find the aliens’ base, it’s practically out in plain sight. The fact that some random passers-by didn’t notice it is head-scratching. We learn that the aliens are sensitive to daylight and only come out at night but during the final battle, they seem perfectly fine as they brutally massacre everyone. As a whole, the aliens are generic CG creations and aren’t very memorable. Some plot developments, ridiculous as they were, also prompted laughter from the audience so your enjoyment of the film will depend on whether you can take it as seriously as the cast and crew did. The action scenes, of which there are three, are very well-done. The first encounter with the aliens as they attack Absolution is an absolute stunner and really captures the large disadvantage the cowboys have. Another involves a chase in the desert where Ella gets abducted, forcing Jake to leap onto the spacecraft to disable it. The climactic battle is suitably brutal but you just know the humans are going to win, which robs some of the tension that Favreau was going for but nonetheless, these scenes remain exciting to watch. In fact, seeing the aliens fly around in their ships reminded me of “War of the Worlds,” which was directed by Spielberg. 

The cast treat the material with a straight face and help ground the film. Daniel Craig (who has three other films to be released this year, including David Fincher’s adaptation of “The Girl with the Dragon Tattoo”) throws himself into the role of Jake Lonergan with a quiet intensity that pays homage to Clint Eastwood’s the Man with No Name from Sergio Leone’s popular Westerns. In fact, I don’t believe he smiled once. I wonder if he can out-intense Christian Bale. Harrison Ford plays a grumpy bastard that suits him like an old glove. His character, Colonel Woodrow Dolarhyde, is the only one that goes through any real growth and is the most developed. Olivia Wilde is fine as Ella Swenson but largely serves to provide exposition and eye-candy. Sam Rockwell is saloon owner Doc and delivers much of the film’s one-liners. The rest of the cast includes Paul Dano as Dolarhyde’s son Percy, Clancy Brown as a preacher named Meacham, Keith Carradine (half-brother of David Carradine) as Sheriff John Taggart with Noah Ringer (who played Aang in M. Night Shyamalan’s abomination “The Last Airbender”) as his grandson Emmett but none of these characters make much of an impression. 

“Cowboys & Aliens” was released on July 29, 2011 (thankfully not in 3D!) to mixed reviews with 44% on Rotten Tomatoes. Critics found ‘Daniel Craig and Harrison Ford are as dependably appealing as ever, but they're let down by director Jon Favreau's inability to smooth [the films] jarring tonal shifts,’ which is something I don’t agree with as the tone was kept consistently serious throughout…but to each their own. Although it was expected to be number one at the weekend box office, this is now in doubt as its currently running neck-and-neck with “The Smurfs 3D” so it could go either way at this point. However, this does not change the fact that the weekend gross for “Cowboys & Aliens” will ultimately be disappointing seeing as it’s on track for $35 million, way below the average for a would-be summer blockbuster. The audience seemed to treat it as a joke so whether this is a good or bad thing remains to be seen. While I enjoyed watching “Cowboys & Aliens,” the numerous script deficiencies coupled with its run-of-the-mill plot serve to undermine its unique premise but it still remains a perfectly serviceable summer film despite its glaring flaws.

Final Rating: 3 out of 5

“Grab your guns! We’re ridin’ out!”

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Crazy, Stupid, Love Review

Rated PG-13 (Coarse Humor, Sexual Content and Language)

Running Time: 1 Hour & 58 Minutes

Cast:

Steve Carell-Cal Weaver

Julianne Moore-Emily Weaver

Ryan Gosling-Jacob Palmer

Emma Stone-Hannah

Marisa Tomei-Kate

Kevin Bacon-David Lindhagen

Analeigh Tipton-Jessica Riley

Jonah Bobo-Robbie Weaver

Liza Lapira-Liz

Beth Littleford-Claire Riley

John Carroll Lynch-Bernie Riley

Josh Groban-Richard

Directed by Glenn Ficarra and John Requa

It's okay, Steve Carell, you are just as good-looking as Ryan Gosling.

Romantic comedies tend to suffer from predictability as Hollywood often times recycles the same stories with some slight alterations but the endings are always the same. Call me a jaded cynic but these films espouse a notion of love that’s all naïve fantasy and has little basis in reality but that’s exactly the reason mainstream audiences continue to embrace the genre. Color me surprised when I discovered that “Crazy, Stupid, Love” manages to avoid such a pitfall—for the most part. While its script suffers from pacing issues in handling the ensemble cast and the ending is the usual Hollywood saccharine fluff, “Crazy, Stupid, Love” explores its themes in a manner that feels more honest by not sugarcoating the fact that love takes a lot of work. The likable cast also helps elevate the film by providing a good balance of laughs and melodrama. 

Cal (Steve Carell) and Emily Weaver (Julianne Moore) have been married for twenty-five years but during an awkward dinner date, Emily drops a bombshell by announcing she wants a divorce. On the car ride home, Emily admits to sleeping with another man, an accountant in her office named David Lindhagen (Kevin Bacon), and in response, Cal leaps out of the car to avoid having to listen anymore. He says to Emily that he will leave and will sign all the papers. Devastated, Cal goes to the same bar lounge every night and speaks to random people about how his wife cheated on him while getting drunk on cranberry vodka. A suave ladies man named Jacob Palmer (Ryan Gosling) approaches Cal and bluntly explains that the reason he lost his wife is that he lost sight of who he is as a man. Jacob offers to help him ‘rediscover his manhood’ and although Cal is hesitant, he agrees. Over the next couple of weeks, Jacob gives Cal a makeover and lets him observe as he approaches women and seals the deal. Feeling he is ready, Jacob sets Cal loose and he successfully scores with a wild middle-school English teacher named Kate (Marisa Tomei). Unbeknownst to him, Cal becomes a participant in a love triangle between his seventeen-year-old babysitter, Jessica Riley (Analeigh Tipton), and his thirteen-year-old son, Robbie (Jonah Bobo). Meanwhile, Jacob meets a redhead named Hannah (Emma Stone) who is immune to his charms and discovers that he’s falling in love with her, something he never expected. 

The themes of “Crazy, Stupid, Love” is reflected in its title. Love drives people to do stupid and crazy things but it also requires effort as complacency and routine will cause every well-meaning romance to dry up. This is the reason that Emily cheats on Cal as the passion that once burned bright when they were younger has flamed out. The script never favors one over the other nor does it apologize for their actions, an honesty that I appreciated and grounds the characters. With three interconnected storylines, the film never meshes together as well as it should with its problematic pacing where one couple (Cal and Emily) is focused on for a large amount of time, leaving the other two subplots feeling like disconnected tangents rather than an integral part of a whole. There are also some plot contrivances where all the major characters find themselves in the same room with each other simply through random coincidence. As befitting a romantic comedy, the final message it imparts, where one’s quest in life is to find their soul-mate and work towards building a life together, felt clichéd. The ending is a little too saccharine for my taste but it does earn it thanks to writer Dan Fogelman’s more thoughtful approach to its characters, which prevents them from becoming mere caricatures to be made victims of easy, manipulative sentimentality. We actually do want these people to find happiness at the end. 

The ensemble cast of “Crazy, Stupid, Love” is certainly the film’s strongest element because they’re all depicted as well-meaning people who make mistakes. Steve Carell can play the bumbling everyman in his sleep by now and has a knack for perfect comedic timing even in the most melodramatic of moments. Chemistry is important in a romance film and he and Julianne Moore have that in spades. The two really do feel like a couple who’s been together for a long time and love one another very much but discover that they’ve taken each other for granted, falling into a routine bereft of passion. Ryan Gosling and Emma Stone could’ve felt like they were thrown in to appeal to younger audiences but while their burgeoning relationship is not afforded as much screen-time as it should, the two remain immensely likable in their roles. Gosling himself is a surprise as Fogelman gives his character subtle hints of a more soft and innocent side to him, that there’s something deeper than the ladies man image he projects to everyone. Analeigh Tipton and Jonah Bobo serve to emphasize the crazier and stupid acts when people find themselves caught up in their feelings, although I found Bobo’s Robbie to be slightly on the creepy side with his constant professions of his love for Jessica despite being rejected repeatedly and even admitting aloud that he was masturbating while thinking of her! Kevin Bacon and Marisa Tomei have relatively minor roles but Tomei makes the most of it with her crazed antics. At one point, Cal describes her as ‘the perfect combination of sexy and cute.’ I’m inclined to agree with him. There are several laugh-out-loud moments, some of which are already spoiled by the trailers and while the script never quite succeeds in balancing its disparate storylines, the comedy does manage to gel perfectly with the more dramatic moments in the film, providing some much needed levity. Some of the jokes do fall flat, such as a repeated mispronunciation of someone’s last name that just ends up tiring when it crops up for the umpteenth time. 

Released on July 29, 2011, “Crazy, Stupid, Love” has received largely positive reviews with 73% on Rotten Tomatoes. Critics concluded that ‘it never lives up to the first part of its title, but [the film’s] unabashed sweetness—and its terrifically talented cast—more than make up for its flaws.’ The competing films are Jon Favreau’s genre mash-up “Cowboys & Aliens,” based upon the Platinum Studios graphic novel of the same name and “The Smurfs 3D,” based upon the comic strip created by Belgian artist Pierre Culliford aka Peyo. “Crazy, Stupid, Love” won’t be reaching number one at the box office this weekend but it should do solid business with $15 to $20 million. The audience was, not surprisingly, skewed female and couples and enjoyed the film. While it does not completely escape the trappings inherent in the romantic comedy genre, “Crazy, Stupid, Love” manages to rise above them as the characters are more well-rounded and honest in their emotions as opposed to being the clichéd archetypes that plague such films. If you find yourself turned off by the myriad action flicks and raunchy R-rated comedies currently in release, “Crazy, Stupid, Love” is a recommended alternative.

Final Rating: 3.5 out of 5

“She’s your soul mate, right? Go get her back.”

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Captain America: The First Avenger Review

Rated PG-13 (Intense Sequences of Sci-Fi Violence and Action)

Running Time: 2 Hours & 5 Minutes

Cast-

Chris Evans-Steve Rogers/Captain America

Hugo Weaving-Johann Schmidt/Red Skull

Hayley Atwell-SSR Officer Peggy Carter

Tommy Lee Jones-Colonel Chester Phillips

Sebastian Stan-Sergeant James Buchanan 'Bucky' Barnes

Dominic Cooper-Howard Stark

Stanley Tucci-Dr. Abraham Erskine

Toby Jones-Dr. Arnim Zola

Neal McDonough-Timothy 'Dum Dum' Dugan

Derek Luke-Gabe Jones

Kenneth Choi-Jim Morita

Bruno Ricci-Jacques Dernier

JJ Feild-James Montgomery Falsworth

Samuel L. Jackson-Nick Fury

Directed by Joe Johnston

You don't mess with the first Avenger!

So…many…comic book…movies! All the pieces of the puzzle are now in place for next summer’s highly anticipated “The Avengers” with the release of “Captain America: The First Avenger,” although the subtitle is rather ironic since he’s the last character to earn his own film. Created by Joe Simon and Jack Kirby, Captain America first appeared in Captain America Comics #1 in March, 1941, which makes him one of Marvel’s oldest superheroes with seventy years of publication history. As both the creators were Jewish, the character’s creation was politically motivated and Captain America was often depicted fighting against the Axis powers, particularly Nazi Germany, during World War II. After the war ended, the character’s popularity began to wane until he was brought back by writer Stan Lee and Jack Kirby in The Avengers #4 in 1964. Since then, Captain America has remained a permanent fixture in the Marvel Universe with his own series and numerous spin-offs. This is actually the third film appearance of Captain America with the first being a fifteen-chapter serial in 1944 but the depiction bore absolutely no resemblance to the character except in name only. The second was more faithful but it was hampered by a low-budget and instead debuted on direct-to-video in 1990. It was produced by Menahem Golan of Cannon Films. Yes that Cannon Films, famous for killing off the “Superman” franchise for nineteen years. Of course, there’s no way this new adaptation, backed by a proper production budget, would fall flat and to the great relief of all comic book fans, it does not. “Captain America: The First Avenger” plays it safe by sticking close to the superhero origin formula and while it lacks the nuance of its peers, the film is a solid summer blockbuster thanks to Chris Evan’s likable presence and a nostalgic tone that harkens back to the original “Superman” where good is good and evil is evil.

“Captain America” begins in the present day when a group of scientists discover a massive jet buried in the Arctic and a red, white, and blue shield amongst the wreckage. Flashbacking to March, 1942, Nazi officer and leader of science division Hydra Johann Schmidt (Hugo Weaving) invades a castle in Tønsberg, Norway in search of a powerful tesseract in the shape of a cube (comic fans will recognize it as the Cosmic Cube which ties into “Thor”). Meanwhile, Brooklyn native Steve Rogers (Chris Evans) is rejected from military service for the fifth time due to his sickly physical appearance. While at the Modern Marvels of Tomorrow exhibition with his best friend, Sergeant James Buchanan ‘Bucky’ Barnes (Sebastian Stan), Steve slips into a recruitment center to try to enlist again. He meets an expatriate German scientist named Dr. Abraham Erskine (Stanley Tucci), who is working with the U.S. government's Strategic Scientific Reserve. Sensing something good in Rogers, Erskine allows him to enlist and he trains with his fellow soldiers at Camp Lehigh under the supervision of Colonel Chester Phillips (Tommy Lee Jones) and SSR officer Peggy Carter (Hayley Atwell). One of the trainees will be chosen for a ‘super-soldier’ experiment and because of Roger’s courage and strong morals, Erskine is convinced that this is the man he is looking for. The experiment proves to be a success and Steve is transformed into a taller and muscular man, his strength and agility at peak physical condition. However, an assassin sent by Schmidt manages to infiltrate the facility and he shoots Erskine dead, the secret of the super soldier serum dying with him. Although initially used to sell war bonds while wearing a gaudy costume, Steve proves his worth when he rescues his friend Bucky and over four hundred soldiers from a Hydra facility in Italy. Working with Howard Stark (Dominic Cooper), Steve dons a more combat-ready uniform and wielding an indestructible shield, he becomes Captain America! Elsewhere, Schmidt harnesses the power of the cube-like tesseract to make weapons of war and sets his sights on conquering the world.

“Captain America: The First Avenger” is literally a comic book come to life on the big screen. Unlike most Marvel adaptations, this is a period piece like “X-Men: First Class” with the action set during the 1940’s, bookended by scenes in the present day but while the film remains faithful to the source material, it plays it safe by adhering to the superhero origin formula so there are little surprises to be had. Initially, I had feared the tone would be overly jingoist like the abysmal “Battle: Los Angeles” or a Michael Bay film but thankfully, this is not the case. Yes, as the main character bears the word ‘America’ in his name, the film is patriotic but in a more innocent, nostalgic sense. Steve Rogers is portrayed without any real flaws compared to other superheroes and exhibits an honest, ‘Aw, shucks!’ attitude, which is a breath of fresh air with the current tread of heroes always brooding and full of angst. Sometimes you just want to watch an old-fashioned good guy win and get the girl. It’s hard not to relate to Rogers whose been picked on his whole life due to his small stature and his lack of experience with women. In some ways, he reminds me of myself. With its sharply defined lines of good and evil, “Captain America” conjures up memories of the original “Superman,” although it lacks the grandiose quality of Richard Donner’s classic. Much of the plot ties into “Thor” and sets up “The Avengers” but these elements are weaved in such a way as to not be overly intrusive, which was one of the common criticisms of “Iron Man 2.” The depiction of Hydra and the Red Skull can come off as cartoonish and is reminiscent of “G.I. Joe: The Rise of Cobra” from the uniformed soldiers to the retro futuristic, energy-based weapons. What it lacks in subtlety and nuance, “Captain America: The First Avenger” makes up for solid, wholesome entertainment.

Initially, I was skeptical of Chris Evans being cast as Steve Rogers. I always felt he was more at home playing sarcastic and snarky characters like Johnny Storm from “Fantastic Four” or Jake Jenson from “The Losers.” However, Evans creates an instantly likable presence in Steve Rogers and imbues the character with an earnest goodness and a slight naiveté. You really do believe he can inspire and be a leader. Even when he is forced to do an embarrassing musical number, Rogers takes it with a smile. Hugo Weaving was a natural choice in playing the Red Skull. Sure, his nastiness is the stuff of comic books but it’s great to see one of the most iconic villains in the Marvel Universe done so right. Hayley Atwell is fine as Peggy Carter and has some nice chemistry with Evans but their romance didn’t feel real until the final minutes when the two share a heartbreaking good-bye. Tommy Lee Jones uses his crusty demeanor to his advantage, delivering plenty of one-liners with a straight face. He’s definitely one of the more fun supporting characters since J. Jonah Jameson from the “Spider-Man” films. Dominic Cooper largely apes Robert Downey Jr. as his father, Howard Stark while Sebastian Stan as Bucky Barnes just isn’t in the film enough to make an impression, despite his importance in the comic books.

The action scenes aren’t too memorable but they remain enjoyable, especially when Cap finally engages in a brawl with the Red Skull. Despite all the fantastical elements, there’s something old-fashioned with watching two people go at it without the use of crazy powers. The CG is competent, if unremarkable but I do agree that the special effects crew did a stunning job in slimming down Evans. Originally, director Joe Johnston used a body double but it never felt right to him, so he decided to use Evans but shrink him down using CG. “Captain America: The First Avenger” is another one of those post-converted 3D films but I decidedly to stick with good old-fashion 2D. I cannot comment on whether if the conversion is done well but I feel 2D fits since the picture takes place in the 1940’s.

Released in regular 2D and 3D on July 22, 2011, “Captain America: The First Avenger” has received largely positive reviews with 73% on Rotten Tomatoes. Critics found the film a ‘solidly old-fashioned blockbuster entertainment’ with ‘plenty of pulpy action, a pleasantly retro vibe, and a handful of fine performances.’ Although opening in the shadow of “Harry Potter and the Deathly Hallows Part 2” caused some concern, the film is doing solid business and has earned $26 million so an opening weekend of $60 to $65 million is possible. “Deathly Hallows Part 2” seems to have experienced a massive drop due to being frontloaded. With this last film, all the characters are now finally in place for “The Avengers” next summer. While its origin story fails to break new ground and lacks nuance, “Captain America: The First Avenger” uses its simple, good-natured tone to its advantage, creating a wildly enjoyable flick with likable performances and plenty of solid action.

Final Rating: 4 out of 5

“Whatever happens, stay who you are. Not just a soldier, but a good man.”

Note: Make sure to stay through the entire credits for a special teaser trailer of "The Avengers," to be released on May 4, 2012!

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Another Earth Review

Rated PG-13 (Disturbing Images, some Sexuality, Nudity and Brief Drug Use)

Running Time: 1 Hour & 32 Minutes

Cast:

Brit Marling-Rhoda Williams

William Mapother-John Burroughs

Jordan Baker-Kim Williams

Flint Beverage-Robert Williams

Robin Taylor-Jeff Williams

Kumar Pallana-Purdeep

Meggan Lennon-Maya Burroughs

AJ Diana-John's Son

Diane Ciesla-Dr. Joan Tallis

Directed by Mike Cahill

"Another Earth," one of the most unique films of 2011.

At any given point in our lives, we often take a step back and reflect, to question the choices and mistakes we’ve made. If given a second chance to correct a wrong, a person would take it. Now imagine this scenario: what if you could meet a literal mirror of yourself, a perfect duplicate in every way. What would you ask ‘yourself?’ Would this same person have made the same choices, the same mistakes you’ve made or would this person have taken a different fork in the road? Mike Cahill’s “Another Earth” ponders this very question and its little films like these that remind me why I’m such a big fan of science fiction. Yes, science fiction can entertain but they should always ask questions, present scenarios in which we are confronted about our place in the universe. Instead, we get a steaming pile of crap like Michael Bay’s “Transformers” franchise which makes millions of dollars but is bereft of any sense of intelligence. The worse thing is that such films assume you’re not smart enough to discover how inane it all is and that in itself is an insult to the audience. “Another Earth” may be rough around the edges and come off as contrived at certain points but its philosophical musings on second chances make this film worth experiencing, especially for Brit Marling’s honest and moving performance. 

Rhoda Williams (Brit Marling) is a recently graduated high school student who has just been accepted to MIT (Massachusetts Institute of Technology). She celebrates at a bar with her friends and gets into her car despite being drunk. As she drives home, she hears a radio broadcast about another planet that has been recently discovered and looks to be able to sustain life like Earth. Rhoda leans out of the car window to get a better look but unknowingly slams her vehicle into another. The wife and son are killed instantly but the father, Yale music professor John Burroughs (William Mapother) becomes trapped in a coma. Rhoda is sent to prison for four years and when released, avoids contact with everyone. With her dreams broken, she takes a janitorial position at her old high school. Upon learning that Burroughs has come out of his coma, Rhoda follows him home in an attempt to apologize but backs out at the last minute, lying to him that she works for a cleaning service and offers him a free trial. As Rhoda’s presence allows John to begin to pick up the pieces of his life and move on, the two fall in love. Meanwhile, the planet discovered four years ago appears to be another Earth, a perfect duplicate of our world in every way. An eccentric, billionaire futurist decides to finance a trip to ‘Earth 2’ and holds an essay contest where the winner can earn a seat on the space shuttle. Rhoda decides to enter and wonders whether her mirror self made the same choices and mistakes she did or took a different path. 

The first thing I would like to address is, yes, the idea of a planetary object in close proximity to Earth as depicted in the film would prove catastrophic for both worlds but this is science fiction so a little suspension of disbelief isn’t a big deal to ask of its audience. While it is both science fiction and drama, emphasis is placed on the latter and questions about Earth 2 are always on the peripheral. In fact, despite the literal appearance of a second Earth, it really serves as a metaphor. Always looming in the background in every scene, Earth 2 is an idea, a promise of a possible better life. The overarching theme of Gene Roddenberry’s “Star Trek” has always been the exploration of the cosmos—that of the unknown and the main characters are often confronted by the nature of their own limitations despite the advanced technology they wield. Earth 2 represents the unknown but it is not an exploration of that world but of one’s self, one’s soul. Rhoda is crushed by the guilt of her careless and irresponsible actions (although wearing a hooded sweatshirt for much of the film is a bit much) and confronts John as a possible way of redemption. That the two fall in love because they are lost souls feels both appropriate and somewhat contrived. Its symbolism is sometimes too blatant (Rhoda is effectively ‘cleaning up’ John’s life) but it works given the film’s quiet, contemplative nature. I read a review where the critic felt that Rhoda is cruel to accept John’s love but I do not see it that way; I see it as her being human. Anyone can apologize but to actually mean it is hard. The film can also be emotionally draining with its morose tone but given the subject matter, levity might be out of place. “Another Earth” wears its low-budget roots as a badge of honor with its handheld camera movements and focus on extreme close-ups, exhibiting a sort of rawness in its proceedings despite being rough around the edges. Certain plot contrivances call attention to themselves. At one point, John discovers that his checks haven’t been cashed and that the cleaning service Rhoda works for has never heard of her, which should raise warning bells but he writes it off as nothing. The ending is what will inspire fierce debate with its abruptness that recalls Christopher Nolan’s “Inception.” To reveal my thoughts on it would mean spoilers so this is something you’ll have to experience yourselves. 

One of the reasons I found “Another Earth” riveting is the performances. William Mapother (best known as Ethan Rom on “Lost”) is definitely the more experienced as his character, John, is unable to let go and trapped in his own grief. However, Brit Marling (who served as co-writer and producer) is the one that makes a lasting impression. She’s very pretty and the film has her wear little to no makeup. I suspect that what makes her appealing is that she appears very ‘normal,’ unlike the plastic women (Rosie Huntington-Whiteley, anyone?) that Hollywood often glamorizes. Marling is able to convey that sense of longing pain Rhoda feels and while her performance is not as polished since she’s a novice, it still lends a feeling of believability when much of what she feels is left unsaid. Her scenes with Mapother, such as playing a Wii game with him, display a sort of quiet, sweet charm. Marling has a degree in economics so it’s strange that she’s writing and acting but then again, life takes us to very strange places. 

“Another Earth” had its world premiere during the 2011 Sundance Film Festival in January and was picked up for distribution by Fox Searchlight Pictures. It won the Alfred P. Sloan Prize and Variety reports that ‘it received a standing ovation after the screening and strong word-of-mouth from buyers and festgoers.’ The film had a limited release beginning July 22, 2011 in only two theaters in New York City, one of them the Landmark Sunshine. Critical reception has been mixed with 62% on Rotten Tomatoes so it seems like it’s more of a ‘love it or hate it’ type of film. The number of people viewing the film was pretty small, only about 20 to 25 people. I do not know whether it will expand to more theaters but “Another Earth” is unlikely to find much love among mainstream audiences. Remember Steven Soderbergh’s “Solaris”? It’s another science fiction film that was less about the fiction and more about exploring the human condition and audiences hated it because it wasn’t what they expected it to be. “Another Earth” isn’t without flaws; the plot can be contrived at times and it seems almost self-aware of its independent status but the premise is an ambitious one and it deserves praise for thinking outside of the box in its exploration of second chances. If you’re turned off by the multitude of summer blockbusters and if you can look past the hokey science, “Another Earth” comes highly recommended.

Final Rating: 4.5 out of 5

“Within our lifetime, we have marveled and aspired to look at smaller and smaller things. Astronomers have looked further and further though the dark night sky, back in time and out in space. But maybe the most mysterious of all is neither the small nor the large—it’s us…up close. Could we even recognize ourselves and if we did, would we know ourselves? What would we say to ourselves? What would we learn from ourselves? What would we really like to see if we can stand outside ourselves…and look at us?”

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Flash Point (导火线) Blu-Ray Review

Rated R (Strong Bloody Violence and Brutal Martial Arts Action)

Running Time: 1 Hour & 27 Minutes

Cast:

Donnie Yen-Detective Ma Jun

Louis Koo-Wilson

Fan Bing Bing-Julie

Collin Chou-Tony

Ray Lui-Ja Ge/Archer Sin

Xing Yu-Tiger

Kent Cheng-Inspector Wong

Xu Qing-Madam Lau

Ben Lam-Sam

Ha Ping-Tony’s Mother

Directed by Wilson Yip

Note: In Cantonese with English subtitles.

You don't mess with Donnie Yen...ever.

When it comes to Hong Kong martial arts films, the fight choreography is miles ahead of those in Hollywood, which often has to rely on stunt doubles. In fact, a big deal is made whenever an actor or actress reveals that he/she did some of the stunts themselves. I just scoff at this because many actors and actresses working in Hong Kong today know at least some form of martial arts, or even better, have trained in it their whole lives. One of the most well-known is Donnie Yen, who began his career working as a stuntman before his breakthrough role in 1992’s “Once Upon a Time in China II” when his character, General Nap-lan, faces off with Jet Li’s Wong Fei-Hung in a climatic showdown. Yen has made little impact in Hollywood with only supporting roles in “Highlander: Endgame” and “Blade II” but given the way Asians are often stereotyped in American films, Yen is better off working in Hong Kong. 2007’s “Flash Point” marks the second collaboration with Yen and director Wilson Yip and was repeatedly rumored to be a prequel to 2005’s “SPL: Sha Po Long” (also known as “Killzone” in North America) but despite being both action/crime thrillers and starring Yen, the two are completely unrelated. “Flash Point” is like any other cop film that’s a dime a dozen in Hong Kong and is riddled with clichés but it’s saved by an intense performance by Donnie Yen and an incredibly brutal showdown in the final thirty minutes. 

Set before Hong Kong’s handover from the U.K. to China in 1997, Detective Ma Jun (Donnie Yen) is a determined, efficient officer who’s not above breaking the rules when it comes to catching crooks and gangsters. His partner, Wilson (Louis Koo), has been a mole for some time in a drug-dealing Vietnamese gang, led by three brothers, Tony (Collin Chou), Ja Ge/Archer Sin (Ray Lui) and Tiger (Xing Yu). Tony gets into a quarrel with a rival gang led by Sam (Ben Lam), who is growing impatient about a shipment of drugs incoming from Vietnam. Tiger is assigned to kill Sam but Wilson intervenes under the pretense that the police are after them. Sam, despite having multiple stab wounds, agrees to testify against the brothers. When the trio attempts to recover their drug money, Archer gets arrested and with his cover blown, Wilson is crippled when Tony rams his car into him. The remaining two brothers decide to eliminate all witnesses that would testify against Archer but when they begin targeting Wilson’s girlfriend, Julie (Fan Bing-Bing), Ma Jun is forced to take matters into his hands and dispense brutal vigilante justice upon the gang. 

During the opening minutes of “Flash Point,” Ma Jun bluntly remarks that his ‘duty as a cop is to catch thieves’ and it encapsulates everything this film is about. If you’re looking for any nuance or hidden subtext, you won’t find any here as the story is very simple and told in a tight, efficient one hour and twenty-seven minutes. Cop films are a dime a dozen in Hong Kong (How many times has Simon Yam played one?) and this one is no different, riddled with the usual action clichés from Ma Jun’s no-nonsense detective to Wilson’s obligatory girlfriend being threatened due to his work as an undercover officer. The villains themselves behave in a very eccentric, over-the-top manner. At one point, there’s a car chase where Archer tries to outrun the police while tending to his elderly mother and a bomb delivery involving a roasted chicken! I guess you can’t be too careful with the poultry you buy these days. The first sixty minutes is largely set-up and there’s a noticeable lack of Yen and action scenes as it tries to explore the pressure that Wilson is constantly under as a mole and his relationship with Julie. In fact, the first hour is a little dull due to its pacing but those final thirty minutes all make up for it. The characterization is really just a means to give context to the action and the fisticuffs start being thrown when Julie lands in the hospital after said roasted chicken bomb explodes. Yen grapples with Tiger disguised as a janitor in an elevator and then gives chase where they trade blows in a restaurant. Utilizing a technique dubbed ‘mixed martial arts,’ it’s all incredibly well-choreographed (Yen served as action director) with plenty of wide-shots, none of that gimmicky shaky cam business that plagues Hollywood action films. Finally, it all ends with a climatic showdown with Yen taking out the trio’s thugs with cold efficiency using a sniper rifle (He doesn’t even need to aim down the scope!) and engaging in brutal hand-to-hand combat with Tony, the type of battle that has become a hallmark of action films in Hong Kong cinema. 

The acting is competent, if unremarkable. The only standout is Donnie Yen, who exudes both charisma and intensity, even in scenes where he has no dialogue. Yen is not an actor with exceptional range but when given the appropriate material, he shines like he does here. Louis Koo and Fan Bing-Bing (who is really pretty) are fine but they’re not really given much to work with due to the short running time. Kent Cheng is the chief inspector but makes little to no impression despite throwing a joke or two. The three villains played by Collin Chou (Seraph in the last two “Matrix” films), Ray Lui, and Xing Yu smirk and act like stereotypical Triad gangsters, making them seem more like caricatures than the dangerous menaces they’re made out to be. Both Yen and Chou know martial arts so it lends a sense of authenticity when they finally fight, a quality that can be noticeably absent in Hollywood productions. 

Although “Flash Point” is not available on Blu-Ray in North America, you can import it from Hong Kong and its even region free! Filmed in Super 35, the picture quality boats a razor sharp, lush image that rivals that of a High Definition video production. Outdoor scenes are vibrant and the only real nitpick is that there is some minor edge enhancement but it’s so little most won’t even notice it. Audio is strong as well and I was surprised by the high volume of the track but this allows for even more immersion into the action as you can feel every punch being thrown. The default language is Cantonese but there’s also a Mandarin dub included. Special features are largely fluff pieces with interviews with the cast, a brief behind-the-scenes look emphasizing the fight choreography, deleted scenes, and theatrical trailers, all presented in standard definition with optional English subtitles. 

“Flash Point” was released in Hong Kong on August 9, 2007 with a limited U.S. release a year later on March 14, 2008. Reception was mixed with 40% on Rotten Tomatoes as critics praised the ‘mindless martial-arts action, but too much of the already thin story treads familiar ground.’ Its box office gross was $6 million worldwide against an estimated $8 million production budget so it didn’t exactly do well financially. When filming was finished, it was revealed that it had gone over-budget though by how much I can’t really say. “Flash Point” is a minor work in Donnie Yen’s filmography and while the story is run-the-mill and clichéd, the action is brutally satisfying and intense. Still, it’s unlikely I’ll re-watch the film and even if I did, I would most likely just skip to the last thirty minutes but for fans of Yen and martial arts flicks, this isn’t a bad way to spend ninety minutes if you find yourself bored during a weekend.

Final Rating: 3.5 out of 5

“Have I ever busted the wrong guy? I'll leave the answer to the judge. My duty as a cop…is to catch thieves.”

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Cars 2 Review

Rated G

Running Time: 1 Hour & 46 Minutes

Cast (voice):

Owen Wilson-Lightning McQueen

Daniel Lawrence Whitney aka Larry the Cable Guy-Mater

Michael Caine-Finn McMissile

Emily Mortimer-Holley Shiftwell

Eddie Izzard-Sir Miles Axlerod

John Turturro-Francesco Bernoulli

Thomas Kretschmann-Professor Zündapp

Bonnie Hunt-Sally Carrera

John Ratzenberger-Mack

Cheech Marin-Ramone

Jenifer Lewis-Flo

Tony Shalhoub-Luigi

Guido Quaroni-Guido

Michael Wallis-Sheriff

Paul Dooley-Sarge

Lloyd Sherr-Fillmore

Katherine Helmond-Lizzie

Bruce Campbell-Rod 'Torque' Redline

Directed by John Lasseter and Brad Lewis

Pixar's prowess at CG animation remains unmatched but "Cars 2" fails to meet the high bar set by the studio's previous efforts.

Well, it was a good run while it lasted. Pixar Animation Studios has always prided itself with crafting visually stunning yet also emotionally involving animated films but with “Cars 2,” the once-invincible studio seems to have made a major fender-bender. Despite its exploration of the fleeting nature of celebrity and the loss of small-town America to an increasingly impersonal modern world, critics and audiences weren’t quite as enamored with 2006’s “Cars” compared to Pixar’s previous efforts. Although it earned a respectable $462 million at the worldwide box office, the film ended up becoming a cash cow for Disney thanks to its massive merchandising potential, with products bearing the “Cars” license earning a gargantuan $10 billion in worldwide retail sales. The sequel, arriving five years later, seems to have been green-lit with the intention of selling even more toys and that is precisely the reason that “Cars 2” fails to engage. The creativity that Pixar has always exhibited has been replaced by the almighty dollar. The CG animation is visually lush and colorful but “Cars 2” is strangely inert despite the switch to a more action-packed premise, resulting in many loud explosions yet all of it feels…pedestrian. Kids will laugh at all the cheap jokes but adults will likely be bored given the film’s derivative nature. 

Doc Hudson has passed away since the events of the first film and Lightning McQueen (Owen Wilson) has gone on to win four Piston Cups, becoming a worldwide celebrated racing champion. He returns home to Radiator Springs to spend some time with his girlfriend, Sally Carrera (Bonnie Hunt) and best friend, Mater the Tow Truck (Larry the Cable Guy) but finds himself forced back into the world of racing. Oil tycoon Sir Miles Axlerod (Eddie Izzard) is now a green power advocate and has created a new biofuel he dubs ‘Allinol.’ To promote this new fuel, he decides to sponsor the first World Grand Prix, with every race car, including the boastful Francesco Bernoulli (John Turturro), participating. When Bernoulli makes some disparaging remarks about McQueen on live television, Mater calls and defends his best friend. McQueen decides to settle this feud once and for all and enters into the World Grand Prix, taking Mater along for the first time as part of his pit crew. Meanwhile, a group of ‘lemon’ cars (defective vehicles) led by Professor Zündapp (Thomas Kretschmann) and an unknown criminal mastermind is sitting on the world’s largest untapped oil reserves. Wielding a special weapon that can emit an electromagnetic pulse, they plan to sabotage the World Grand Prix by causing the Allinol fuel to ignite (that does not make sense, shouldn’t an EMP disable the cars but look at me, I’m applying logic in a world of talking cars). British secret agents Finn McMissile (Michael Caine) and Holley Shiftwell (Emily Mortimer) are attempting to foil this heinous plot. At Tokyo, Japan where the first race is held, Mater makes a fool out of himself and embarrasses McQueen in front of Axelrod. While in the bathroom, he encounters Shiftwell, who mistakes him for an American spy that she and McMissile were supposed to rendezvous with. Despite the case of mistaken identity, Mater ends up being caught in a world of international intrigue when Professor Zündapp and his boss targets McQueen. 

“Cars 2” switches gears and puts Mater front and center with Lighting McQueen as the supporting character, so at least there was an attempt at trying something different. Let’s get the good out of the way first. Pixar’s prowess at CG animation remains undiminished and the worldwide scope, spanning locations such as Japan, Italy, and England, really lends itself in creating a colorful and richly animated film. I was unable to view “Cars 2” in 3D as many of its screens had been usurped by the recently-released “Harry Potter and the Deathly Hallows Part 2” but I doubt the extra dimension would’ve added much to the experience. The consensus from critics seems to be that the 3D, while unobtrusive, fails to be utilized at its full potential and that’s a shame since this is digitally created film. As for the bad, “Cars 2” is surprisingly derivative, even by Pixar standards. Instead of focusing on small-town America or something of actual substance like the previous film, the tone has changed to an action spy flick. As such, it indulges in many spy clichés with secret meetings, explosive chases, cackling criminal masterminds, and farfetched gadgets but all of this makes it obvious that the reason this sequel exists is to sell toys. This is most apparent with new characters like Finn McMissile, who is packing so much weaponry that he makes a Swiss army knife look like a child’s toy, and Holly Shiftwell, who can transform into a flying vehicle. There are numerous action scenes but like its predecessor, the film is plagued by a long running time that tends to drag rather than engage. The thematic richness that is a staple of Pixar is nowhere to be found. Well, that’s not entirely true. There’s something about alternative fuels and going green, plus the importance of friendship and being true to yourself but all of it comes off as half-baked, clichéd, and derivative—three adjectives I thought I would never use in describing a Pixar film. The story of a bumbling fool caught in a case of mistaken identity has been done before so it makes the proceedings rather predictable. Some of the jokes produced a chuckle, such as Mater mistaking wasabi for ice cream or experiencing a high-tech toilet in Japan but for the most part, it goes for easy targets. It’ll appeal to children but adults will roll their eyes. 

The voice acting, while good, isn’t anything to write home about. Larry the Cable Guy is clearly enjoying himself and part of the reason he’s the main focus is that children love his simpleton antics. The problem is that he works best in small doses but since he’s in almost every frame, he ends up gratingly annoying. In fact, while he was endearing in the original, here he just comes off as stupid. He’s like the Jar Jar Binks of Pixar. With Lightning McQueen playing second fiddle, Owen Wilson fails to give his character any sense of real personality. You can tell his heart’s not in it and is only fulfilling a contractual obligation. All of the supporting characters from Radiator Springs, such as Bonnie Hunt’s Sally Carrera amount to nothing but glorified cameos. Michael Caine and Emily Mortimer livens things up with their respective characters but ultimately, their inclusion is more about merchandise potential. One would expect that Pixar would get someone from the older James Bond flicks to provide McMissile’s voice to lend some credibility to the spy premise. John Turturro manages to be pretty funny as the overconfident formula race car Francesco Bernoulli with his overdone, stereotypical Italian accent. 

Released on June 24, 2011, “Cars 2” has received overwhelmingly negative reviews with a low 34% on Rotten Tomatoes. Critics found it ‘visually appealing as any other Pixar production, but all that dazzle can't disguise the rusty storytelling under the hood.’ I expected the film to be less than impressive given that the initial previews failed to grab me and predicted a score of around 60% but never did I anticipate that reception would be this negative. There is no debate: this is Pixar’s worst film by far. Box office wise, “Cars 2” opened with a sizable $66 million but it was riding on the trusted brand name of Pixar rather than its marketing. However, it lags behind its predecessor due to negative reviews and has earned only $281 million worldwide against a $200 million production budget. Like all Pixar films, it was preceded by a seven-minute short titled “Toy Story: Hawaiian Vacation” and while it’s fun to see all these beloved characters again, even I found this to be lacking. It seems like Pixar can’t catch a break and is experiencing a slump. “Cars 2” will only appeal to children and given the kid sitting behind me with his obnoxious laughing, it proves my point. Adults will be bored and I discovered the mother sitting next to me to be furiously texting. This sequel will sell a lot of toys and this focus on merchandising is what proves to be the undoing for “Cars 2.” The visuals look amazing and the action is loud but it lacks any heart and soul, becoming easy disposable entertainment. The trailers attached included Pixar’s upcoming “Brave,” to be released next summer and I found this one-minute preview to be more engaging than the entirety of “Cars 2.” This sequel is not terrible by any means; it’s just dull and derivative but hopefully this rare misstep can be swept under the rug and forgotten.

Final Rating: 2.5 out of 5

Mama Topolino: Chi trova un amico, trova un tesoro.

Uncle Topolino: It means, "He who finds a friend finds a treasure."

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