The 1985 series Tatakae Cho Robot Seimetai Transformers("Fight Super Living Robots Transformers") was a U.S.-Japanese coproduction, written in America and animated in Japan. Based on a line of robot toys from Takara—licensed to Hasbro in America—that could be reconfigured into cars, trucks, planes, etc., it spawned numerous sequels and a feature. Civil war rages on the planet Cybertron between the virtuous Autobots and the evil Decepticons. Both sides launch crews into space to find new energy sources, but the ships crash on Earth and are buried in lava. When the robots awaken four million years later, the Decepticons, led by the dictatorial Megatron, want to drain the planet of its resources, enslaving or destroying mankind. The Autobots ally with humanity and befriend oil-rig worker Spike Witwicky. The Saturday morning-style cheat of cutting to a logo, rather than animating transitions, and the frequent pauses for commercial breaks make for very choppy storytelling. The designs of the robots are interesting but lack the graphic sophistication of Yoshiyuki Tomino's GundamMobile Suits. The animation is very limited, and the choreography of the battle sequences lacks the panache of Tomino and other more talented directors. Like Robotech, Transformerswill appeal most strongly to adults who watched the show as kids: it's remained popular through Web sites, role-playing games, fan fiction, and a lively trade in the original toys. Serious students of anime will find this early series of historic interest. Unrated; suitable for age 6 and up: Robot vs. robot violence. —Charles Solomon 
The fourth Pokémonfeature follows the pattern set by the previous three—and falls into the same traps. The TV series depicts the modest adventures of Pokémon trainer Ash Ketcham and his friends Brock and Misty as they roam an imaginary world, fighting matches and making friends. The features add elaborate CG effects that don't mesh with the flat, drawn characters, and over-scaled threats that feel beyond Ash's abilities to resolve. Forty years ago, Sam, a young trainer, meets the 251st Pokémon Celebi (it looks like Tinkerbell with a goldfish for a head). To escape a mean hunter, Celebi brings Sam to the present day, where they meet Ash & Company. They also meet the evil Iron Mask Marauder who's supposed to be a member of Team Rocket, but who's much nastier than the comically inept Jessie, James, and Meowth. The Marauder corrupts Celebi with a "dark ball" and forces it to create a monster out of trees, branches, etc., that is blatantly copied from the Night Walker in Princess Mononoke. Ash and his friends eventually save the day, the Pokémon, and the forest—but it all feels like we've been there/done that. —Charles Solomon 
In its third foray into animated features, DreamWorks came up with something unfortunate: the routine animated picture. Plagued with production problems (it was originally conceived as a mold-breaking PG-13 adventure), the likable film is a Hope/Crosby-style road picture about two scalawags who stumble upon the Latin American paradise of El Dorado, the mythical city with riches of gold. Kenneth Branagh and Kevin Kline are quite fun as Miguel and Tuilo, two Spanish con artists who are shipwrecked in the New World with a scene-stealing horse. The pair follow a map to the secret city where their loyalty will be tested: do they return home rich men or continue to live in this paradise? Of course there are some obstacles: a high priest (Armand Assante) is locked in a power struggle with the benevolent chief (Edward James Olmos) and the perfunctory girlfriend (Rosie Perez) puts the two friends at odds. Like too many of the animated features of its time, The Road to El Doradoimpresses only on a visual level (it's drenched in gorgeous greens and golds). The story and Elton John's songs are quite forgettable; only Branagh and Kline's playful banter keeps the film alive. The PG rating is for some bare backsides and a suggestion of off-screen sex that should soar right over the little ones' heads. Slick and light, it's a fine 83-minute entertainment for ages 5 and up, including the nondiscriminating adult. —Doug Thomas 
Jennifer Aniston gives a career-changing performance in The Good Girl, a movie that questions whether goodness is a virtue or a trap. Justine (Aniston), weary of her dead-end retail job and her childless marriage to Phil (John C. Reilly), diverts herself with a new coworker named Holden (Jake Gyllenhaal), who feels as ill-treated by his life as Justine does with hers. The empathy between them leads, all too quickly, to an affair—which just as quickly turns into an obsession that threatens to destroy Justine's marriage. But this is only the beginning; Phil's buddy Bubba (Tim Blake Nelson), the store security guard (Mike White), and a handful of other characters all have a part to play in the unraveling of Justine's life. The script and performances of The Good Girlare subtle but vivid, and the movie's emotional impact will linger long after the movie is over. —Bret Fetzer 
Growing up can be a confusing journey fraught with difficult choices. Boog (Martin Lawrence) is a domesticated Grizzly Bear who leads a perfectly happy life inside of Park Ranger Beth's (Debra Messing) garage, but a chance meeting with an overly energetic mule deer named Elliot (Ashton Kutcher) quickly changes everything and lands Boog high in the forest a few days before the opening of hunting season. Devoid of even the most basic survival skills, Boog and Elliot stumble through the woods and find themselves at the mercy of every forest animal from skunks to chipmunks as well as an evil hunter named Shaw (Gary Sinise). After unintentionally inciting and endangering an entire forest full of clever animals, Boog and Elliot come to the realization that only by banding together do the forest animals stand a chance of outsmarting the hunters and ensuring their own survival. |
Dinosaurs come alive like never before in this costly computer-animated film from Disney. After a breathtaking opening (a dino egg is kidnapped), the film changes style; realistic dinosaurs are given human characteristics and voices. The kidnapped egg grows into an iguanodon named Aladar (voiced by D.B. Sweeney), who is raised by lemurs (shades of Tarzan) on a lush island void of other dinosaurs. When a meteorite destroys their island home in a thrilling sequence, the lemur family and Aladar become part of a dinosaur troop roaming the mainland deserts looking for the lush nesting grounds (shades of the fourth installment of the Land Before Timeseries and Fantasia). Disney's usual mix of modern language (one lemur calls himself "a love monkey") is present, as is its typical capital punishment law: anyone against our forward-thinking hero (or even disagreeing with him) ends up dead. Curiously, the meanies, a pair of carnotaurs following the group, are nameless and voiceless. This more realistic approach might have been a bigger wow, as in the BBC's Walking with Dinosaurs, which looked extraordinary with only a fraction of the budget. The complexity and scope of Dinosaur's visual scale is impressive, and group shots and a point-of-view angle are stunning. Rated PG for general intensity, the film should be a favorite for the 6- to 11-year-old set. —Doug Thomas 
The classic girlhood fantasy of marrying a handsome prince is given a surprisingly realistic and subtle treatment in The Prince and Me. A pre-med student at the University of Wisconsin named Paige (Julia Stiles, 10 Things I Hate About You, Mona Lisa Smile) collides with a lazy, presumptuous exchange student named Eddie (Luke Mably, 28 Days Later) and, after a prickly beginning, falls in love with him—only to discover that Eddie is Edvard, the Crown Prince of Denmark. The scenario is pure wish-fulfillment, but director Martha Coolidge (Valley Girl, Rambling Rose) not only takes a closer look at what royal life is really like, she also takes the time to turn these fantasy roles into characters that have more than two dimensions. It's still a romantic comedy aimed at teenagers, but within the genre's parameters, the movie has a strong visual style and what might be called depth. —Bret Fetzer 
Adam Sandler vaulted into the $20-million-salary stratosphere with this, his second $100-million hit in 1998—a movie that further shows just how deeply embedded he is in the Jerry Lewis tradition of idiot comedy. He plays Bobby Boucher, a backwoods Cajun and a mentally challenged individual with a fixation on water: specifically, on serving the coolest, most refreshing H2O available to the college football team he has served since he was an adolescent. But when he's fired from his position, he takes up a similar job with a lowlier college team coached by neurotic Henry Winkler. One day at practice, Bobby loses his temper and delivers a bone-shaking tackle to the starting quarterback; before he can say, "blackened crawdads," he's the star of the team and leading it to a bowl game. But it's all against the wishes of his overprotective mother (Kathy Bates), who wants to keep her Bobby to herself—and that includes keeping him away from the floozy girlfriend (Fairuza Balk) who's sweet on him. There are two kinds of people in this world: People who find Sandler funny and people who view him as a neon-lit symbol of the decline of popular taste. You know who you are and, based on that, you can decide whether this is a movie for you. —Marshall Fine 
This murky rumination on keeping faith in our troubled times was an early sign that writer-director Lawrence Kasdan (Silverado) was losing his once-powerful grasp on the art of storytelling. Set in modern Los Angeles—with all its random violence, venality, ubiquitous police presence, earthquakes, and dreams—the film concerns an unusual intersection of lives and chance occurrences that alter everyone's perspective on destiny. Kasdan, very understandably, is attempting to create an experience for viewers as intuitive as the undefined forces propelling his characters. But from the outside looking in, there isn't enough internal logic in the story to help us connect the dots. Steve Martin has an interesting part as a garish film producer who undergoes a change in priorities after being assaulted on the street. —Tom Keogh 
Jennifer Garner glows like a rising star in 13 Going on 30, a girly version of the Tom Hanks classic Big. Jenna (Garner, Alias, Daredevil), a frustrated teenage girl, just wants to skip past all those annoying adolescent years and arrive at a glamorous adulthood—and thanks to some inexplicable wishing dust, she does. But once she reorients herself to a life as a high-end magazine editor with a sports-star boyfriend, she discovers that in the 17 years she skipped she became a not-so-nice person, including casting aside her best friend Matt (played as an adult by Mark Ruffalo, Eternal Sunshine of the Spotless Mind). There's no question that Jenna will rediscover her lost innocence, but Garner rises above the lack of suspense. 13 Going on 30floats along, buoyed by her goofy sweetness. Her lovely looks are made accessible by her unfettered silliness; it's a winning combination. —Bret Fetzer 
You won't need a bottle of rum to enjoy Pirates of the Caribbean: The Curse of the Black Pearl, especially if you've experienced the Disneyland theme-park ride that inspired it. There's a galleon's worth of fun in watching Johnny Depp's androgynous performance as Captain Jack Sparrow, a roguish pirate who could pass for the illegitimate spawn of rockers Keith Richards and Chrissie Hynde. Depp gets all the good lines and steals the show, recruiting Orlando Bloom (a blacksmith and expert swordsman) and Keira Knightley (a lovely governor's daughter) on an adventurous quest to recapture the notorious Black Pearl, a ghost ship commandeered by Jack's nemesis Capt. Barbossa (Geoffrey Rush), a mutineer desperate to reverse the curse that left him and his (literally) skeleton crew in a state of eternal, undead damnation. Director Gore Verbinski (The Ring) repeats the redundant mayhem that marred his debut film Mouse Hunt, but with the writers of Shrekhe's made Piratesinto a special-effects thrill-ride that plays like a Halloween party on the open seas. Aye, matey, we've come a long way since Jason and the Argonauts! —Jeff Shannon |
Jennifer
Collection Total:
930 Items
930 Items
Last Updated:
May 26, 2008
May 26, 2008
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