Smith's Verdict

Smith’s Verdict: ***

Reviewed by Tanner Smith

There is a clock in each shot. Trickery is used for pivotal sequences. The film is in black-and-white, save for certain random things in color…or are they random? And here we have “Rumble Fish,” the self-proclaimed “art film for young people.” It’s an arty piece of work full of stunning cinematography, unique visual effects, and a lot of symbolism. It’s based on a novel by S.E. Hinton, which apparently no one thought could be filmable except for Francis Ford Coppola, one of the most inventive filmmakers around. But he found a way—the result is not an entertaining film, but a fascinating one nonetheless.

This is Coppola’s second collaboration with Hinton after “The Outsiders.” Apparently right after Coppola and his crew were through with production on “The Outsiders,” Coppola decided to go another round (this time, co-writing “Rumble Fish” along with Hinton, adapting her own novel). Why not?

Like most of Hinton’s stories, “Rumble Fish” is about a band of tough, hard-luck teenagers who get by in their own ways, for better or worse. This one is centered around two brothers—one who can’t live up to the other’s reputation, and the other who can’t live it down. Rusty-James (Matt Dillon) is a hothead who acts tough, but doesn’t have a real gang to follow him or even a real battle to fight. He’s not bright enough to be a leader, but dumb enough to get himself into trouble. He’s no different than Biff Wilcox (Glenn Withrow), a similarly pathetic thug who calls Rusty-James out.

Rusty-James’ brother is a heroic figure simply regarded as the Motorcycle Boy (Mickey Rourke). He’s a born leader and a trouper of gang warfare. He’s also very clever and intelligent—everything Rusty-James isn’t. After being gone for a few months, he has returned to give Rusty-James some life lessons. And he better, because their father, a lazy drunk (Dennis Hopper), is of no help at all. In and out of Rusty-James’ life are his sometimes-girlfriend Patty (Diane Lane); his nervous best friend Steve (Vincent Spano); a “Messenger of the Gods” type nicknamed Midget (Laurence Fishburne); and his unreliable friend Smokey (Nicholas Cage) who believes he could be a gang leader. That’s about as much of a story as we get, with the tired and self-reformed Motorcycle Boy here with one simple purpose—to show Rusty-James what he’s constantly getting himself into.

Symbolism in “Rumble Fish” includes clocks in nearly every scene (including two characters standing in front of a giant clock-face) and fast-moving billowy clouds (whether they be in straight shots or in reflections). This is obviously supposed to symbolize that time for Rusty-James is running out before he develops as big a reputation as the troubled Motorcycle Boy. It’s also great to look out—the exaggerated imagery actually amounts to something, rather than giving us something pretty to look at with no substance in the story. Here, I actually felt there was something being said within the imagery. There are also red and blue fish (the only objects shown in color throughout the film) that are supposed to represent the relationship between the two brothers. How the Motorcycle Boy explains what they represent is thought-provoking.

That’s not to say this form doesn’t have its flaws. Sometimes, the symbolism can be a little too obvious, while other times it comes off as pretty distracting. But for the most part, it does work effectively.

There’s one great effects sequence in which Rusty-James has an out-of-body experience after getting hit in the head. He levitates in the air as he literally watches his life drift by. However the filmmakers did that effect that made Matt Dillon float in the air is outstanding work on their part. Watch the scene, and tell me if you see any wires.

As an art film, the imagery and cinematography seems to overshadow the actors, but they hold up on their own. Matt Dillon has played dumb tough kids for quite some time (“Over the Edge,” “My Bodyguard,” and other Hinton film adaptations, “Tex” and “The Outsiders”), but he’s still pretty strong in the role that requires him to change from tough to weak. However, if there’s one actor that stands out among the rest, it’s definitely Mickey Rourke, who is just excellent as the Motorcycle Boy. He has such quiet authority in a role that could’ve been thankless, but he makes it into a sensible, intelligent, intriguing individual. He’s like a veteran actor who suddenly got tired of the fame that his past has brought him, and would rather live it down. Rourke is outstanding in this movie.

“Rumble Fish” is a showcase of allegory, dilemma, and emotion. It’s quite different from “Tex” and “The Outsiders” in that way, but that doesn’t mean it isn’t fascinating. It’s original, it moves, and somewhat to my surprise I found myself more invested in the tales of the reigning Motorcycle Boy.

Smith’s Verdict: ***

Reviewed by Tanner Smith

After the success of M. Night Shyamalan’s previous psychological thrillers “The Sixth Sense,” “Unbreakable,” and “Signs,” you can forgive the filmmaker for wanting to break new ground in his storytelling. In this case, he creates “The Village,” which is set in a late-19^th century American village called Covington. With this new setting (he usually sets his movies in modern-day Philadelphia, which is probably where this movie was made), M. Night Shyamalan creates a story that is part fable, part “Twilight Zone.” The result is an interesting (if not groundbreaking) thriller.

Covington is surrounded by woods—the people in this village are isolated from the rest of the world and live in fear of creatures in the woods, simply known as Those We Don’t Speak Of. As far as we can tell, they are vile creatures who don’t take kindly to intruders in their woods. One of the village elders (played by William Hurt) informs everybody that a truce has been made with them some time in the past—the people don’t step into their woods, and Those We Don’t Speak Of don’t attack.

Of course, that plot point must evolve into something bigger. But there is also a love story in this movie, in which the shy Lucius Hunt (Joaquin Phoenix) falls in love with the blind Ivy Walker (Bryce Dallas Howard). Their romance is an interesting one which must be tested with bravery, endurance, and sacrifice—I’d say why but I am trying to keep from revealing any sort of plot twist. Let’s just say that Ivy has to go into the mysterious woods for important purposes.

There are a lot of plot revelations here—one, in particular, is even more upsetting than the twist ending in “The Sixth Sense.” Everybody who goes to see a movie made by M. Night Shyamalan expects a big plot twist—I don’t know what people are going to think of this one. The twist Shyamalan usually brings to his movies delivers surprising plot developments, and in “The Village,” he outdoes himself to the point of somewhat unreliability to the early storytelling. I would not even think of giving away the secret. But even though I didn’t really buy it, I did accept it. You have to suspend your disbelief for this movie.

Some of these villagers may be a bit bland, but they are believable—including William Hurt as Ivy’s father, Adrien Brody as the village idiot, Judy Greer (whom you might recall from episodes of “Arrested Development”) as Ivy’s sister who spotted Lucius first but accepts the fact that he loves Ivy more, and Sigourney Weaver as Lucius’ mother. Joaquin Phoenix is good as Lucius, but the movie really belongs to newcomer Bryce Dallas Howard, who shines throughout.

“The Village” may not be one of M. Night Shyamalan’s best, but it’s effective and creepy enough at times that I can accept it. You always want to admire Shyamalan for his filmmaking style—his pacing may be slow to some people, but what he really does is give us time to absorb what is happening here. And despite the marketing, “The Village” is not as much about invading creatures than it is about sacrifice and discovery. I like that “The Village” didn’t show much of the creatures, which makes them creepier, except for when you actually see them up close. By then, they look almost like costumes you would make at a first-time costume design class. But we can accept this too…I will not say why.

Smith’s Verdict: ***

Reviewed by Tanner Smith

“Pay it Forward” has the idea for a “perfect world” and I guess I can buy into it—if someone does you a favor, you pass it on to three other people. You don’t pay it back, you pay it forward. Why not? Even if the world doesn’t turn out perfect (does it ever?), at least you’ll be satisfied. You should try it sometime, but you have to do them a huge favor so they can pass it on for sure…well, maybe.

The movie “Pay it Forward” is being criticized as being “emotionally manipulative”—for me, that’s too strong a criticism. I bought the message of “paying it forward” and even felt the emotions that are conveyed in this movie. It also helps that the movie is well-written, well-made, and especially well-acted by the three leads—Academy Award winners Kevin Spacey and Helen Hunt, along with Academy Award nominee Haley Joel Osment, from “The Sixth Sense.” I liked “Pay it Forward” so I guess that means I didn’t mind being manipulated by this particular film. I know that last sentence is going to be used for something sooner or later if anyone ever reads this review, but you know what? I don’t care.

As the movie begins, a washed-up news reporter (Jay Mohr) brings himself into a situation he doesn’t belong—a household robbery. You can already tell this guy has put himself into many situations where he doesn’t belong. But he gets his price when the criminals get away and the police follow him. The reporter’s car, however, is crashed into in the process. So, the guy is standing in the rain with no car and no money. Suddenly, a stranger with a dog and an umbrella walks by. Of course the guy thinks the stranger is messing with him and it doesn’t make things less confusing when he gives the reporter the keys to the stranger’s new Jaguar. Why? “Call it generosity between two strangers.”

Flash back to “four months earlier,” as we meet a young boy named Trevor McKinney (Osment) who is starting junior high school. Since this is a school in Nevada, there are metal detectors in the entranceway and knife-wielding bullies (oh yeah, and some annoying, whining classmates). What is unusual at this school is his social studies class. His teacher Eugene Simonet (Spacey), an apparent burn victim (he has scars on his face), is an intellectual who uses an impressive vocabulary, has a hint of sarcasm in his speech, and a lack of condescension when teaching. The assignment for his class is to come up with an idea to change the world. (Trevor asks, “So you’ll flunk us if we don’t change the world?” Simonet replies, “You might slip by with a C.”)

This gives Trevor the idea of “paying it forward.” He brings a homeless man (James Caviezel) into his home and gives him food and bed for the night. Trevor’s mother Arlene (Helen Hunt) is angry. She wants this man out of the house. But then she sees that the homeless man paid Trevor’s favor forward by fixing the car in her garage that hasn’t run in years.

Simonet lets it down easy to Trevor that the idea is a bit preposterous. Trevor doesn’t care because “everything sucks.” Another way Trevor tries to use his idea is by helping his mother, who is a recovering alcoholic, in having a relationship with the teacher. This leads to a loving relationship that brings Simonet and Arlene together, complications with the boy’s real father (Jon Bon Jovi), and moments of truth (How did Simonet get those burns?).

This story is told in flashback while in the present time, the reporter, played by Mohr, is trying to track down the source to this whole “pay it forward” movement. He meets the man who gave him the Jag and is told that he was helped by an African-American man who got himself arrested for pulling a gun on a nurse because she wouldn’t let the man’s asthmatic daughter be treated first. And so the reporter has to find the man who got arrested and figure out why he did it, and so on. This whole subplot is a bit flawed, especially when we’re trying to keep track of events in chronological order and focus on the relationships between Simonet, Arlene, and young Trevor.

“Pay it Forward” is mostly set in Las Vegas—the streets, the homes outside of it, the desert. It’s an offbeat setting but it works. We see where Arlene works, we see how Trevor gets to and from school on his bicycle, and we see where Arlene and Trevor’s home is located. Setting the movie in Las Vegas is appropriate for utopian ideas like the central one here.

I mentioned before that I bought the film’s emotions and the movie succeeds in creating genuine feeling for the characters. The script is partially responsible, but it’s the actors who must receive high praise. Kevin Spacey is excellent as a man trying to hide his face by using words instead of a mask—his vocabulary is his mask. His lack of condescension to his students is particularly noticeable and his wit is subtle. But he’s an intellectual who knows what he’s teaching, though he doesn’t expect an idea from one of his students to actually change the world. Helen Hunt shows some of her best work since her Oscar winning role in “As Good as it Gets” as a recovering alcoholic who loves her son but is trying so desperately to show it. And then of course, there’s Haley Joel Osment, quite good and effective as Trevor. His timing is excellent and he is a perfect co-star with Spacey and Hunt. And he can also tell the differences in people—who are nice and who are not, especially when Bon Jovi comes in and almost messes everything up.

The ending is most unsatisfying. I won’t give anything away but I don’t really think that this is the right ending for this movie. It gets worse when you really consider the idea again and think about how it led to this totally unsatisfying conclusion. But until then, “Pay it Forward” is a nice movie about three complicated people and a message that gets its way across. I may have been manipulated by the emotions, but I’ll take it.

Smith’s Verdict: ***

Reviewed by Tanner Smith

Now here’s an interesting premise for a Jim Carrey vehicle—Jim Carrey is given God’s powers. Think of all the possibilities that could come out of that idea alone. Director Tom Shadyac, who also worked with Carrey on “Ace Ventura: Pet Detective” and “Liar Liar,” doesn’t use every element that could have made “Bruce Almighty” one of the funniest movies of the decade, but there are still a few good ideas and some big laughs from Carrey’s physical humor.

We get a long opening forty minutes in which we get to know Bruce Nolan (Carrey). He’s a human-interest reporter for Buffalo’s Channel 7 Eyewitness News who doesn’t get much respect or have much luck. On one particularly bad day in which he humiliates himself, loses his job, and crashes his car, he snaps at God. That’s when his pager goes off to an unfamiliar number. But even when the number appears on his pager after it seems to be broken, Bruce can’t help but call. Bruce is led to an empty building where, as it turns out, he is arranged to meet God in person. God (Morgan Freeman) wants to go on vacation so he decides to give Bruce his powers for a few days.

Almost predictably, Bruce does not do a very good job at being God. After all, why waste time with starving children when he can lift a woman’s skirt up and humiliate his snooty co-worker (Steve Carell)? There’s also a funny subplot in which Bruce teaches his non-housebroken dog to use the toilet. And “Bruce Almighty” is never subtle—for example, Bruce’s nice (“angelic,” if you will) girlfriend (Jennifer Aniston) works at a daycare center and aptly named “Grace.” Also, some of the soundtrack features songs about religion, miracles, and power (including, of course, Aretha Franklin’s “Are you Ready for a Miracle”).

My question is why couldn’t the filmmakers come up with more ways for this character to explore the ways of being God? Why not have him travel to other planets? Or stop time? I can think of many other ways these great powers can be explored. Unfortunately, the filmmakers of “Bruce Almighty” create an overly dramatic final half that tries for Capra-esque quality, but doesn’t quite make the cut and seems like another movie. There are obvious jokes that are put into the movie and a blooper reel that shows that the filmmakers are desperate to make people laugh. Some of the jokes don’t really work as well as we’d like them to.

Even though “Bruce Almighty” didn’t go where it should’ve gone, I am recommending it because there were more than three occasions (I lost count) where Jim Carrey had me laughing loudly. He’s back to his mugging and body language that made him a star in the first place. After taking dramatic roles in movies like “The Truman Show,” “Man on the Moon,” and “The Majestic,” he’s back to his rubber comic personality. I loved Morgan Freeman’s performance as God—kind of a twinkling, calm version of the Big Man Upstairs. “Bruce Almighty” is a bit of a lost opportunity, but I am giving it a mild recommendation. I did laugh.

NOTE: You know, with all I’ve said, I am aware that I am giving “Bruce Almighty” three stars while I gave other “lost opportunities” lower ratings. Well, those movies did not have Jim Carrey to lighten the mood. As inconsiderate as they may sound for the other movies I’ve reviewed that almost got the same treatment, I’m sticking by this recommendation. But one of these days, I will die and then I’ll allow God to smite that lousy star-rating system.

Smith’s Verdict: ***

Reviewed by Tanner Smith

SPOILER ALERT! I’m not bringing up the “Rock-Em/Sock-Em Robots” reference in this review of “Real Steel,” because everyone else already has….and OK, END OF SPOILER ALERT!

Before I go into the giant boxing mechanical robots that take up the central part of the film, “Real Steel” should first be acknowledged as that rarity of stories—a story set in a future that doesn’t suck for once. Every tale set in the future nowadays has to be some cautionary tale about how our lifestyles will lead to our downfall. But not “Real Steel.” This takes place in the year 2020, which doesn’t look much different from today. The main difference is in our technology. It has advanced to the point where human boxers are replaced by eight-or-nine-foot robots controlled by their owners/managers.

The bizarre thing is that “Real Steel” is actually convincing in making us believe that this could happen. Our technology is changing every time, so why not advance them to the point of using these new creations for underworld boxing? And it’s being taken seriously—the conversations don’t sound contrived, given the situations. They sound surprisingly realistic. Once you accept the idea that robots are fighting in matches, you can buy the movie in general. However, there is also the matter of the story, which is made up of a lot of sports clichés that either tire you or excite you. If you’re in the latter, and like I said, if you can accept this premise, you’re most likely going to enjoy this movie.

The film stars solid-as-always Hugh Jackman as Charlie Kenton, a former boxer who is now operating robots for fights. (In an opening scene, we see him operate a robot to go up against…a bull. That sequence is hilariously credible.) He owes a lot of money to his challengers and keeps repairing and purchasing new robots to go for the big win every time. Once his newest robot is a piece of scrap heap, he needs money to buy a new robot. Enter his 11-year-old son Max (Dakota Goyo), whom he hasn’t seen in years. Max’s mother has just died and Charlie is in line for custody of the child. However, Max’s aunt Debra (Hope Davis) wants to raise him. So Charlie makes a deal with Debra’s wealthy husband (James Rebhorn) that for a hundred-grand, he’ll sell his custody rights over to them. But there’s a catch—Charlie has to babysit the kid for the summer so Debra can go on vacation.

In a junkyard, Max stumbles upon a rusty, old robot called “Atom.” After doing some repairs and tinkering, with help from Charlie’s girlfriend Bailey (Evangeline Kelly), they bring the small, older robot to life. Max convinces Charlie to give him a fight, and to Charlie’s surprise, Atom winds up winning his first fight. And then he keeps winning, with Max teaching him new moves and Charlie lending his own skills in boxing. This seems a lot like a mechanical version of “Rocky,” and wouldn’t you know it? They make it to the championship where Atom must square off against the big, hulking mechanical beast called “Zeus,” run by an Asian billionaire and a female Russian manager. As if that connection to the fourth “Rocky” film wasn’t enough, they even had to deliver the line, “Whatever Zeus hits, he kills.” Sound familiar? I know I’m thinking of a Russian super-boxer from the fourth entry of a certain film series.

“Real Steel” is the kind of sports film with the reliable clichés to depend upon. And it works because of the passion that’s put into the making of it. And the best way to make you decide whether or not you’ll enjoy this movie is to set up the climax, because the climax is nothing new, but delivers those over-the-top dramatic moments of victory. It’s the underdog story, it’s the heroes looking on and smiling, it’s the villains looking shocked as if to say, “No, that’s impossible,” and the buildup to the final round. If that interests you, or if you enjoy these kinds of heartfelt climaxes, you are going to really like this movie. This is in the great tradition of those kinds of sports movies. You either eat it up or you don’t; I just had a good time.

The special effects are incredible. I hear they mixed motion-capture CGI and animatronics for the well-designed robots and choreography for these boxing matches. It’s seamlessly effective. It really looks like the robots are really there, sparring. The “Transformers” movies don’t deliver this well, because I always felt that those giant robots were too much like CGI and I didn’t really believe they were there, nor did I care much for them either. Here, it works. And the robot Atom is pretty likable, and this brings me to write one of the strangest things I’ll write in a review probably ever—if you can make a robot likable, you have quite a movie.

But the robots don’t upstage the human actors that much. In fact, “Real Steel” is actually a character-based story with people that have purpose and dimensions. The key relationship in the movie is with stubborn, handsome, sometimes-a-jerk Charlie and young, enthusiastic, bright, sometimes-a-brat Max. These two aren’t exactly seeing eye-to-eye at first, but on the road, they develop the father/son bond that should have occurred long ago, and this is their second chance.

Hugh Jackman does what he does as Charlie—this is the kind of film role he specializes in playing. And the acting from young Dakota Goyo impresses—he’s not playing the cute-little-kid role. He has more of a personality than that. I only wish that Evangeline Kelly’s Bailey was more developed, especially since she’s introduced in her opening scenes as a strong individual. Olga Fonda has fun playing the over-the-top, grim-smiling Russian manager who loves to exploit her never-losing champion Zeus.

“Real Steel” is an appealing “Rocky for robots,” if you will, and enjoyable all the way through. If you can get into the characters, the cool fight scenes, and the effects, as well as the premise, the heart-tugging, and the ending climax, you’re most likely to enjoy this movie. It’s not great art, but it’s fun, skillful, and enjoyable.

Smith’s Verdict: ***

Reviewed by Tanner Smith

Before I give my review of “Big Fat Liar,” I’ll just share the plot. The hero is a bright fourteen-year-old named Jason Shepherd (Frankie Muniz, “Malcolm in the Middle”) who always stretches the truth to get out of doing his homework. But when he’s caught on his latest scam, he’s forced to write a term paper, or he’ll repeat his English course in summer school, obviously the worst thing imaginable to an eighth-grader. Jason writes the paper—a story about a character that is a “big fat liar”—and is just about to turn it in when he runs into the limo of slick Hollywood producer Marty Wolf (Paul Giamatti), in this small Michigan town for a movie shoot. He likes Jason’s wit and gives him a ride, as well as some advice—“The truth is overrated.” Jason accidentally leaves his paper in Wolf’s hands and is sent to summer school for not having it. Later, Jason sees a coming-attractions trailer for an upcoming summer blockbuster, which shares the same story and title as Jason’s paper. Convinced that Wolf stole his story to create a movie out of it, Jason tries to tell his father. Unfortunately, due to Jason’s lying nature, his father doesn’t believe him. So, with his best girl friend Kaylee (Amanda Bynes) in tow, Jason flies to Los Angeles to confront Wolf and prove Jason was telling the truth. However, as it turns out, Wolf is a nasty, pompous creep, to say the least. Even though Wolf won’t tell the truth, Jason and Kaylee don’t give up and, with help from their limo driver (Donald Faison), hatch a scheme to make his life a nightmare in an attempt to get him to change his mind.

I would have guessed that “Big Fat Liar” was made for kids by kids, as the plot is essentially a kid-friendly plot full of Nickelodeon-style hi-jinks. And indeed, writer Dan Schneider (not a kid) has been associated with many Nickelodeon TV shows. But oddly enough, “Big Fat Liar” is still a quite entertaining film. It’s good-hearted, and quite funny and charming.

Kids will love it because it features smart kids outsmarting the mean-spirited adult world, and in Hollywood, no less. They’ll love the scenes in which Jason and Kaylee play Hollywood as their playground (they sneak through the Universal back lot and have fun in a warehouse full of fun props and wardrobe), and especially the scenes in which they find new ways to menace Wolf. I doubt they’ll get a lot of the show-biz in-jokes the movie has to offer (for example, Lee Majors has a bit part as a helicopter pilot), with the exception of a very funny cameo by Jaleel “Don’t Call Me Urkel” White (they air reruns of his show on ABC Family and Nick-at-Nite anyway). Adults will either enjoy it for its innocent fun, or hate it for being somewhat too tame. As for me…it’s hard for me not to laugh at Paul Giamatti playing this producer Marty Wolf so far over-the-top as a practical cartoon. The way he shouts and spews his lines in a ferocious growl is absolutely hilarious.

Oh, and he spends a half-hour of the movie with his skin dyed blue (and his hair and goatee dyed orange). You see, Jason and Kaylee dump a bottle of blue dye in his swimming pool (and orange dye in his shampoo bottle), so that when he emerges from his morning laps, he is shocked to realize that he has to go to a very important meeting looking like a member of the Blue Man Group. (How Wolf’s speedo (and eyes) isn’t affected by the dye is beyond me, but I won’t question it.) My favorite line, from Wolf to his underappreciated assistant Monty (Amanda Detmer)—“I’m blue,” Wolf complains as Monty replies, “Oh, we all have our off days.”

“Big Fat Liar” is that kind of movie. It’s confident in its goofy storytelling and strays away from becoming too stupid, and has some pretty funny moments. Muniz and Bynes have an easy chemistry and each possess a sharp wit. And of course, there’s Paul Giamatti, who is an absolute riot as the live-action cartoon simply named Marty Wolf. “Big Fat Liar” is a little treasure of a movie.