The Lame, Almost Laugh Free LAST VEGAS Isn't Completely Lifeless At Least

Opening today at a multiplex near you:

LAST VEGAS (Dir. Jon Turteltaub, 2013)

Four Oscar winners - Michael Douglas, Morgan Freeman, Robert De Niro, and Kevin Kline - join together for a film that will win no Oscars. The famous foursome play friends since childhood (forget that their ages range from 66 to 76) who hit Vegas for some bachelor party shenanigans in this crappy comedy that critics everywhere are calling THE HANGOVER for the geriatric set.

I’m not a fan of THE HANGOVER movies, but they at least have more of an attempt at a narrative; LAST VEGAS just piles on a bunch of city of sin set-piece ideas (the guys judge a bikini competition, get in a bar fight, pretend to be mob bosses, etc.) that seem right off the top of the head of the film’s screenwriter Dan Fogleman (CARS, CRAZY STUPID LOVE, THE GUILT TRIP).

The bare as bones back story is that in their youth, Douglas and De Niro’s characters had been in a love triangle of sorts with a girl who chose De Niro. The gruff as ever De Niro is now a widower who’s angry at Douglas, now engaged to woman half his age, for not coming to his wife’s funeral.

Other loose story threads are that Kline has been given a “What happens in Vegas, stays in Vegas” card from his wife (Johanna Gleason) so he’s got a HALL PASS thing going on, and that Freeman is sneaking out on his overprotective son (Michael Ealy), who thinks his old man is going on a church retreat.

Another Oscar winner, Mary Steenburgen, pops up as a torch singer in a rundown lounge, all smiling and amused at the guy’s antics. Predictably Douglas and De Niro both fall for her in scenes devised to give the proceedings some emotional weight, but end up feeling shoehorned into this glib series of geezer sex gags.

There’s also the cringe-worthy scenario of the fellows bossing around Jerry Farrera (Turtle from Entourage). Their Parks Hotel concierge (Weeds’ Romany Malco) told Farrera that the guys are the heads of four crime syndicate families so he’d be scared into serving them. That obviously means that there’s terrible tough-guy jokes in the miserable mix to contend with too.

I have to say though, that castling Turtle does nail the air-headed Entourage guys-bonding-through-partying ethos the film is going for. The energy the leads put into their performances does elevate the flimsy material at times I also feel I should add.

But while it’s far from lifeless, LAST VEGAS is a lame, almost laugh-free, piece of PG-13 fluff that will please only incredibly undemanding crowds. 



It’s funny (funnier than anything in the movie, anyway) how Kline comes off like William H. Macy in WILD HOGS. That is, the one guy that you’d thought wouldn’t get caught slumming it up in such commercial dreck like this. However, more power to him because he looks like he’s having a better time than anybody else onscreen. I can't help thinking that his character and performance so deserve to be part of a much better movie.

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New Releases On Blu Ray & DVD: 9/17/13

Marc Forster’s summer hit WORLD WAR Z heads the crop of Blu ray and DVD releases this week, available in a 2-disc Blu-ray + DVD + Digital Copy package or a single disc DVD. The film, which as the front cover art displays, features Brad Pitt single-handedly saving the world from a global outbreak of zombies. After months of hype leading up to its theatrical release, the film was pretty disappointing (read my review from last June), but maybe it will have more of an impact on the small screen. Special Features: a couple of featurettes (“Origins” and “Looking to Science”), and a four part “Making of” documentary that explores in detail how such money shots as the masses of zombies scaling the tall fortress walls in Israel were pulled off.

Another film to which I gave a lukewarm review, Sofia Coppola’s THE BLING RING, also comes out today on both Blu ray and DVD. Coppola’s satirical true crime film, her fifth as director, is based on the story of a group of fame-obsessed teens who broke into the Los Angeles houses of celebrities such as Paris Hilton (who has a brief cameo), and stole millions of dollars worth of clothing, jewelry, cash, and swag. It’s interesting for about a third of it, but there’s not much substantial takeaway as you can read in my review: “THE BLING RING: As Superficial And Empty-Headed As The Girls It Depicts” (6/21/13). For folks that find it more fascinating than I, there are a few substantial Special Features including the almost 23 minute featurette “Making THE BLING RING: On Set with Sofia, the Cast and Crew,” the almost 24 minute “Behind the real ‘Bling Ring’,” and the over 10 minute “Scene of the Crime with Paris Hilton.”

A film I missed in its brief theatrical run (not even sure if it came to my area), Henry Alex Rubin’s 2012 thriller DISCONNECT is out this week in single disc Blu ray and DVD editions. A sold ensemble including Jason Bateman, Hope Davis, Frank Grillo, Andrea Riseborough, Paula Patton, Michael Nyqvist, and Alexander Skarsgård star in what IMDb tells me is about “searching for human connections in today's wired world.” Special Features: Commentary with Direct Rubin, an almost 30-minute documentary “Making the Connections: Behind the Scenes of DISCONNECT,” a 4-minute featurette “Recording Session of “On the Nature of Daylight,” and the theatrical trailer.

Steven Soderberg’s terrific HBO telefilm from earlier this year, BEHIND THE CANDELABRA, starring Michael Douglas as Liberace and Matt Damon as his young lover Scott Thorson, is out today in single disc Blu ray and DVD editions. The glitzy biopic (well, not really a biopic as it only covers a few years of Liberace’s life), which was rejected by every major movie studio because it was “too gay,” has been nominated for 15 Emmy Awards, including nominations for Douglas and Damon, and I wouldn’t be surprised if it takes home a bunch of them this coming Sunday night. There’s only one Special Feature, a 13 minute “Making of” featurette, but it’s an entertaining mix of interview snippets, archival footage of the real Liberace, and insights into how the costume and set designers were able to so convincingly pull off all the lavish surroundings of late ‘70s Las Vegas.

Also releasing today is Zal Batmanglij’s THE EAST, starring Brit Marling, Alexander Skarsgård (man, he gets around!), and Ellen Page as eco-terrorists. It’s a pretty decent thriller that’s at least worth a rental. A few other new films out today: Kyle Killen’s psychological thriller SCENIC ROUTE, Morgan O'Neill’s Australian surfing drama DRIFT, and Uwe Boll's thriller SUDDENLY, starring Ray Liotta, Dominic Purcell, and Michael Paré. That last title, a remake of Lewis Allen’s 1954 film noir thriller of the same name, is actually dumb fun, which is something, considering it’s, you know, a Uwe Boll production.

On the older film new to Blu ray front there’s a nice handful of horror and classic monster movies such as George A. Romero’s 1985 zombie classic DAY OF THE DEAD (Collector’s Edition), the 1931 Bela Lugosi classic DRACULA, Hammer Film’s 1966 Christopher Lee classic DRACULA: PRINCE OF DARKNESS, the 1935 Boris Karloff classic THE BRIDE OF FRANKENSTEIN, and the 1941 Lon Chaney Jr. classic THE WOLF MAN. I also can’t leave out the TREMORS Attack Pack which contains all 4 TREMORS movies (there were 4 of them?). Now, that’s a lot of scary classics that are now all Blu rayed-up!


TV season sets releasing today: Nashville: The Complete First Season, Leverage: The Fifth Season, The Mentalist: The Complete Fifth Season, Grimm: Season Two, Arrow: The Complete First Season, Bates Motel: Season One, CSI: Crime Scene Investigation - The 13th Season, and Golgo 13: Complete Collection.

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Gina Carano owns Steven Soderbergh's HAYWIRE

HAYWIRE (Dir. Steven Soderbergh, 2012)







Although I had not seen a trailer or read anything about it going in, I caught on quickly that this film is simply an excuse to string together a series of acrobatic fight scenes showcasing the mixed martial arts skills of Gina Carano.



Thing is, it’s a pretty good excuse.



The plot, something about the CIA trained Carano getting set up and betrayed on a mission, really doesn’t matter, because this movie is all about the kinetic, extremely well choreographed, and superbly shot fight scenes.



Surrounding Carano is a cast of familiar faces: Ewan McGregor, Michael Douglas, Antonio Banderas, Bill Paxton, Channing Tatum, and Michael Fassbender, but I believe had those same roles been played by a bunch of unknowns, it would have the same effect, because, again, it’s all about Carano’s game.



On the run from an international manhunt, Carano hijacks the car of the scruffy Michael Angarano in upstate New York, and she tells him (and us) how she got there, so we get flashbacks of set pieces in opulent settings.



For instance, a hotel suite in Dublin in which Carano and Fassbender have a brutal scuffle; it’s polished violence with class as the couple is outfitted in expensive evening wear.



With its snazzy jazzy soundtrack by frequent Soderberg collaborator David Holmes, HAYWIRE bops along enjoyably from brawl to brawl. It’s a durable diversion especially compared to its competition (*cough* CONTRABAND) in this January dumping ground.



From 1989’s SEX, LIES AND VIDEOTAPE to last year’s CONTAGION, Soderbergh has dabbled in just about every genre (can’t wait for him to tackle Westerns), so why not an espionage revenge thriller with a kick ass hottie, who actually can kick ass in real life?



Here Soderbergh throws his new heroine into the ring with Laura Croft, “The Bride” from KILL BILL, and Lisbeth Salander (either Noomi Rapace or Rooney Mara - it doesn't matter), and by the end of it you’ll be convinced that Carano would be the last one standing.



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WALL STREET: MONEY NEVER SLEEPS: The Film Babble Blog Review

WALL STREET: MONEY NEVER SLEEPS

(Dir. Oliver Stone, 2010)

Spoiler Alert!: This review gives away a number of key plot points because, well, I just don’t care.

Last year I wrote that a sequel to Oliver Stone’s seminal 1987 WALL STREET was one of 10 sequels to classic movies that should not happen. Despite that I had a tiny sliver of hope inside that the controversial director might pull off another timely indictment of America’s financial system.

Sadly, the return of Gordon Gekko to the silver screen is no such film. It’s as unnecessary a retread as BLUES BROTHERS 2000, which incidentally also began with the prison release of a major character.

In 2002, Michael Douglas as Gekko, 67 years old with his lion's mane of hair now gray, walks out of Sing Sing Maximum Security Prison after serving 8 years to find nobody waiting for him. The camera circles his head to let this sink in.

The film flashes forward to 2008 and for a while it’s Shia LaBeouf’s movie. LaBeouf is an ambitious trader – think Charlie Sheen in the first film but with more ethics – engaged to Douglas’ activist blogger daughter (Carey Mulligan).

LaBeouf’s mentor (Frank Langella) at his firm commits suicide after rampant rumors cause the company’s stock to crash.

Josh Brolin, as an old school Gekko-ish hedge fund manager, is suspected by LaBeouf as being the source of the rumors. Going behind Mulligan’s back, LaBeouf consults with Douglas who wants to be close to his daughter again.

Mulligan wants nothing to do with her father. She blames him for the overdose death of her brother and she’s vehemently against the Wall Street world which makes it hard to believe that she’s surprised to find out that her fiancé is a “Wall Street guy”.

LaBeouf wants to avenge Langella, make a name for himself, and sincerely help a renewable fusion-energy company run by the always nice to see Austin Pendleton – in the same manner that Sheen wanted to help out his father’s ailing airline.

Upon learning that Douglas set his daughter up with a Swiss trust fund worth $100 million, LaBeouf finds himself caught in a web of convoluted double crossings.

Stone uses every visual trick up his sleeve to shape this material – at a point in one of several flashy montages full of split screens, tangled neon cable news ticker tape, and computer animation I felt like I was trapped in a MSNBC hall of mirrors.

The problem is that what made the first movie great is that Gordon Gekko was not a redeemable character. He was a symbol of corporate evil and a necessary one, for there are horrible fiscal creatures out there that destroy thousands of people’s lives with no remorse.

If Gekko truly isn’t a sociopath (as his daughter calls him early on), but a visionary that predicts the economic collapse in 2008 and can be won over by a disc containing his future grandson’s ultrasound – what does he symbolize now?

Douglas’s Oscar winning performance of Gekko in the first film was named by AFI as number 24 of the top 50 movie villains of all time in 2003. After his defanged depiction here that number will surely drop next time they update the list.

It’s understandable that Stone and Douglas wanted to revisit this terrain, but with its predictable plot and pat happy ending this is more than a missed opportunity – it’s a failed follow-up of epic proportions.

One of the only enjoyable elements is the soundtrack provided by David Byrne and Brian Eno. As the first film ended with the Talking Heads’ “This Must Be the Place (Naive Melody)”, this one obviously tries to match the mood with a fine selection of the duo’s collaborations. When these melodies appear it’s the only time that this film feels anywhere near the league of the original.

Beyond that, WALL STREET: MONEY NEVER SLEEPS (awful title) has little point to it, except maybe to unleash a bunch of new Gekko-isms on the public.

Of the many so called pearls of wisdom the slick slimy Gekko spouts - “Idealism kills every deal” – sticks out. By sparing us the true cutthroat nature of the beast in favor of trite sentimentality, the deal is definitely dead as a doornail here.

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Movie Reviews: HARRY BROWN & SOLITARY MAN

Despite the amazing anomaly that is TOY STORY 3 the summer keeps on suckin'. But if you bypass the multiplex and head to the indie/art theater you may a few interesting diversions. 




Okay, at least one: 



HARRY BROWN (Dir. Daniel Barber, 2010)








Tiny white titles on the side of the screen tell us "Michael Caine is Harry Brown." The lettering is dwarfed by the darkness of the rest of the frame. The title character fares at bit better against the darkness - at least at first. We see Caine waking up in his South London flat to face the grim day. He has his head held high as he walks through his neighborhood on his way to the hospital to visit his dying wife (Liz Daniels). There is a particular noisy graffiti covered underground passageway he hesitantly passes.





After his visit Caine plays chess at a shady pub with a long-time friend (David Bradley) who is also afraid of the gang activity, but to a greater extreme. Bradley has armed himself with a old army bayonet and fully intends to use it against the harassing hoods. In the night Caine's wife dies; he is unable to be with her because of the additional distance he must travel by avoiding the tunnel. 




The next morning Caine is visited by police detectives (Emily Mortimer and Joseph Gilgun) who inform him that Bradley was murdered - the killing happens off-screen but we do see some of the offending incident leading up to it.

Caine, of course, takes the law into his own hands to avenge his friend's death. He gets in a shoot-out in a drug den; he offs a few of the punked-up thugs, and hunts down the king-pin while the police close in. My wife called it "Gran Torino UK" and, yeah, there is quite a bit of that in play - a pushed to the edge war veteran, who after his wife dies, takes on the gangs that are threatening the well-being of his neighborhood. 




It's much darker and grittier than Eastwood's film - in fact the stark white faces of the actors and the washed out look made me think that it could've been just as effectively shot in black and white.

While some sections like a way-too-long montage of police interrogation may be muddled, Caine alone gives the film a hearty gravitas. 




It's maybe a minor movie but Caine owns the screen in a major way. He's utterly believable in every moment - from his grieving over his wife to his calm intensity when facing down his enemies. HARRY BROWN has a predictable vigilante premise yet it's still satisfying - take away the cell phone camera footage and it's the same kind of claustrophobic thriller that could've been made in any era. 





SOLITARY MAN
(Dirs. Brian Koppelman & David Levien, 2009)






Once again Michael Douglas plays a crassly ambitious businessman who alienates everybody around him. No wait; this isn't WALL STREET 2: MONEY NEVER SLEEPS - that's not in theaters until September. 




Here Douglas plays Ben Kalmon - a divorced defrauded former car dealership tycoon who cheats on his girlfriend (Mary Louise-Parker), borrows money from his daughter (Jenna Fischer from The Office), and spouts out existential advice about every topic to whoever will listen to him.

Louise-Parker wants Douglas to accompany her daughter (Imogen Poots) to a college interview at his alma mater. Y




ou're right to think that is a bad idea - he's a womanizing sleaze and despite her youth, Poots is and cynical and promiscuous to match . Jesse Eisenberg (ADVENTURELAND, ZOMBIELAND) shows up as a campus guide who Douglas gives some unheeded romantic guidance to. 




Where this goes to from here was unpleasant enough to watch; I'd rather not have to describe.

It's hard to decipher what we're supposed to take away from Douglas's character. At first he's a fast talking comic figure who we're supposed to laugh at in a "that old dirty codger" way but as the pitiful dimensions of his unlikability widen each scene adds up to little more than a series of collected cringes. 




It benefits sporadically from a good cast - Susan Sarandon as Douglas's ex wife appears to delight in her character's confidence, Fisher has some strong moments standing up to her untrustworthy father, and Poots savvily strides through her cutting scenes. Eisenberg just does his patented nervous kid shtick but it's not his fault - he's not given enough here to do anything else with. 




 Danny DeVito lightly steals the film as a deli owner who knew Douglas back in his college days. DeVito dispenses the only real wisdom (and some of its only humor) the film has to offer and it's nice to see him on-screen again with Douglas - they were co-stars in ROMANCING THE STONE, THE JEWEL OF THE NILE, and, my favorite, THE WAR OF THE ROSES. Otherwise the film doesn't have enough of an emotional arc to it. It's well made with convincing dialogue but its tone is too reserved and its narrative lacks drive. 






Seeing Douglas interact with college students made me nostalgic for a his much better film that tackled some of the same themes - THE WONDER BOYS. There Douglas's Grady Tripp was a thoughtful yet jaded man truly at a crossroads, here his pathetic character is just a jerk in a large hole he dug himself and I found myself not caring if he ever gets out of it. 






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