jvydelingum Reviews

Wedding Crashers (2005)

Wilson and Vaughn: The Perfect Couple?

[8/10 · 2 July 2005]

The Frat-Pack, are surely the hardest working collective in Hollywood. Hardly a month goes by without a movie featuring Ben Stiller, Vince Vaughn, Jack Black, Will Ferrell, or those Wilson boys Luke and Owen being released.

When Starsky and Hutch paired Owen Wilson and Ben Stiller it was good, when Dodgeball put Vince Vaughn with Ben Stiller it was better, but "Wedding Crashers" could well be the finest Frat-Pack pairing to date.

Although Wilson and Vaughn have appeared in four movies together so far, this is the first where they've both taken star billing. In "Wedding Crashers", John Beckwith (Wilson) and Jeremy Klein (Vaughn), are a pair of divorce mediators whose passion in life is sneaking into weddings to take advantage of the free food.. and of course score with girls.

They have a strict 'crashers rulebook', which dictates the etiquette of the pick-up, such as 'never use your real name'. It also suggests, by behaving raucously, loudly and generally being the life-and-soul, people will think you're so obnoxious, you can't not have been invited.

The pair eventually find themselves at odds with each other when John meets and falls for a bridesmaid at the Washington society wedding of the year.

Although "Wedding Crashers" is at times formulaic, the comic performances raise this movie above par and in lesser hands the main characters could have descended into Rom-Com cliché. The fast-talking machine-gun delivery of Vaughn is the perfect accompaniment to Wilson's laconic style. Their single-guy banter's often painfully accurate, as is the acknowledgement they're both a little too old to be acting so carelessly. There are also some great comic set-pieces too, notably the divorce meeting, the weddings montage, the cringe-worthy football game and the hunting trip.

The supporting cast are also an asset, Christopher Walken expertly walks the tightrope of being both broodingly intimidating and likable, while Rachel McAdams' 'Claire' has a charming vulnerability and an easy-to-fall-in love with quality. Former "Home and Away" pin-up Isla Fisher however, is less convincing.

I admit "Wedding Crashers" is far from perfect, at time situations seem too contrived, the nudity is laughably gratuitous, and Claire's evil fiancée Sack (Bradley Cooper) is an almost too heavy-handed device to make Wilson look good.

But if you can look past all that, and simply accept it for what it is, you're left with a very funny film. 8/10

I Heart Huckabees (2004)

Quirky, Clever, Crazy,

[8/10 · 10 December 2004]

Where do you start when describing a film that covers shopping, philosophy and everything and nothing in between?

"I Heart Huckabees" is a brilliantly quirky movie which ponders the big questions (The Universe, Why we're here) without being short-sighted enough to try and offer up any explanations.

Environmental campaigner Albert Markovski (Schwartzman) hires 'existential detectives' Bernard and Vivian (Hoffman and Tomlin), to investigate his recurring coincidences, but they seem to be more interested in his hate-envy relationship with nemesis and Huckabees ad-man Brad Stand (Law).

Brad's got his own demons to battle with though, including a Shania Twain obsession and a domestic/sexual power struggle with girlfriend and spokesmodel for Huckabees Corporation, Naomi Watts. In turn, Albert gets paired with burnt-out post 9/11 firefighter Tommy (Wahlberg), who's grappling to come to terms with the meaning of life; then a seductive rival French existentialist enters the fray, and all hell breaks loose.

But this movie's strength isn't in the plot. "I Heart Huckabees" sharp, irreverent dialogue, proves that a good script is the bedrock for any energetic farce.

When it comes to performances, Hoffman and Tomlin prove a great understated double act as the private dicks with a twist.

Jude Law's facial gymnastics give way to some strong visual comedy at times, despite a ropey American accent.

But it's Wahlberg who shines in his best role since 'Boogie Nights', and is the notable standout in this strong ensemble cast. Tommy's insistence on riding a bike to the scene of a fire (so he doesn't line the pockets of US oil barons) and a dinner scene where he infuriates his 'God-fearing' hosts are among his best moments.

With 'Huckabees', director David O.Russell's hit cinematic gold, evoking the best traits of Spike Jonze, the Coen Brothers, and Paul Thomas Anderson.

These are most evident in the original visual touches to reflect Bernard's take on the 'Universe as a blanket'.

It won't be to everyone's taste, but if it's an intelligent, off-beat comedy you're after, you can't go far wrong. 8/10

The Grudge (2004)

Grudgingly Passable Horror Flick

[6/10 · 25 October 2004]

If Sarah Michelle Gellar ever admitted to having some kind of pact with the devil, I wouldn't be surprised.

After slaying the living dead in 'Buffy', playing tortuous eye-candy in 'Scream 2' and 'I Know What You Did Last Summer', even unmasking ghosts in 'Scooby Doo' it seems she's happiest when there's something creepy in the air.

'The Grudge' is a remake of a cult Japanese horror flick 'Ju-on-The Grudge', and sees Gellar as 'Karen', an American student living in Tokyo.

Karen helps out at a care home, and when a colleague of hers fails to show for work one day, she is dispatched to a scary house in the hills to look after a woman. It soon transpires that all is not well within those four walls, as the house harbours a violent secret.

Director Takashi Shimizu's first foray into dealing with Hollywood is an admirable one, although there is a worrying familiarity with other recent US reworkings of Asian cinema, notably 'The Ring'. However, where that version succeeds due to the specific channelling of the evil, (ie, a videotape),'The Grudge' falls down due to the vague manner in which the spell manifests itself.

That's not to say there are no redeeming features. 'The Grudge' has strong suspense and heart-stopping shocks throughout, but often there's a sense that they are contrived plot devices which contribute little towards the complete story.

Gellar acquits herself as the frightened Westerner trying to unlock the origins of the curse, but it is young Yuya Ozeki who deserves a special mention for his sinister performance as 'Toshio'.

A little derivative at times, 'The Grudge' nonetheless has numerous scary moments horror lovers will devour, but fans of the original should probably approach with caution. (6/10)

Collateral (2004)

The Ultimate Backseat Driver

[8/10 · 4 October 2004]

Clean-freak Max (Foxx) is an LA taxi driver dreaming of a better life. Safely enclosed within the comfort zone of his cab, he pays regular visits to his hospital-bound mother, and can rattle off ETAs like Rainman counting cards. Smooth-talking Vincent (Cruise) is in town for one night, with five stops to make. Max agrees to provide the ride, but soon discovers that his passenger is a hit-man.

'Collateral' works because of the strength of the performances of the two leads. As a silver-fox assassin in a grey suit, Cruise as Vincent shows little of the perma-grinning all-American hero type we are so accustomed to seeing him do. At times, he does strut around like 'The Terminator', but he brings a human element to a role that could, in lesser hands, have become a cumbersome cliché. (The jazz club scene especially, is a reminder of just how good an actor he is.)

But it is Foxx who truly shines as Max. His portrayal of an everyman trapped in an ever-worsening situation is genuine and brilliantly underplayed. Foxx lays claim for A-list billing in his own right, with a performance which balances heartfelt bravery and vulnerability on a knife edge. For my money, it's worthy of an Oscar.

Credit must also go to Michael Mann's portrayal of melancholic night-time Los Angeles. Brooding skylines and gloomy lighting helps accentuate 'Collateral's palpable moments of suspense.

The interactions between Max and Vincent are where the movie really comes alive. The characterisation owing much to Stuart Beattie's script, which proves there is justifiable room for humour in slick thrillers.

'Collateral's a stylish, yet fun action movie that will keep you thinking long after the credits roll. 8/10.

Narc (2002)

Cerebral Cop Thriller

[9/10 · 22 September 2004]

The good-cop-bad-cop pairing in movies is so well-worn, that it has practically become a Hollywood institution. Thankfully 'Narc' powerfully smashes the stereotype.

Persuaded back into active service by his bosses, ex narcotics cop Nick Tellis (Jason Patric) finds himself investigating the murder of a fellow officer alongside live-wire new partner Henry Oak (Ray Liotta).

The coupling of Tellis and Oak feels so realistic, you actually understand each character's resentment at being pitched together.

It's this natural mistrust which erases the legacy of Lethal Weapon style buddy relationships, and instead harks back to classic '70s cop movies such as 'Serpico'.

'Narc' bristles with energy, from its heart-stopping hand-held opening chase to its brutal, bloody showdown, all the while framed by cold claustrophobic street scenes.

Director Joe Carnahan probes deep into the characters to discover what drives these men to lay their lives on the line, day in, day out.

It helps that the performance of both leading men is superb. Patric's troubled, introspective Tellis is torn between his loving family and his empathy for the dead undercover cop.

However, it's Liotta - Oak by name, oak by stature - who dominates the film with a career-best performance. Intimidating and brutal but never inhuman, he forces you to remember just how powerful a cinematic presence he can be, given the right material.

'Narc' is a fast-paced, original, gritty thriller that will leave you wanting another fix. 9/10

Without a Trace (2002–2009)

Slick FBI Drama

[24 August 2004]

"Without A Trace" is my guilty secret.

Solidly acted, with clever plot twists, it's an above average US cop show where FBI agents track down missing persons. Why then, do I almost feel bad about owning up to liking it? The answer lies in the very smooth nature of the show. Jerry Bruckheimer's big-screen intellect translated into television, proves disarmingly seductive.

There is nothing ground-breaking stylistically. Told through a series of flashbacks, each storyline adds sufficient weight to the plot to add a new line of inquiry to the FBI presentation board.

The cast, are key to building the tension. Interestingly for a US show, three of the lead actors aren't American. (La Paglia and Poppy Montgomery are Australian, while Marianne Jeanne-Baptiste is English)

Although led by De Niro lookalike La Paglia, "Without A Trace" is very much an ensemble piece, with every character battling to stamp their authority on each case.

I admit the dialogue strays into cop-show cliché occasionally, but this is the unashamed glory of watching it - Big movie sensibilities condensed into an hour of TV.

In spite your better judgment, on Monday nights, you will end up caught up in the urgency and willing Jack Malone's team on.

Dodgeball: A True Underdog Story (2004)

Bounces Along Nicely

[7/10 · 16 August 2004]

Remember "Rocky"? "Escape to Victory"? or even "The Karate Kid"?

As much as I love these and countless other sport-related films, there is always a nagging problem - they take themselves far too seriously.

From the initial defeat to the final, against-the-odds triumph, the reverence for competitive sports is carried like a religious icon.

The antidote to all this, is this hilarious debut from writer/director Rawson Marshall Thurber. Grounded in a smart and self-aware script, Dodgeball's gags come fast and frequent, as Vince Vaughn's band of losers are transformed into a team of ball-dodging allstars.

Vaughn, as Peter LaFleur, at times shows touches of the 1980's Bill Murray-style wise-cracking everyman.

Gary Cole and Jason Bateman too, put in a brilliantly accurate portrayal of the banality of sports commentary.

A queue of cameos have varying levels of success. (Hasselhoff - good, Lance Armstrong - bad.)

But it is Ben Stiller who steals the show. His narcissistic fitness fascist White Goodman with bouffant blonde hair and Village People 'tache has all the best lines. "Nobody makes me bleed my own blood".

Dodgeball is unpretentious, shameless, silly, and all the better for it.

Twisted (I) (2004)

Cop Movie By Numbers

[18 June 2004]

I'm alway wary about films I've never heard of, which still boast an A-list cast. "Twisted" goes a long way towards reaffirming my fears.

Ashley Judd, Samuel L.Jackson and Andy Garcia have all excelled in their own right on the big screen, but disgrace themselves fantastically here.

Predictable from the off, it's a checklist for every "cop hunting serial killer" ruse I've ever stumbled upon. Cliché upon cliché is wheeled out and the dialogue is at times cringe-making.

Judd's "tough" cop Jessica Shepard is a laughable cardboard caricature. (We know how hard she is by the way she's the only gal knocking back beers with boys).

Garcia dashes around like a cut-price Al Pacino in "Insomnia", barely getting into second gear of the swarthyness he normally does so well.

You've heard of actors "phoning-in" performances? Well, Samuel L.Jackson TEXTS in a turn which is certainly less than GR8.

It's not that Twisted is a bad rotten tomato of a movie, it's just that we've seen it all a thousand times before and done a thousand times better.

Seriously, if it's suspense you want, stick to "Diagnosis Murder".