Bolt
Bolt is a funny animated film about a dog who thinks he has superpowers. It is also a movie about friendship, perseverance, and the power of believing in oneself. Everyone knows that superheroes on television are not real, but super-dog Bolt (John Travolta) is a canine star who has been carefully raised to believe that he really possesses superpowers. Bolt is completely devoted to his human co-star Penny (Miley Cyrus), so when Penny is captured by the evil Dr. Calico (Malcolm McDowell) in their latest television episode and then Bolt accidentally gets loose in the real world, Bolt sets off on a journey to save her. Bolt is confounded when his super powers are suddenly ineffective, but inspiration strikes and Bolt quickly discovers the mysterious, power-stealing effects of Styrofoam packing peanuts. An encounter with alley cat Mittens (Susie Essman) gives Bolt some eye-opening lessons about being a real dog in the real world, while star-struck, ball-enclosed hamster Rhino (Mark Walton) revels in the opportunity to serve as Bolt’s sidekick in the quest to rescue Penny. The trio traverses the United States from waffle house to waffle house on a hysterical quest to find Penny and prove that the relationship between Penny and Bolt is real. In the end, Bolt, Mittens, and Rhino learn that everyone is special in their own way and they discover the true power of believing in oneself and one’s friends. Select theaters showed Bolt in Real-D 3-D which features some nice effects, but the film is probably equally enjoyable in the traditional format. A fun film with a nice message and a huge dose of cute, Bolt is good entertainment for the entire family.
Defiance
Three ferociously committed actors fill the roles of the Bielski brothers, Jewish partisans who escaped into the forests of Eastern Europe during the Second World War. Daniel Craig (taking a break from 007 duty) is Tuvia, the leader of a group of refugees who eventually number over a thousand; Liev Schreiber is Zus, the antagonistic warrior; and Jamie Bell is Asael, a peacemaker no less devoted to the survival of the community. The three performers give life to director Edward Zwick’s account of this little-known chapter of Jewish resistance to the Holocaust, which otherwise plays more like a history lesson than a full-blooded movie. The film’s best achievement is its strong location work, in Lithuania–as the community makes its home in the forest, the landscape becomes an important player in the drama at hand, and the changing of the seasons is charted with bone-chilling detail. Schreiber manages to get a little wry humor into this otherwise sober enterprise, and Daniel Craig creates an unusual character: a sort of anti-Bond, a hero whose body is all too fallible and whose decision-making is sometimes hesitant or morally compromised. It’s a rare hero in a World War II movie that tends to withdraw from scenes rather than stride into them, but that’s what Craig does. More than likely, the movie’s main achievement will be sending the curious to read the histories of the Bielski brothers and why they matter in the chronicles of the Holocaust.
Norbit
Eddie Murphy stars and stars in this very broad and raucous comedy that finds the Oscar-nominated Dreamgirls actor revisiting the multiple-character shtick that worked so well for him in Coming to America and The Nutty Professor. The latter’s makeup-effects artist, Rick Baker, once again transforms Murphy into a variety of grotesques and caricatures, including the hugely fat, monstrous Rasputia, the Asian Mr. Wong, and the timorous Norbit, a nervous orphan raised by Wong and married to Rasputia. The latter, a member of a construction family with a plan to turn Wong’s orphanage into a strip club, is a relentlessly narcissistic shrew who puts the screws on Norbit at every turn, especially when he rediscovers his love for an old friend, Kate (Thandie Newton). Kate’s wish to buy and maintain the orphanage herself is secretly compromised by her fiancĂ© (Cuba Gooding, Jr.), who is in cahoots with Rasputia’s family and using Norbit to further their agenda.
Unaccompanied Minors
A comedy aimed at the inner kid in all of us, Unaccompanied Minors provides a few laughs and some good acting by its young thespian stars. But the hyuck fest doesn’t offer enough substance, or even some so-bad-it’s-good vignettes, to hold the viewer’s interest for long. The film takes place at an anonymous midwestern airport that has been snowed in. A handful of minors traveling unaccompanied by parents or guardians are left under the supervision of an overworked and easily overwhelmed airport employee (Wilmer Valderrama, That ’70s Show). At this airport, terrorism takes a back seat to the trouble caused by these little terrors. The kids are surprisingly good in roles that don’t ask them to do much more than be cute, obnoxious, and cute again. Tyler James Williams (Everybody Hates Chris) is particularly engaging as a brainy kid who’s got some good dance moves to show off. As for the adult actors, none really stand out except for the Kids in the Hall trio (Bruce McCulloch, Kevin McDonald, Mark McKinney), whose collective portrayal of bumbling security guards makes you laugh despite your better judgment.
Hannibal Rising
Though Hannibal Rising’s Lecter (Gaspard Ulliel) is a pussycat compared to Anthony Hopkins in Silence of the Lambs, this sequel’s story of revenge is grizzly enough to satisfy lovers of Thomas Harris’s epic tale. After young Hannibal (Aaron Thomas) is forced to watch his little sister, Mischa (Helena Lia Tachovska), devoured by starving soldiers in his homeland Lithuania, Hannibal vows to avenge his sister’s death by slaying those who committed not only war crimes against the Lecters, but also against other families during WW II. In detailing Hannibal’s revenge plan, the film investigates the psychological implications of witnessing cannibalism to justify Hannibal’s insatiable appetite for human flesh. The most interesting aspect of Hannibal Rising—its analytical connections drawn between Hannibal’s childhood traumas and his murderous adult obsessions—is also the film’s weak point. The links oversimplify Lecter’s complex character. For example, though titillating to see flashbacks of Lecter’s sister hacked up and boiled while Lecter visits a Parisian meat market, the reference is too obvious. One learns why he excels in his medical school classes dissecting cadavers, and we’re given explicit explanation for why he slices off and eats his victims’ cheeks. The story only complicates when Hannibal interacts with his sexy Aunt, Lady Murasaki (Gong Li). When Murasaki educates him in the art of beheading, the viewer sees Hannibal’s sword fetish as a manifestation of physical lust.
