Ice Age: Dawn of the Dinosaurs
Ice Age: Dawn of the Dinosaurs opens with the stitched-together prehistoric family about to become a biological one: Manny (voiced by Ray Romano) and his mate Ellie (Queen Latifah) are expecting a baby mammoth. Unfortunately, this makes Sid the sloth (John Leguizamo) and Diego the saber-toothed tiger (Denis Leary) feel left out. Diego, who worries he’s losing his edge, decides to head out on his own, while Sid adopts three suspiciously large eggs that he’s found through a crack in the ice. Up to this point, the movie is perilously sappy–does anyone, particularly a kid, want to watch a kid’s movie about parenthood and impending middle age? Fortunately, the eggs turn out to be dinosaur eggs from a pre-mammalian underworld, and when the mama T-Rex comes to rescue her rambunctious little ones, Ice Age: Dawn of the Dinosaurs transforms into a delightful comic adventure. The emotional side of the Ice Age movies has always been a tad mawkish, so it’s smart that Dawn of the Dinosaurs emphasizes physical comedy. Clearly, the animators have been inspired by a wild fusion of Road Runner cartoons and Buster Keaton. The character of Scratte, with his non-verbal, monomaniacal efforts to get that last acorn (doubled in this movie with the addition of a female counterpart), is only the most obvious reflection of this sensibility. The animators have great fun with the differences in scale between the mammals and the dinosaurs, and the introduction of a deranged Australian weasel named Buck (Simon Pegg, Shaun of the Dead) pushes everything into Loony-Tune territory. Let Pixar tug at our heartstrings; Ice Age aims to tickle the funny bone and does a fine job of it
Good Hair
When one of Chris Rock’s young daughters asked him an innocent question about having “good hair,” the comedian probably had no idea just how complicated the answer would be. Fortunately for us, he decided to find out, and the result is this funny, informative, and highly entertaining documentary of the same name. Turns out that for a great many African-American women (and quite a few men, too), “good hair” means “white hair”–i.e., straight and lanky–while the natural or “nappy” look is bad. And oh, the lengths and expense women will go to in order to get “good hair”! In the course of the film, which was directed by Jeff Stilson and cowritten by Rock and several others, Rock first travels to Atlanta, home of the Bronner Brothers Hair Show, where thousands of folks buy and learn how to use new products (the show is also the site of the outrageous and climactic Hair Battle Royale, in which four stylists compete for money and fame). It’s there that he learns about sodium hydroxide, better known as hair “relaxer,” the “nap antidote,” or the “creamy crack” (as effective as the chemical substance is for straightening hair, it can also be highly dangerous). In Harlem and Los Angeles, he investigates the extraordinary popularity of hair weaves, which can cost tens of thousands of dollars annually to create and maintain; Rock even goes to Madras, India, source of most of the hair used in weaves (for Indian women, tonsure, or shaving their heads, is a ritual act of self-sacrifice). Along the way, Rock interviews a great many young women with fabulous hair (including actresses Nia Long, Raven-Symoné, and Kerry Washington, and rappers Salt-N-Pepa), but he also talks to the esteemed poet Maya Angelou, as well as men like rapper-actor Ice-T and the Reverend Al Sharpton. Sharpton, who is very amusing (he’s referred to as “the Dalai Lama of relaxed hair”), is about the only celeb who touches on racial issues, pointing out that while it’s African Americans who use the overwhelming majority of these hair products, the companies who sell them tend to be owned by Asians. Some viewers may object to the film’s lack of a strong socio-political stance, but others will no doubt prefer the lighter touch, including a hilarious discussion at a barber shop about dating women with hair weaves (basically, it’s “hands off the hair, pal”).
Coraline
A dark and creepy film about family relationships directed by Henry Selick of Nightmare Before Christmas and James and the Giant Peach fame, Coraline is based on the haunting book Coraline by Neil Gaiman. The first stop-motion feature shot in stereoscopic 3-D, Coraline features big-headed, stick-bodied animated characters with huge eyes and demonic grins set against menacing backgrounds and an undercurrent of spooky music. Coraline is a teenager who has just moved to an old house in the middle of nowhere with her writer parents and she is bored, bored, bored. Her only companions are an annoyingly talkative boy Wybie (short for Why Born), some eccentric neighbors from the theater and circus, and a strange, button-eyed doll with a marked resemblance to Coraline which Wybie found in an old trunk of his grandmother’s. When Coraline finds an old door hidden behind an armoire and papered over with wallpaper, she convinces her mother to unlock it, only to find a wall of bricks. When Coraline revisits the door later that night, the bricks magically disappear and she discovers a strange pathway to another world where everything is just what she wishes for. In stark contrast to the real world where Coraline’s parents just don’t have time for her, her “Other Mother” and “Other Father” in this alternate world are the perfect loving, attentive parents who anticipate her every need and desire. Initially comforted and quite happy in this new world, suspicion that things may not be quite as they seem grows inside Coraline and her disquiet is furthered by the mute “Other Wybie” and a strange-talking cat that seems to move between both worlds. Eventually, Coraline discovers some dark secrets about her “other parents” and the seemingly perfect “other world,” but it may be too late for her to escape back to the real world. Teri Hatcher is especially effective in her dual (voice) role as Mom and “Other Mom” and Dakota Fanning also gives a great performance as Coraline. Coraline is a disturbing, intriguing film that both captivates and frightens.
Jennifers Body
There’s always a good girl and a bad girl in a movie like Jennifer’s Body–but in this case the good girl is crazy and the bad girl is way, way evil. At least somebody thinks good girl Needy (Amanda Seyfried, from Mamma Mia!) is crazy: when the movie begins she’s narrating from a psychiatric hospital, and the rest of the film is a flashback that explains her incarceration. It’s all connected to longtime friend Jennifer (Megan Fox), a saucy high-school temptress, who mysteriously survives a horrific night out and transforms into a supernaturally powerful force with a taste for human blood. There’s certainly some genre kick to this stuff, almost none of which is played straight–how could it be, with Oscar-winning screenwriter Diablo Cody penning the script? Yes, all those crackly, slang-peppered one-liners you loved (or hated) in Cody’s Juno are back, with a vengeance. There’s actually something more honest about the nastiness of the dialogue in Jennifer’s Body, which at least doesn’t try to corkscrew back into the heartwarming ambitions of Juno. Among the targets of Cody’s satire are Needy’s nice-guy beau (Johnny Simmons), a one-armed toupeed teacher (J.K. Simmons), and a satanic rock singer (Adam Brody). The raging hormones and bodily changes of teendom have always lent themselves to metaphorical usefulness in horror movies, but Cody doesn’t ring many new changes on the device, beyond the brutal hilarity of her dialogue. That leaves us with showroom-ready Megan Fox, whose buffed sheen is just right for her soulless character.
Unleashed
Luc Besson wrote and directed the stylish thrillers La Femme Nikita and The Professional; though he didn’t direct Unleashed, the script has his trademark fusion of outrageous sentimentality and over-the-top violence. Hong Kong action superstar Jet Li (Romeo Must Die, Hero) stars as Danny, a man raised to be a brutal attack dog by a nasty gangster named Bart (Bob Hoskins, Mona Lisa)–when Bart removes Danny’s collar, Danny pulverizes everyone in the room. But a chance encounter with a blind piano tuner (Morgan Freeman, Million Dollar Baby) reveals to Danny the possibility of a less brutal life, and when a retaliation attack gives him the chance to escape, he does–but Bart won’t let him go that easily. The fighting in Unleashed is effectively jolting; Li and fight choreographer Yuen Wo Ping (The Matrix) have purposefully stripped away the smoothness of most movie combat (especially with a genuine martial artist like Li) with raw, unnerving results, especially when juxtaposed with the sweet and earnest scenes of Li regaining his humanity with Freeman and his step-daughter (Kerry Condon). This freewheeling cocktail of bloody noses and ice-cream cones isn’t for everyone, but fans of both Besson and Li will leave satisfied.
The Pursuit Of Happyness
A heartwarming film that demonstrates how good, hard-working people can become homeless almost overnight, Pursuit of Happyness is a tour-de-force showcase for Will Smith, who convincingly portrays a down-and-out dad trying to better his family’s life. Smith, who usually is cast in effortlessly boyish roles (Men in Black, Independence Day), is wonderful in the film–even in the scenes that shamelessly tug at viewers’ heartstrings. Based on the true-life story of Chris Gardner, a San Francisco salesman forced at times to shelter his young son (played by Smith’s adorable look-alike offspring Jaden Smith) in a men’s room, there is little suspense to the film in terms of Chris’ outcome. (His story and eventual success a successful and wealthy Chicago businessman was well-publicized on the newsmagazine show 20/20.) And let’s face it, Hollywood’s not too keen on making feel-good movies with unhappy endings. The beauty (and suspense, to a certain extent) of this film is in the way the story is told. Though he is constantly rushing around to get to appointments and pick up his child, things do not happen quickly for Chris. When he accepts an internship with a prestigious stock brokerage firm, there’s a catch: The position is unpaid, suitable more for trust-fund children than single parents with no other source of income. In many scenes, the viewer panics along with Chris, wondering how he’s going to feed his child. While Smith and his son, Jaden, share many tender moments together, Thandie Newton has the thankless role of playing Chris’ shrill wife, who deserts her family early in the film. It’s not a particularly challenging part for the talented actress, and her departure doesn’t impact the storyline much at all. As for the movie’s misspelled title, it’s inspired from a scene in the film. (Seeing a mural drawn by the children at a daycare center, Chris points out to the proprietor that “happiness” is spelled incorrectly. She notes that it doesn’t matter how the word is written–just that the kids have it.) With Pursuit of Happyness, Smith has come out of his safety zone and, in turn, ends up playing his most heroic role to date.
