BE COOL (*½)
It was only a matter of time until we got to the GET SHORTY sequel, BE COOL. And though Chili has returned, he has been defused, straying in events and interacting with unworthy adversaries that underwhelm his authority. Here is a movie that doesn’t have a clue on how to emulate its predecessor. It thinks it can leave its wildly eccentric characters and clever lines on the screen for us to laugh at. But once our smiles fade, we are left to our own devices. What a bore.
DOMESTIC DISTURBANCE (*½)
It looks like John Travolta is in trouble again. He's best known for his slick teenage-idol singing Danny Zuko in GREASE, and his disco-dancing underdog Tony Manero in SATURDAY NIGHT FEVER. His career went into a nosedive for the next few years (many consider Perfect probably the worst movie ever made) and was miraculously resurrected with his funny gritty performance in PULP FICTION. He was Hollywood's comeback kid, and for a while, he could do no wrong (great choices in doing GET SHORTY, PHENOMENON, MICHAEL, FACE/OFF, PRIMARY COLORS, and A CIVIL ACTION). Now he seems to be spiraling again (remember THE GENERAL'S DAUGHTER, LUCKY NUMBERS, and the horrid BATTLEFIELD EARTH?). He's still a Hollywood superstar no doubt. I liked his performance in Swordfish, but I hope he gets back on track, because he can add another film to his bad-movie list with his latest, DOMESTIC DISTURBANCE.
DRAGONFLY (*½)
The hardest movies to write about are the ones that are most bland. They have everything in place, but fitting the pieces into a valuable whole has been botched in some places. DRAGONFLY more than fits the profile. It has an interesting storyline, good actors, and a decent script, but the whole project seems lifeless and tacky. It marks a very very low point in Kevin Costner's career which seems to be spiraling further and further down the drain. How the mighty have fallen.
ELEKTRA (*½)
The movie’s core premise has promise. Elektra and Abby Miller, the girl she opts to protect, have both lost their parents to murderous forces, all for the sake of exploiting their abilities. Seeing a strong warrior wish to save a young adolescent from ill fate would not be unwelcome. But the movie is filled with confusion, convenience, and contradiction. At almost every turn, ELEKTRA wishes to distract us from its glaring deficiencies. Despite its impressive look and impassioned performance from Jennifer Gardner, the movie’s weaknesses are unforgivable.
MISS CONGENIALITY 2: ARMED AND FABULOUS (*½)
The moment I saw the trailer for MISS CONGENIALITY 2, I had no doubts of its demise. Its predecessor was a somewhat charming creation that didn’t have the nerve to satirize its subject. Now we have this follow-up that bleeds obviousness in lethal amounts. When Michael Caine, Benjamin Bratt, and Candice Bergen all opt out of appearing in your sequel (Ms. Bullock is the film’s executive producer), you should take a hint.
WHITE NOISE (*½)
I believe that a movie’s worth does not depend on what its subject is, but how. Any topic can be made into a movie, no matter how ludicrous, controversial, or repulsive it might be. But how a film presents its subject matter usually (if not always) determines its worth. That said, a film on EVP (Electronic voice phenomena) could be somewhat intriguing (I’d like to see a documentary about it), but if WHITE NOISE is the best attempt EVP proponents can muster, it isn’t very encouraging.
WINDTALKERS (*½)
Talk about wasted opportunities. Most of the time, I really dislike films that market themselves as one thing, but turn out to be something totally different. The WINDTALKERS' trailer talks up a storm on how it takes a look on how the Navajo gave a significant contribution to the Allied victory in the Pacific during World War II. Yet it is nothing of the sort. It is a silly action movie told through the eyes of a Caucasian, and hardly takes the perspective of the American Indians he's supposed to protect.
