Toy Story 3 (2010)

 TOY STORY 3 (2010).
Directed by Lee Unkrich. Written by John Lasseter, Andrew Stanton, Lee Unkrich and Michael Arndt. Voiced by Tom Hanks, Tim Allen, Joan Cusack, Michael Keaton, Don Rickles, Estelle Harris, John Ratzengerger, Laurie Metcalf, Timothy Dalton, Bonnie Hunt, Whoopi Goldberg, R. Lee Ermey and Jeff Garlin.

Plot: Most of Andy's toys are back as Andy himself, now 17, prepares to leave for college, while they are mistakenly taken to a day-care center rather than his attic.

What do you call the sequel of a sequel, an animated feature for kids that doesn't pander to parents with double-entendre jokes or easy toilet humour, voiced by actors who haven't been given a challenging role in over a decade, that inspired a whole slew of theme park rides and is 11 years removed from the last installment of its series? Easy: one of the year's five best - and most touching - films, and the best Toy Story yet.

The animation itself is top-notch again, the characters are given so much life and are voiced so superbly that you get more attached to them than you would your standard live-action Hollywood underplayed and under-developped character. New characters are also introduced, and each of them is singular, has a personality of its own and is different from any character in the film series so far.

I don't want to give away too much of the storyline, but seriously, I didn't believe they would be able to come close to the other movies, let alone top them - and they did so by a clear margin. And it's not like the first two movies weren't stellar in their own way, either. This one is just far deeper and more captivating emotionally.

Perhaps the best Disney-related film of all time? Could very well be...

4.5/5

The Dukes Of Hazzard: The Beginning (2007)

THE DUKES OF HAZZARD: THE BEGINNING (2007).
Directed by Robert Berlinger. Written by Shane Morris. Starring April Scott, Jonathan Bennett, Randy Wayne, Willie Nelson, Sherilyn Fenn, Christopher McDonald, and Harland Williams.

Plot: Outlaw cousins Bo, Luke and Daisy Duke - from the 70s TV show and 2005 movie get the prequel treatment.

It's a wonder why this film went straight-to-video and didn't get a proper theatrical release, seeing as it has everything a Hollywood studio craves these days: it's a prequel, preserving a brand name that Warner Bros. believes is worth something, serves as a vehicle for a young up-and-coming actress/model (and, who knows, maybe eventually a singer?) in Jessica Alba-lookalike April Scott, stars two talented character actors playing the most cliché'd roles possible (Christopher McDonald and Sherilyn Fenn), a musician (and lone survivor of the first film, Willie Nelson) and a comedian known for his supporting roles in ensemble casts (Harland Williams).

Except Williams should be used in small, 30-second doses and not be relied upon to provide constant comic relief as the second-in-command stupid evildoer, especially considering he hasn't been asked - and therefore practiced - being in any type of leading role in over a decade, and comedy has evolved leaps since.

Additionally, it's hard to judge whether Jonathan Bennett and Randy Wayne are responsible for most of their jokes falling flat, or if screenwriter Shane Morris should be to blame for the too-obvious platitudes he came up with while watching reruns of terrible 60s shows and smoking pot in his parents' basement. I understand the stars of the show are the General Lee and Daisy Duke's shorts, but there are much better ways to use them than by focusing on ''the plot'' in which the clear villain is devising a plan that involves the one place you learn about in the first 15 minutes of the film that ''no one is allowed to go to''; Jesus Christ, that's not writing about a car and clothes, it's writing so the car and clothes can understand the fucking film. A toddler who can barely say the word ''mamma'' would understand this right off the bat - at least fill the rest with fun, humour, eye candy - something. Anything.

The movie's sole salvation comes from unexpected places: Joel Moore as Cooter is somewhat of a scene-stealer (as much of a scene as there can be to steal) and Gary Cole as the story's narrator, the voice fits perfectly. And a few models such as Scott and Trishelle Cannatella to relax your eyes while your brain attempts to convince you of your own death. And Fenn was her usual self in a role that was way too easy for her, but her name doesn't even appear on the back of the DVD - probably at her request. And I fully understand why.

1/5
Buy it here.

The Runaways (2010)

THE RUNAWAYS (2010).
Directed by Floria Sigismondi. Written by Floria Sigismondi. Starring Kristen Stewart, Dakota Fanning, Scout Taylor-Compton, Michael Shannon, Tatum O'Neal, Riley Keough, Stella Maeve, Alia Shawcat, Johnny Lewis, and Brett Cullen.

Plot: Manufactured all-girl teen rock band The Runaways' rise to fame and fall from grace through the eyes of Joan Jett and Cherie Currie, barely acknowledging Lita Ford's existence.

But maybe that's the way it was, and Ford only became big on her own, in the hair-metal '80s.

In any event, this is a pretty standard biopic with an interesting subject matter; it's not as 'artistic' as Control, but it's more faithful to the accepted storyline than JFK. It's written and told in a pretty straightforward manner, but when you're familiar with the characters being played, you can't help but tip your hat to the quality of the acting in the movie, particularly Michael Shannon as Kim Fowley and Kristen Stewart as Joan Jett. As a matter of fact, I wouldn't be surprised to see Stewart nominated for an Oscar and walking away with a Golden Globe; she has Jett down to a T.

Dakota Fanning does a commendable job as drug-addled lead singer Cherie Currie, but Stewart and Shannon upstage her every chance they get - and that's pretty often.

It's too bad the film was based solely on Currie's autobiography and was produced by Jett - it skims through the other characters' roles in the making of this band too quickly, perhaps leading to the audience missing out on key elements that needed to be told. As such, it's close to being the female equivalent of Oliver Stone's The Doors, which focused a little too much on Jim Morrison's antics.

3.5/5

Robin Hood (2010)

ROBIN HOOD (2010).
Directed by Ridley Scott. Written by Brian Helgeland. Starring Russell Crowe, Cate Blanchett, William Hurt, Max Von Sydow, Oscar Isaac, Mark Strong, Danny Huston, Eileen Atkins, Léa Seydoux, Kevin Durand, Matthew Macfayden, and Mark Addy.

Plot: Before Robin Hood was an outlaw, he was... an outlaw. But before that, he was a star archer on the King's Crusade.

And that's pretty much the essence of it. Ridley Scott claimed he was doing a prequel to the oft-told story of Robin Hood (here played by Russell Crowe), with a twist; his twist seems to have been that both King Richard The Lionheart and his heir Prince John had, in a short time span, and without one another's knowledge, made him an outlaw, Richard even pretty much given him the death penalty.

And the movie is less a re-telling than a Gladiator-version of an explanation on how Robin took Marion Loxley's heart (a terrific Cate Blanchett), rounded up his misfit gang of Merry Men, and played on the nerves of both the Sheriff of Nottingham (Matthew Macfayden) and Prince John (a marvelous if cliché'd performance by Oscar Isaac).

Expect thousands of extras fighting in epic battle scenes shot on location with surreal environments and buildings made just for this movie. But don't expect anyone to upstage either Crowe or Blanchett - whether it's their sheer raw talent or an editor's work, there is no scene-stealer among the supporting cast, despite Mark Addy giving it a decent go as Friar Tuck. Even William Hurt and Max Von Sydow are just filler for a back-story that didn't really need to be told.

3.5/5

The Trotsky (2010)

THE TROTSKY (2010).
Directed by Jacob Tierney. Written by Jacob Tierney. Starring Jay Baruchel, Emily Hampshire, Geneviève Bujold, Colm Feore, Saul Rubinek, Michael Murphy, Liane Balaban, Taylor Baruchel, Anne-Marie Cadieux, Tommie-Amber Pirie,and Jessica Paré.

Plot: Leon Bronstein is a high school student who thinks he's the reincarnation of Leon Trotsky. Thus he attempts to unionize his father's packing plant, and then his high school student association, all while pursuing an older gal named Alexandra.

So, in essence, it's a teen comedy with a background in romantic comedy. Fine. But it's also much more than that.

Contrary to most teen comedies, it has substance - not just the direct allusions to The Battleship Potemkin (which many will actually think references Rosemary's Baby) but also the life story of one of History's most inspiring people, all the while not spelling them out completely to the audience. Such lines as ''Are you my Stalin, Dwight?'' go unexplained, so those not familiar with the Bolchevik Revolution of 1917 and Soviet history until the 1950s might need to research a little to get it. Which, by all means, is refreshing.

And contrary to most romantic comedies, this one asks, mid-way, if the main character actually knows if the feeling he has inside is actually ''love'', which bears some kind of reflection since he really does look more like a stalker at that point.

And that's precisely where this film is successful - the ''he'': sure, the actors are well-directed and the screenplay is witty, funny and smart, but Jay Baruchel carries it with an aplomb that is usually lacking in both those kinds of films. As such, it's much closer, in spirit, to terrific indie ensemble pieces like Little Miss Sunshine, Sideways or The Hangover. And he's supported by a cast who understands this and helps bring him up - Colm Feore is the perfect enemy in an asshole principal, Saul Rubinek as the tough father, Anne-Marie Cadieux as the too-good stepmom, Tommie-Amber Pirie as the sister who'll follow him anywhere, Michael Murphy as the reluctant advisor, and of course Emily Hampshire as the love interest.

Another thing that differentiates this film from any other in their respective genres is its ''now'' factor. While most romantic comedies follow a pattern of ''oh no / oh maybe / oh yes / OH YES!'' and teen comedies have the good girl, the bad girl, the recluse who wants the girl, the token black guy and other clichés from the 50s that would make you believe West Side Story and Grease were actually any good and/or true, this film deals with modern-day North America, families - and just about everybody - who speak two languages (or more), Idealism Vs Realism, token Arab guys replacing token black guys, and every character worth naming in the film having an actual story that isn't an arc but a constant - an evolution without deviation. The wanna-be-cool friend doesn't get the girl - he's gay; the fat recluse isn't less shy as the movie ends; the principal doesn't actually learn his lesson - he's just one-upped - but he doesn't go to jail, either.

And, best of all, it's set in one of the 3 actual places where all these things do happen, but not the two we see all the time  - L.A. and New York. No, this time, it's set in Montréal, who proves it can be more than just a haven for terrorists in films.

4/5

Cop Out (2010)

COP OUT (2010).
Directed by Kevin Smith. Written by Robb Cullen, and Mark Cullen. Starring Bruce Willis, Tracy Morgan, Guillermo Diaz, Kevin Pollack, Adam Brody, Michelle Trachtenberg, Jason Lee, Rashida Jones, Seann William Scott, Ana De La Reguera, and Juan Carlos Hernandez.

Ooh, a tribute to 80s buddy-cop movies! Ooh, Bruce Willis! Guillermo Diaz as the bad guy! Directed by Kevin Smith!

Oh, but Smith didn't write it. Hmmm. And Tracy Morgan? He reminds me of Bernie Mac - he's not as funny as he thinks he is, nor as someone somewhere thinks, and he seems like he's always reading his lines, they don't come out instinctively. And Kevin Pollack - this guy still makes movies? We're a long way past The Usual Suspects now... if it wasn't for Willis and his hitman comedies, I think everything he makes now would be direct-to-DVD. Still, let's give it a try...

Plot: a down-on-his-luck cop with an idiot for a partner needs to sell his prized baseball card to not suffer the embarrassment of having his ex-wife's new husband pay for his daughter's wedding. But the card gets stolen. And by attempting to recover it, the cop kind of starts a war with drug (and human) traffickers.

Oh, boy.

It starts off fine, with Tracy Morgan quoting what seems like 100 different Hollywood movies in 90 seconds, almost overshadowing Bruce Willis, but it doesn't stick. Furthermore, as the film moves along, this supposedly film buff stops quoting films altogether, even when it'd be obvious to, as when he and Willis are in a car (sitting in front) with Seann William Scott in the back seat, and Morgan's wielding a gun and waving it everywhere, reminiscent of the ''dead nigger'' scene in Pulp Fiction. But no.

And it seems like every ten minutes, the movie becomes less and less realistic, as if it started as a tribute to the Lethal Weapon series but delved more and more into the parody realm. Guillermo Diaz is convincing as the menacing villain, although his role is pretty much identical to the one he plays in Weeds.

This isn't a bad film by any stretch of the imagination - it just isn't very good, either. So Smith's talent is wasted, as is Diaz'. And Willis', but that isn't a first. And to think Robin Williams and James Gandolfini were originally slated to star in this... now that would have been a piece of crap! For pop culture junkies, the first 15 minutes of the film are a delight, for ''Willis will save us one at a time'' fans, this could also prove satisfying. For a stupid good time, if all your other choices are not available to rent, this might be a decent choice. This will probably get some undeserved Razzie nominations, but big stars like Willis are used to this by now.

3/5

Lost Myths / Rick Trembles' Motion Picture Purgatory

Talk about symbiotic - a post I can put in 3 different blogs - my regular one, my collectibles one, and my film criticism blog!

Last night, I went to a show at the Fantasia Film Festival called Lost Myths, a dual slideshow/storytelling performance, with the first half consisting of texts and narration by Claude Lalumière over art by Rupert Bottenberg, and the second half consisting of an oral history of Rick Trembles' autobiographical film criticism comic strip Motion Picture Purgatory, that runs in the Montreal Mirror and often has Trembles himself in them, and at times also mentions his ''weird punk'' band American Devices (whom I have featured in my Video Of The Week segments here); the MPP is kind of a cross between film criticism, the honesty and autobiographical themes of Harvey Pekar's American Splendor series (especially those with the art of Robert Crumb) and the sex scenes of Caligula - with more shit - literally - and a sensibility for humour reminiscent of Hunter S. Thompson's.

Since the show was part of Fantasia, I'd classify the 'performance shorts'' as short ''films'', as it was, indeed, an audiovisual feast for both the eyes and ears. I did enjoy the Lalumière/Bottenberg piece, as it was a fun and innovative look at how myths may have been written in the first place, but the (perhaps Bible-like) repetitiveness of them became an issue after the first half-dozen or so, seeing as (too) many of them had a baby-God born from an unworthy mother who would die during childbirth; unless that is a real-life issue Lalumière is trying to deal with through his art, it had run its course and become redundant way before the last story. But the storytelling itself, tongue-in-cheek and with a certain beat, was fun - and the art was beautiful. Most of the images would make awesome gig posters.

But the true headliner of the night, the one who got the loudest applause, was without a doubt Trembles. His work for the Mirror is read by some 300,000 people weekly, and since he incorporates his own life into the strips, we all know he is in his second stint with them (since 1998), as they had also published him in the 80s but fired him when they deemed one of his pieces to be too controversial and obscene. He - again - told us all about it, with a few strips shown to emphasize his points, but he also delved into his past, such as the fact that his father had also been a cartoonist, and who his influences were.

Of course he also talked about his band, and about a few short films he made. Once it was all over, he even took the time to show us the three animated shorts he made: God's Cocksuckers - based on a drawing he made and keeps recycling into his other works; a video for his band's De-censor-tized song; and the Canadian government-funded coup-de-grâce Goopy Spasms, which, despite being an animated short drawn in the style of '60s counterculture icons with an endless array of things stuck up the animated Trembles plug-hole, is as real a piece of cinematic truth as anything I've seen since Gaspar Noé's Irréversible - ironically enough, reviewed in one of the MPP books. It was realer than a political documentary.

But the best part of the night came after the show, as I approached the table where Lalumière, Bottenberg and Trembles were sitting, selling their books and offering to sign them. I made my way to Trembles' side and he just looked at me and said: ''You're Mr. Hell?''

To have someone who music I've been listening to for over 20 years, whose writings and drawings I've been reading for over a decade - and to whom I had never spoken to before - know who I was... it made my week. It was way more intense than when Jeffrey Ross asked me which bar he should go drinking in.

So I purchased both Motion Picture Purgatory books, and he signed them in blue ink, with a different blurb for each, both a play on my name.

Good times!

Iron Man 2 (2010)

IRON MAN 2 (2010).
Directed by Jon Favreau. Written by Justin Theroux. Starring Robert Downey Jr., Gwyneth Paltrow, Don Cheadle, Scarlett Johansson, Mickey Rourke, Jon Favreau, Sam Rockwell, Samuel L. Jackson, Paul Bettany, and Garry Shandling.

Plot: Billionnaire Tony Stark, who outed himself as superhero Iron Man at the end of the first movie, has to fight off new enemies, his own government and test his friends' patience in this sequel that serves more as a bridge to the upcoming Avengers movie than its own vehicle.

Not that there's anything wrong with that, by any means, it's just that once the film is over and done with, you leave with the impression of having watched a Friends reunion show more than an action movie, firstly because there is little action to speak of, but mostly because everybody just seems genuinely happy to be working together again - and the one-liners come out at a frantic pace, most of them predictable but still heartwarming.

What saves it from sitcom territory is the quality of the acting though: Robert Downey Jr was made for this role (more so even than Chaplin), Gwyneth Paltrow was born to play an assistant, Mickey Rourke seems at his place playing a lovable villain, Sam Rockwell and Garry Shandling are perfect as self-serving assholes, and Don Cheadle is also perfectly cast as a replacement for fellow Oscar nominee Terrence Howard as Jim Rhodes. Oh, and Scarlett Johansson looks great in a cat suit, but we'll get a better opinion of that in her spin-off, for Black Widow. And Jon Favreau and Samuel L. Jackson are their usual amazing selves in small (almost cameo) roles.

And that's probably because the film was made by actors. Favreau directed, sure, but the film was also written by Justin Theroux, whom you may remember as the non-lesbian character from David Lynch's terrific 2001 picture Mulholland Dr. It seems Theroux wrote the ultimate actor's screenplay, one where every actor looks good and says cool lines, but misses in the one area where a writer would be needed - plot and story.

It's not as entertaining as the first one, but it's still worth seeing on ''half-price Tuesdays'' if those exist in your area - or rent it.

3/5

First Sunday (2008)

I figured we might as well start with a bang... a film I saw a couple of weeks ago...

FIRST SUNDAY (2008).
Directed by David E. Talbert. Written by David E. Talbert. Starring Ice Cube, Katt Williams, Tracy Morgan, Loretta Devine, Regina Hall, Keith David, Chi McBride, and Malinda Williams.

Plot: two low-life best friends, one a petty criminal and the other a struggling father, must find thousands of dollars to escape their fates and choose to rob a church, where they will inevitably learn from their mistakes and become better people.

Alright, people, let's get this straight: we're late in the first decade of the 21st century. Films have been around for over 100 years, and American comedies have become the world-wide go-to standards of excellence (or respectability, at least) since the 1940s, be it in TV sitcoms or in film.

The loser-finds-faith-and-turns-into-a-winner schtick is getting old fast, and every film that continues trying to tell that same old story over the course of two hours is going to bore the audience to tears. Or sleep. And when you have top-notch comedic talent like Ice Cube, Katt Williams and Tracy Morgan in your cast, that is a crime that just shouldn't be allowed to happen.

Writer/director David E. Talbert should have taken a cue from the best comedies of the past decade (Zoolander, Old School) and gotten rid of the whole plot in the first 10 or 15 minutes of the film and let the comics handle the rest; instead, Williams is relegated to crap one-liners once every 10 minutes, Cube plays it straight and Morgan is nothing more than a bumbling sidekick - none were given enough direction to make the film reach laugh-out-loud funniness, nor were they given dialogue to help them over-ride the story lines to bring it to Funnyland.

In the end, we're left with a below-average feel-good movie that could/should have been one of the funniest films of the year.

2.5/5

Welcome

Hi.

It had been requested of me many times before, and I caved in: I will criticize movies I've seen for the benefit of... whomever.

I was going to have this in my regular blog, but it's clogged enough as is, so I decided to create this off-shoot in which I'll only vent about movies.

The template will likely change at some point, so don't worry about the look so much. Any help is welcome in that regard, by the way.

For those who question my right to criticize films and request my pedigree, I will remind you that I have two Bachelor's degrees in film - one in ''film production'' as director/screenwriter, and one in ''film'', a minor in screenwriting and a major in teaching. And I've directed many a short film (one of them ''award-winning''!), as well as a (as-of-yet still unreleased) feature-length mockumentary about... myself. None of this, of course, matters. Everyone is allowed their own opinion on any subject, and I choose to write mine. Here.

I hope you like what you read.

Thanks for your time.

Le Seb.