Apatow matures, but it comes with a price

"Funny People"
Starring: Adam Sandler, Seth Rogen, Leslie Mann, Eric Bana, Jonah Hill, Jason Schwartzman
Grade: B

Judd Apatow's third feature film is unquestionably his most mature film to date, and also his longest. Funny People is in fact funny; with good acting, and a sincere story, the film sails along for the first 90 minutes as a solid comedy/drama. Once it hits the last hour, the wheels on this train fall apart.

One thing that saves the film is Adam Sandler, who delivers his best role since Punch Drunk Love back in 2003. Sandler plays George Simmons, a successful comedian/actor who lives all alone in a mansion. At the beginning of the film, Simmons learns that he has a terminal illness. He doesn't have any close friends, until he takes Ira Wright, played by Rogen, under his wing as his opening act and close friend. This relationship builds the first 90 minutes into something special. Sandler and Rogen's chemistry quickly win over the audience as we watch them do stand-up and such. Ira lives with two other guys played by Jonah Hill and Jason Schwartzman, both of whom have roles roles in an NBC sitcom called "Yo Teach," hopefully you get the idea.

Ira is the only one that Simmons confides in. George is lonely, doesn't see his family much, and has regrets about the one that got away, Laura, played by Apatow's real life wife Leslie Mann. We get glimpses of her character early on, but the film loses it's steam once Simmons tries to win her back.

Back to the performances, Sandler shows range and subtlety in a nice performance for those who doubt his ability. Rogen is good, even if he plays different types of the same character over again, hes likable once again. I prefer Leslie Mann's work in Knocked Up over this, miscast maybe? Eric Bana plays Clarke, Mann's Australian husband. In what could have been a throwaway role, Bana actually isn't bad. I won't ruin the cameos, or mention how many times dicks and penis's are talked about.

Most of Funny People is pretty funny, the film shot by Janusz Kaminski has a clean and glossy look, the film being shot in LA also doesn't hurt. Apatow's self-indulgence aside, this film could have been something really great and personal until the script takes a 180 with an hour to go. The film runs at a tiring 150 minutes, with much editing to be desired. I say it all the time, but there's a real good film hidden in here somewhere. It's hard to say if the good outweighed the bad, but I enjoyed all the performances, especially the chemistry between Sandler and Rogen.

Bigelows Hurt Locker sizzles with truth and intensity

"The Hurt Locker"
Starring: Jeremy Renner, Anthony Mackie, Brian Geraghty, Guy Pearce, Ralph Fiennes, David Morse
Grade: B+

Not only does Katherine Bigelow prove that a woman can do a mans job, but she finally makes a successful Iraq War film. After many of the genres predecessors have failed, In the Valley of Elah, Lions for Lambs, etc, this film doesn't preach as much as the previous films did. The Hurt Locker is a small film, and one can't help admire its rawness and intensity

A few stars are also made in this film. Jeremy Renner who some may know from 28 Weeks Later and The Assassination of Jesse James, plays William James, a bomb defuser in Baghdad circa 2004. He's the leader of an elite squad that faces danger every day. The film opens with a quote that stresses the addiction of war and how its a drug. Renner's character is the poster boy for this quote.

William James is teamed with Sandborn, played by the underrated Mackie, and up and comer Geraghty. This trio fills the film, as we see these men in everyday action and danger. Screenwriter Mark Boal could have added more depth and development to the characters, but I'm not so sure thats what Bigelow wanted to stress. The film plays in a 38 day period, counting down the days until this squad's service is finished. They go on mission after mission, find a bomb, defuse it, live to talk about it. This is how much of the film is played out, but the audience and Bigelow's keen direction enhances what could have been a very episodic and tedious film.

Thrills are a plenty, as James grazes near death many times. The film also presents not one clear enemy, the city of Baghdad is one and of itself as these bombs could have come from anyone, anywhere. Danger surrounds the film at every turn. Bigelow is most successful in creating a vivid time and place, her atmospheric choices mold the story throughout.

Many have lauded The Hurt Locker as a shoe-in for a best picture nomination now the field has grown to 10. The film is building slowly, with the studio waiting to expand the film more and more in the coming weeks. The more I think about the film, the more I like it, it just wasn't the masterpiece I was expecting. Seek the film for a pure cinematic experience, also keep an eye out for 3-4 star cameos. Something tells me I would like the film better upon a second viewing.

(500) Days is solid, but not groundbreaking

(500) Days of Summer
Starring: Joseph Gordon-Levitt, Zooey Deschanel
Grade: B

In a Summer filled with loud explosions and disappointing popcorn films, its nice to see a creative rom-com come away and lift you off of your feet. The two leads share plenty of chemistry, and have small quirks that come across as real instead of written in. The beginning of the film warns us, this isn't a love story. We follow 500 days in a relationship with highs and lows, good days and bad, whimsical dance numbers, and heartbreak.

Godon-Levitt plays Tom, a greeting card writer who is an architect at heart, he works in an office where its likely to go out with your co-workers and sing embarrassing karaoke once a week. He has two friends, who could have been funnier, but are serviceable enough in the film. One day he meets Summer, a classy, unique, and beautiful girl that Tom knows is the one. Summer is played by Zooey Deschanel, a woman waiting to break out, and this film will only help her cause. Summer doesn't believe in love, fate, or any of the hopeless romantic musings of Tom.

The film adds an original gimmick from the start, it jumps skips through the days of there relationship in non-sequential order, hence the title. Picture "21 Grams" as a romantic comedy, and (500) Days of Summer is what you get. The gimmick works in the films favor, it has the audience consistently on its toes wondering how the couple will pan out in the end.

Director Marc Webb has crafted a fine film, but 500 Days would rather settle for cute and charming rather than smart and organic. It's been labeled as a light-hearted "Eternal Sunshine," or a new age Annie Hall. 500 Days is none of those in the end, as it kindly overstays its welcome. I was never bored, but I wanted more.

Moon breathes fresh air into sci-fi genre

"Moon"
Starring: Sam Rockwell, Kevin Spacey
Grade: B+

Moon is the invention of first time filmmaker Duncan Jones, son of legend David Bowie. Jones along with uber-underrated actor Sam Rockwell create an involving and brainy sci-fi thriller that had me held in its cold and lonely trance for 95 minutes. Jones supposedly shot the film for a meager $7 million, throwing actor Rockwell into the films isolated set design set in space.

The beginning narration informs us of Lunar Industries, a company that has a man named Sam Bell (Rockwell) on a moon mining base to harvest helium-3, an all important fuel that provides the Earth with energy. The film picks up as Bell is doing his last 2 weeks of a 3 year contract. He has no contact with Earth, except for recording videos sent to his family, he's beyond lonely, and is starting to see things. His only companion is an artificial intelligence computer named Gerty, voiced by Kevin Spacey. Gerty shows his emotions through sad or happy faces on his own screen,

One day Sam goes out to check on something outside of his base, he finds someone mysterious and brings him back to the base. Sam doesn't know where the man came from or who he is. I won't give anything else away. The film raises many interesting questions, the script may have small flaws, but for the most part it holds steady. Rockwell gives an amazing emotional performance of an isolated man seeking companionship and meaning.

The set design is noteworthy. The base has a cold smugness to it; Jones' atmosphere is what keeps the film interesting, along with the haunting score from composer Clint Mansell. The whole film rests on Rockwell's shoulders, and he proves he is a valuable leading man. Jones may not provide anything original or new to the genre, but the script unfolds in refreshing and interesting ways.

Moon is no masterpiece, but is easily better than any Summer blockbuster playing right now. Duncan Jones is certainly someone to keep any eye on. A fresh new director who adds depth to a recent lackluster genre. Jones clearly has nods and wink-winks to past sci-fi films, but Moon is more than enough to hold him credible for now.

Public Enemies looks great but doesn't feel great

"Public Enemies"
Starring: Johnny Depp, Christian Bale, Marion Cotilliard, Billy Crudup
Grade: B

If I'm right about Public Enemies, most Michael Mann enthusiasts will agree that it's up step up from his last film Miami Vice. However, Enemies isn't the knockout that was Heat, Collateral, and The Insider. Enemies is a depression era epic in which the beginnings of the FBI are mirrored with the golden age of bank robbers. A strong cast leads this glamorous and glassy tale of fame, crime, and justice.

Depp has the charisma to play any role, the act this time is legendary bank robber John Dillinger. The film opens as Dillinger is busting his fellows out of an Iowa prison. Dillinger asn't much depth to him, but Depp's star power alone is what makes the character breathe life. On the other side of the coin is straight arrow agent Melvin Purvis who has been assigned to take down Dillinger personally by J.Edger Hoover, who was the pioneer of the FBI. Hoover is played in a showy, but solid role by Billy Crudup. Bale brings the focus and cold gaze to Purvis, creating an aware and honest character.

Michal Mann has gone fully digital this time around, creating a muddled, but beautiful picture. His aesthetic is one that will cause debate among critics and audiences, but it helps the film more than it hurts it. No complaints here. Mann not only re-creates an era, but his attention to detail in astonishing.

Marion Cotilliard plays the Billy Frechette, Dillinger's love interest who must keep thinking to herself why she remains with this criminal. Cotilliard is a star in the making, and holds her own in every scene. The film justifiably lags when she is off-screen. Her chemistry with Depp is crucial to buying their attraction to each other.

The era in which the film takes place resembles the down-trodden times us Americans are in now. Mann's commentary is light, but with notice. He litters the film with at least 15-20 noticeable actors that audiences will recognize from films past and present. Most notable are Stephen Dorff, David Wenham, Giovani Ribisi, and others. Most of whom are entwined with Dillinger.

While the film does have its highs and lows, its painful to say that the highs are few and far between. For every breathtaking action set piece, there is a lag in the narrative. The pacing is fine enough to not distract us, but its noticeable at times. The most obvious aspect of the story is its semi-flawed script. I wasn't enthralled or nearly as interested as I thought I would be at certain points. Mann's technical grace is all well and good, but doesn't hide the scripts faults. The film reminds me in a lot of ways of Ridley Scott's American Gangster. An epic crime story that had nothing memorable about it. Enemies and Gangster lack the dramatics of films like Heat, or even Collateral.

After months pass, Public Enemies will be remembered as a film not as good as the sum of its parts. Mann has clearly made a solid picture, but the buck stops at a mid-level script, no matter how good the directing is.