Thanks to Siva Vaidhyanathan for sharing this delightful interview with the newest PBS superhero, WordGirl, who keeps the world safe from bad guys and poor word choices! Here’s to vivid and grammatically correct speech, and to PBS and WorldGirl.
The Campaign for a Commercial-Free Childhood is circulating a petition to protest the marketing of GI Joe action figures promoting the new PG-13 movie “GI Joe.”
Yes, GI Joe was a toy for decades before the movie. But these action figures, specifically tied to characters in this very violent film are specifically targeted at young children to promote a movie that is completely inappropriate for them.
Since March, CCFC has logged over 3,000 ads on children’s TV channels for five PG-13 films: Transformers: Revenge of the Fallen; Terminator Salvation; Star Trek; X-Men Origins: Wolverine, and the upcoming GI Joe: The Rise of Cobra. Last month CCFC sent another letter to the FTC documenting the continued failure of the movie industry’s self-regulation, and urging the Commission to take action.
All around Los Angeles Times columnist Steve Lopez (Robert Downey, Jr.), everything seems to be broken or breaking. The newspaper is losing readers and laying off staff. His marriage to editor Mary Weston (Catherine Keener) is over. He is estranged from their son and lived amidst unpacked boxes. His eye is swollen shut and his face scraped raw from a bicycle accident. And he lives in a city with the highest homeless population in the country. When he meets a homeless man named Nathaniel Ayers (Jamie Foxx) on the street, playing a violin with only two strings, Lopez sees him as material for the column, and then as a problem — unlike so many others — he could solve.
The real-life story of Lopez and Ayers, as documented in Lopez’s book
and on “60 Minutes,” has now become a feature film written by one of Hollywood’s most established screenwriters, Susannah Grant (“Erin Brockovich,” “In Her Shoes,” “Catch and Release”), directed by one of today’s most gifted directors, Joe Wright (the Kiera Knightly “Pride and Prejudice” and “Atonement”), and starring two of the biggest stars. Everyone is diligent and sincere but it never really decides what it wants to be. It is part social commentary, part personal growth, and large part one of those “I learned so much more from you than you did from me”/”none so blind as those who will not see” stories, making it seem that the agony of mental illness is all about helping the rest of us feel better about our lives. Both men are soloists in their own way, and both do learn that relationships can affect brain chemistry.
The detours into Ayers’ life before he became mentally ill are distracting rather than illuminating and the efforts to portray his distorted perceptions are superficial and unpersuasive. It never comes anywhere close to films like A Beautiful Mind in conveying mental disturbance. Foxx struggles but never makes us feel that his portrayal is more than a collection of tics and twitches. The far better chemistry and more interesting relationship is between Lopez and a sympathetic social worker, beautifully played by Nelsan Ellis. Wright’s striking visuals are arresting and Downey’s performance is always enthralling, fascinating, and utterly present. The inconsistency of the rest of the film, however, makes him more of a soloist than intended.
After an enormous train crash/explosion, a line of dialog reassures us that the engineer (played in a quick cameo by Disney Studios chairman Dick Cook) was not hurt. This is, reassuringly, a Disney movie. The entire planet may be at risk in the storyline but the latest in the Witch Mountain saga is more exciting than scary. The 1968 novel by Alexander Key about two kids with paranormal powers became the the cheesy-but beloved Disney 1970’s “Escape from Witch Mountain” and its sequel, “Return to Witch Mountain” and made-for TV follow-up “Beyond Witch Mountain.” The story has now been “re-imagined” for the 21st century with Duane “The Rock” Johnson as a Las Vegas cab driver whose mysterious teenage passengers have special powers. It may be high tech and big budget this time around, but it unabashedly retains its essential cheesiness.
Johnson plays Jack Bruno, a guy who is trying to stay out of trouble, which means keeping out of the way of some thugs who want him to work for them as he delivers costumed fanboys and an expert in extraterrestrials to a UFO convention. At first he thinks the blonde teenagers with the stiff demeanor and robotic speech patterns are just another pair of nutty nerds. And at first when he is chased by ominous black vehicles he thinks it is just the same thugs he keeps turning down. But he discovers that these are a different kind of thug — they are from one of those mysterious government agencies that act like big bullies all the time. There is also a Terminator-like armored stalker-sort of guy who is after the kids, too. And when you are being chased by bad guys from two different planets, it helps to have a former WWF champion around to open up a can of whup-, um, butt (I said it was a Disney movie).
Johnson is the always-appealing heart of the movie, whether he is making a self-deprecatory or skeptical wisecrack or throwing a punch. The kids’ roles are unfortunately all robotic delivery and special effects wizardry, which doesn’t give them much of a personality. I don’t know why it is that movie aliens, whether they look like humans or giant insects, whether they are super-smart or super-scary, never seem to have emotions or senses of humor. It would make them much more interesting and involving as characters. The very talented Carla Gugino does her best with the under-written role of the scientist who researches extra-terrestrial life and Garry Marshall has fun as her nemesis, who never met a conspiracy theory he didn’t adopt, expand, and write a book about and who lines the windows of his RV with aluminum foil. Fans of the original films will enjoy seeing its child actors, Ike Eisenmann and Kim Richards, appearing as a sympathetic sheriff and a waitress. Johnson’s warmth and star power and some cool effects are fun even when the storyline drags a bit, if not enough to make the suggestion for a sequel at the end especially welcome.