With the bottle rocket’s red glare, and the cherry bombs bursting in air (at least, in those places where said celebration ammunition remains quasi-legal), the first half of the Summer Movie Season circa 2007 is officially over. Nine weeks, dozens of films, and lots of critical complaining, has made this annual parade of popcorn movies a little less exciting (theme for the season so far– the Year of the Underwhelming Disappointments). No one movie has broken out from the pack, becoming the “must see” event the warmer months typically demand, and while a few films have struck a chord of universal acclaim, audiences aren’t responding with the usual fiscal fall out. Instead, it looks like a kind of entertainment ennui has set in, viewers responding to the lack of legitimized excitement by satisfying themselves with a single viewing –- or even worse -– not showing up to the Cineplex at all.
It’s unclear whether the next nine weeks will change any of this. Michael Bay’s megawatt Transformers will give it a fiery Fourth try, but the deeply divided sentiments among reviewers won’t help the bottom line. Harry Potter is back for a fifth cinematic fling, but age –- and the soon to be released, spoiler filled final installment in the literary series –- may derail its popularity and profitability. The Simpsons could jumpstart (albeit belatedly) a nice turnstile tidal wave, but those who are banking on Hairspray to save the cinematic day could be overplaying the musical genre’s heft. After that, it’s one of the less impressive Augusts on record. To put things in perspective, SE&L has gone back over the 13 films it experienced since a certain webslinger arrived in theaters, and has ranked them from best to worst. Review links have also been provided in case you’d like to read more. Enjoy!
Ratatouille
Easily the winner when it comes to major releases. Brad Bird’s unbelievably dense narrative, combined with Pixar’s pristine animation, makes for one amazing visual journey. As we follow a wannabe rodent on his quest for culinary recognition, the artists and designers responsible for the film’s fascinating look constantly surprise us. But it’s the emotional elements in the narrative that truly astound.
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SiCKO
The know-it-alls like to beat up on Michael Moore for not getting every single solitary nuance of the facts 100% aligned with their particular view of things. This doesn’t mean that his latest documentary is a failure. In fact, it may just be the most potent piece of filmmaking the director has ever done.
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Knocked Up
Finally! A comedy that’s actually funny! Judd Apatow deserves some sort of special place in the current industry hierarchy for delivering audiences from the scourge of humorless half-baked fare. In its place, the
40 Year Old Virgin auteur fashions a callous chick flick where geeks, gals and the occasional gross out gag can live in harmonious hilarity.
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Pirates of the Caribbean: At World’s End
Somewhere between the decision to turn the Disney attraction into a feature film, and the concept of increasing the franchise to fill up a supposed trilogy, critics bailed on this set of stellar action/adventure romps. Destined to be viewed with new appreciation decades from now, this last installment truly represents the pinnacle of old fashioned blockbuster moviemaking.
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Fido
Believe it or not, zombies actually make a wonderful metaphor for the corrosion of conformity that was the 1950s, but not because they represent the mindless mob mentality. No, they are the perfect mirror for Canadian filmmaker Andrew Currie’s clever take on intolerance and fear. The undead are only acting on instinct. It’s the corporate controlled suburbanites that pose the real threat.
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Live Free or Die Hard
We know, we know; we picked this fading franchise to deliver one of Summer 2007’s biggest bombs. We may have been misguided. While not up to the level of the previous installments in this once influential action series, star Bruce Willis and director Len Wiseman still deliver spectacular stunt set pieces and enough bad ass machismo to satisfy filmgoers.
+ PopMatters Review
Hostel Part II
Don’t believe the agenda-based hype. Eli Roth’s return to the former Eastern Bloc is not the original film reconfigured with babes, or the most violent atrocity against the female species ever put on film. Instead, it’s a completely unique sequel, a revisit that totally rewrites everything about the initial ‘gorno’ classic… and finds equally effective fear factors.
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1408
It’s the antidote for the blood and guts gratuity of post-millennial horror, as well as a stunning tour de force by actor John Cusack. More an old fashioned thriller than a modern movie macabre, this delightful journey into dread proves that Stephen King is not cinematic poison. Instead, in the hands of the right creative team, he remains a formidable fright force.
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Spider-man 3
The list of complaints is long, and the sense of disappointment palpable, but it seems silly to think that Sam Raimi and the rest of the Spidey set could repeat the bravura brilliance of
Spider-man 2. While the villains are more than viable, and the new black suit mojo cleverly illustrated, the movie still feels scattered and strained.
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28 Weeks Later
Danny Boyle’s original was more about deconstructing society than rewriting the rules of zombie lore (all right, they’re NOT the living dead). But in Juan Carlos Fresnadillo’s take on the material, it’s the US military that takes it on the chin – over and over again. The result is a fractured sense of fear, with the humans packing more precariousness than the Rage-infected horde.
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Evan Almighty
Why this genial family comedy is not a bigger hit says more about the movie going habits of the general public than what the film itself has to offer. Sure, it’s cloying and incredibly mannered, the filmmakers avoid anything remotely serious or sacrilegious, but there is still enough here to easily entertain those so inclined. A truly perplexing commercial conundrum.
+ PopMatters Review
Fantastic Four: Rise of the Silver Surfer
Aimed at the kiddies yet barely capable of sustaining such creative overreaching, director Tim Story once again argues for his place as the worst interpreter of comic book material out there. This time around, the title heroes are hampered by a cosmic planet killer, his slick metallic messenger…and tabloid fame. Oddly enough, the press comes across as the most threatening.
+ PopMatters Review
Shrek the Third
Like an old sitcom that just won’t die, this ongoing CG stupidity argues for its lack of viable funny business as well as the eventual death of 3D animation. Horribly dull and equally uninspired, what once seemed novel and ironic now feels like an extended advertisement for yet another installment (and it worked –- number four is in the works. Groan).
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