So Undercover (2012)

LET’S GET THIS OVER WITH: Miley Cyrus (Bolt) plays a private investigator named Molly (that’s Molly, not Miley) who’s hired by an FBI agent (Jeremy Piven) to protect the daughter of a key mob witness while the daughter is living in a college sorority house. To accomplish this, Molly (not Miley) goes undercover as a student to keep the daughter safe, while trying not to blow her cover or fall for beau-hunk classmate Nicholas (Joshua Bowman).

Whether or not you’ll enjoy – or even tolerate – So Undercover depends on how open you are to believing the FBI would put their trust in a two-bit junior PI to protect the relative of an important government witness. And for someone who’s been assigned to closely protect this relative, Molly spends large amounts of time apart from her as she endures numerous debriefings from Piven’s agent and makes goo-goo eyes at Nicholas.

So Undercover is almost nothing but variations of Molly unknowingly spewing a bunch of inside-speak about her profession, then poorly covering it up with a bimbo-esque declaration. As Molly’s boss, Piven brings more to his role than the film deserves, and it’s a bit sad that this is the kind of work you get after winning three Emmys on Entourage.

Devoid of laughs, charm, or believability, So Undercover is Cyrus’ latest attempt to shake her teenybopper image and play grown-up, complete with parading around in her underwear and occasionally swearing. But her cherubic looks and disturbingly bleach-white teeth betray her attempt at portraying a cynical FBI operative. Cyrus probably feels like she’s got something to prove to make America forget about Hannah Montana, but So Undercover is so not helping.

Rating:

Is it suitable for your kids?

So Undercover is rated PG-13 for “mature and suggestive content.” It includes mild profanities peppered throughout, alcohol consumption at a party, several close-ups of girls’ chests and/or cleavage, and random gunplay.

Will your FilmMother want to watch it?

Unless your FilmMother is twelve (and if she is, you’ve got bigger problems), I doubt it.

(*sigh*) Of course they're making me do

Gangnam Style as part of the initiation...

So Undercover
* Director: Tom Vaughan
* Screenwriters: Allan Loeb, Steven Pearl
* Stars: Miley Cyrus, Jeremy Piven, Mike O'Malley, Kelly Osbourne, Eloise Mumford, Megan Park, Lauren McKnight, Autumn Reeser, Matthew Settle
* MPAA Rating: PG-13



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A Cat in Paris (2010)

THE 2012 ACADEMY AWARD NOMINEES for Best Animated Feature were an odd lot. Odd in the sense that they were not another predictable batch of contenders from Pixar and DreamWorks (and maybe a token nominee from a third studio who had no chance of winning).

No, 2012’s nominees included only two from DreamWorks (Puss in Boots and Kung Fu Panda 2) and none from Pixar (thanks to their horrible misfire Cars 2). The remaining nods were given to the Spanish-language Chico & Rita, the deserving winner Rango, and the French film A Cat in Paris.

Co-directed by Jean-Loup Felicioli and Alain Gagnol, A Cat in Paris follows the double life of Dino the cat, a family pet by day and assistant to crafty cat burglar Nico (Steve Blum) by night. Dino’s human family – daughter Zoe (Lauren Weintraub) and policewoman mother Jeanne (Marcia Gay Hayden) – are grieving the death of their dad/husband, a policeman killed by mobster Victor Costa (J.B. Blanc). Zoe’s been mute since the incident, but finds comfort in Dino and the “presents” he brings her: dead rodents and reptiles. But soon, Dino’s two lives intersect, putting Nico at risk of being arrested and Zoe’s life at risk from seeing too much of Costa’s world.

The hand-drawn animation is the first thing that sets A Cat in Paris apart from other recent animated films. It’s an abstract, art deco style, full of shadows and vibrant colors, that makes it feel like a classic children’s storybook come to life. Felicioli and Gagnol (working from a clever, often humorous script by Gagnol and Jacques-Rémy Girerd) create great empathy for Zoe and Jeanne, and even have us hoping Nico doesn’t get caught despite the large amount of valuables he’s stolen.

Once Dino’s two worlds cross paths, A Cat in Paris really picks up (accompanied by Serge Besset’s pulse-pounding score) – taking us from foot and car pursuits, to a chase across the rooftops of Paris, to a final showdown atop the Notre Dame cathedral.

At a trim 62 minutes, A Cat in Paris is a welcome detour from what we encounter (and expect) from the big animation studios. Oscar-worthy? That’s debatable. What’s not debatable is that it’s definitely worth watching.

French, with dubbing/subtitles.

Rating:

What did FilmBoy think?

He enjoyed A Cat in Paris very much – eating up Dino’s antics, rooting for the good guys, and cursing the bad guys.

 Is it suitable for your kids?

A Cat in Paris is rated PG for “mild violence and action, and some thematic material.”
Thematic material: Zoe and her mom are sometimes sad over her dad’s death; Nico steals valuable items and money from homes and museums (he is a cat burglar, after all). There's champagne and wine at a dinner scene, and one character smokes a cigarette.
Language: Costa says he scared one of his cronies so much, “you nearly wet your undies!” He also calls one of his thugs an “idiot.” A minor character says, “You sneaky son of a -” (not finishing the phrase)
Violence/Scariness: Costa slaps one of his men, fires warning shots at another, kidnaps Zoe, chokes Jeanne, and fights Nico, knocking out one of his teeth. (He’s also depicted in a dream sequence as a large, creepy octopus, which may scare young children.) Elsewhere, Dino scratches a person's leg, which briefly bleeds; Nico takes a policeman's gun and holds it on him and Jeanne; detectives shoot guns at a firing range; Dino bloodlessly kills a lizard; and a major character falls to their death.

Will your FilmMother want to watch it?

A cat. Paris. The value and importance of family. Something tells me she may enjoy it.

"Um, little help?"

A Cat in Paris
* Directors: Jean-Loup Felicioli, Alain Gagnol
* Screenwriters: Alain Gagnol, Jacques-Rémy Girerd
* Stars: Marcia Gay Harden, Steve Blum, J.B. Blanc, Lauren Weintraub, Matthew Modine
* MPAA Rating: PG


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21 Jump Street (2012)

MOVIES BASED ON OLD TV SHOWS are always a gamble. For every successful adaption like The Fugitive, there are countless misfires and failures: Bewitched, Wild Wild West, The Avengers (no, not that one; this one), and The Dukes of Hazzard, to name a few. The challenge is whether to bring something fresh and different to the property, or be faithful to the original.

Luckily, the filmmaking team of Phil Lord and Chris Miller (Cloudy with a Chance of Meatballs) chose the former with 21 Jump Street, a radical and hilarious revival of the late ‘80s series about young undercover cops specializing in youth-related crimes. Here, two young policemen – nerdy Schmidt (Jonah Hill) and dumb jock Jenko (Channing Tatum) – are sent undercover as students at a local high school to bust a drug ring led by the charismatic and popular Eric (Dave Franco).

On the first day, Schmidt and Jenko accidentally get their undercover identities switched, sticking shy non-athlete Schmidt in the drama club and track team, and academically challenged Jenko in advanced chemistry. They soon find things have changed since their high school days: intellectualism, activism, and the environment are in, while bullying and mocking overachievers are out. And so begins a reversal of fortunes as Schmidt enjoys the immense popularity he never found in his high school days, while Jenko learns what it’s like to be ostracized and insulted by the “in” crowd.

But back to the funny, which 21 Jump Street delivers in spades. The riotous jokes come at a rapid pace – so quickly that you risk missing a gag because you’re still laughing at the previous one. (The two funniest scenes: Hill and Tatum trying unsuccessfully to make each other vomit after taking a drug, then later tripping on the same drug while trying to do various school activities.)

Hill and Tatum are one of the best odd-couple pairings in recent movie memory. And while Hill is funny as expected, the comedic skills of Channing Tatum are a revelation. Put this man in more comedies. After his emotionally stunted performance in The Vow, his turn in 21 Jump Street is a monumental redemption. Running closely behind in the laughs department is Ice Cube as Hill and Tatum’s hilariously profane police captain.

21 Jump Street also benefits from a supporting cast that knows comedy, including Ellie Kemper (Bridesmaids) as an overzealous, hypersexual chemistry teacher and Rob Riggle as a crass gym coach. (Also watch for cameos by original Jump Streeters Johnny Depp, Peter DeLuise, and Holly Robinson Peete.)

The laughs in 21 Jump Street take a back seat during the middle of the film to advance plot and character development, but they don’t stay dormant long. And that’s the beauty of Lord and Miller’s ability to balance hilarity with heart, profanity with personality. This is the funniest R-rated comedy since the original Hangover or Hill’s earlier hit, Superbad. See it now.

Rating:

Is it suitable for your kids?

Nope. While hilarious, 21 Jump Street contains substantial drug use, brief nudity and sexual situations, and almost non-stop profanities. In addition, several people are shot (one person grossly loses his manhood), hit by cars, or blown up. Oh, and Tatum vomits on Hill. Don’t ask.

Will your FilmMother want to watch it?

My FilmMother and I watched 21 Jump Street together, and she laughed as much as I did. If your FilmMother’s cool with the R-rated aspects described above, I’d say this is definitely one you can share together.

"Ow, stop it – my nurple can't get any purpler!"

21 Jump Street
* Directors: Phil Lord, Chris Miller
* Screenwriter: Michael Bacall
* Stars: Jonah Hill, Channing Tatum, Brie Larson, Dave Franco, Rob Riggle, Ice Cube, Dax Flame, Chris Parnell, Ellie Kemper
* MPAA Rating: R


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A Force of One (1979)

ERNEST TIDYMAN.

That name ring a bell?

No? Okay, how about these names:

The French Connection.
Shaft.
High Plains Drifter.

Ernest Tidyman wrote all three of those screenplays (and won the Oscar for French Connection). He also wrote the Shaft book series as well as several other novels before his death in 1984.

Based on that pedigree, and the fact that High Plains Drifter is one of my all-time favorites, I searched for more films written by Tidyman. Unfortunately, he had a rather limited screenwriting career, and only a fraction of his films are available for home viewing.

Still, one of Tidyman’s credits sticks out in his filmography, compared to the classics mentioned earlier. Of all things, it’s a Chuck Norris movie: 1979’s A Force of One.

Plot:

Santa Monica, California: It’s Christmastime, and someone is killing narcotics detectives by using martial arts. Stumped, the Santa Monica police enlist the help of champion kickboxer, martial arts instructor, and Vietnam vet Matt Logan (Chuck Norris) – who helps train the detectives in martial arts and offers some insight to help determine potential suspects behind the killings.

Critique:

In A Force of One’s DVD extras, director Paul Aaron says he did an uncredited rewrite of the script to make it “fit Chuck more” (never once mentioning Tidyman by name). That explains a lot, since I can’t imagine Tidyman was the author behind such a lackluster film.

The dialogue is forgettable and by-the-numbers, accompanied by a plot, cinematography, and soundtrack that make the film feel like a glorified episode of any given cop or detective drama from the ‘70s. Some of the scenes even seem ad-libbed, and not in a good way.

In addition to the weak script, there’s substandard acting by nearly everyone involved – including Jennifer O’Neill, Clu Gulager, Ron “Superfly” O’Neal, and Bill “Superfoot” Wallace.

Sadly and perhaps ironically for a Chuck Norris film, the martial arts sequences are sparse. Scenes of Norris handing out ass-whoopings outside of training and kickboxing matches are limited – which leaves him lots of time to dole out dialogue in his trademark monotone delivery. The action sequences that do take place are dated and bland, with many of the martial arts fights shot in slo-mo, accompanied by cheesy sound effects.

I’m hoping that A Force of One was either a quick paycheck movie for Tidyman to help him pursue other (read: better) creative endeavors, or that Aaron’s rewrite eliminated nearly all of Tidyman’s dialogue. Because what’s left is a ponderous, underwhelming film.

Tidbits:
* Tidyman is one of the few white people to win an NAACP Image Award, an honor given to him for creating the Shaft books.
* Norris’ opponent for his big fight in the finale, Bill “Superfoot” Wallace, was also John Belushi’s bodyguard. It was Wallace who found Belushi dead from a drug overdose.

Rating:

Is it suitable for your kids?

A Force of One is rated PG. It features several bloodless killings, mostly by the breaking of necks. There are scenes of drug dealing and drug use, including men snorting cocaine and a girl with track marks on her arm. There are also a few mild profanities.

Will your FilmMother want to watch it?

Highly doubtful. And even if she is a Chuck Norris fan, he’s made much better films than this (comparatively speaking).

Kicked him so hard, he made him blurry.

A Force of One
* Director: Paul Aaron
* Screenwriter: Ernest Tidyman
* Stars: Chuck Norris, Jennifer O’Neill, Clu Gulager, Ron O’Neal, Bill Wallace
* MPAA Rating: PG



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Magnum Force (1973)

I HAVE A SOFT SPOT for Magnum Force. It was one of, if not the first, R-rated movies my dad let my brother and I watch on HBO as kids.

Of course, based on the circumstances (I’m a kid watching a violent R-rated film), I thought the movie was awesome. Still, I recently wondered: If I revisited Magnum Force 30 years later, would it still be as awesome as I remembered it?

Plot:
In this second installment of the Dirty Harry series, San Francisco police inspector Harry Callahan (Clint Eastwood) must bring down a group of young vigilante cops (led by a pre-Starsky and Hutch David Soul) who are gunning down criminals that the justice system can’t put away.

Critique:

Some critics have said that Ted Post directs Magnum Force much like many of the TV shows he’s helmed – that the film feels like it was made the small screen. Frankly, I don’t see it. Sure, it’s a cop drama, and cop shows were plentiful in the ‘70s when Magnum Force was made, but the similarity ends there. And there’s simply no way a movie this violent could ever be made for TV. (Ever catch the edited version of Magnum Force on AMC or Pax? I rest my case.)

Regarding the violence: 30 people are killed in Magnum Force, the highest body count of any of the five Dirty Harry films. In fact, there’s so much gun violence, bloodshed, and nudity that at times the film feels like an exploitation flick with a budget, rather than a mainstream Hollywood film. But that’s not to say Magnum Force isn’t fun to watch; it’s as entertaining as it is gratuitous.

Eastwood doesn’t really bring anything new to the Callahan character (which is fine), though he is given a love interest (Adele Yoshioka) and forced to work with a new partner (Felton Perry) while trying to figure out who’s bumping off the bad guys. However, it’s interesting to see Eastwood balance the dichotomy of Callahan: a lone-wolf misanthrope who makes his own rules in the name of justice, but draws the line at becoming a vigilante.

That being said, it can be easy to get behind the young cops who are carrying out the killings. There’s no doubt the criminals they’re targeting are, essentially, scum: Drug dealers, mob hitmen, pimps…but when these vengeful boys in blue start turning their slanted form of righteousness on their fellow officers, it’s just as easy to ask, “Where does it end?”

A couple cons: At 124 minutes, the film’s a bit long for a Dirty Harry action flick – it probably could’ve been cut by 15 minutes if sequences of Callahan walking and long shots of cars driving were trimmed. And the great Hal Holbrook is a bit underused as Callahan’s clichéd, by-the-numbers lieutenant.

All in all, Magnum Force is good, trashy fun (though not quite trashy enough for Trashterpiece Theatre). It was definitely worthwhile revisiting it.

Rating:

Is it suitable for your kids?

Even though I got to see Magnum Force as a kid (hey, it was the ‘70s), I would have to say “uh-uh” for kids today: adult language, drug use, male and female nudity (including a cameo of a topless Suzanne Somers), scores of bloody shootings, a shot woman falls to her death from a penthouse, and a pimp kills one of his hookers by pouring Drano down her throat.

Will your FilmMother want to watch it?

I think you’d be hard-pressed to find many female fans of the Dirty Harry series, let alone this overly violent entry. Save Magnum Force for when everybody else in your house is away or asleep.

Pimpin’ ain’t easy…especially on my eyes.

Magnum Force
* Director: Ted Post
* Screenwriters: John Milius, Michael Cimino
* Stars: Clint Eastwood, Hal Holbrook, David Soul, Tim Matheson, Robert Urich, Felton Perry, Mitchell Ryan, Adele Yoshioka, Albert Popwell
* MPAA Rating: R (adult language, graphic violence, nudity, drug use)



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