Charlie's Angels: Full Throttle. Joseph McGinty Nichol. If you're one who's going to complain about the egregious violation of the laws of physics in the original Charlie's Angels movie, you've no business in the theater to begin with. Ditto anyone who disdains gratuitous and fetishistic costume changes, or unmotivated suggestive poses. The absurdity is the point, but so was the film's spontaneous feel, which is sorely lacking in this retread. Cameron Diaz gets another dance number, which isn't much fun; Lucy Liu gets to use a whip again, which is predictable; Drew Barrymore gets to make out with new bad boy Justin Theroux, which feels like ego gratification. There are still some fun scenes, notably one set at the beach, and a motocross chase which abuses bullet-time like the Wachowski brothers wouldn't believe, but the film's publicity hype has already spoiled its opening action sequence and the "surprise" villain, who isn't formally revealed as such until well over an hour into the flick. Opens Friday, June 27, at multiple locations. (Luke Y. Thompson)
The Hard Word. Scott Roberts. Guy Pearce's Dale Twentyman is a nonviolent con always getting conned, not least of all by his peroxided wife, Carol (Rachel Griffiths), and her lover Frank (Robert Taylor), who's also Dale's double-crossing lawyer and the very man who plots the elaborate robberies that land Dale behind bars. Frank provides Dale and his brothers -- meat-headed butcher Mal (Damien Richardson) and temperamental muscleman Shane (Joel Edgerton) -- with plans and props; it's just this one day Frank figures that $20 million is too much to split with the three lads, so Frank hires outside help to off the boys once the race is run and the cash is collected. In the end, some people wind up dead, some live happily ever after, some live just till the next con comes round the corner. The thing about heist films is that they're pretty good at tricking you into liking them; the thrills can dash away the nagging feeling you're being taken yet again. But you are, ultimately. Opens Wednesday, July 2, at the Tivoli. (Robert Wilonsky)
Only the Strong Survive. Chris Hegedus, D.A. Pennebaker. Last Fall, Standing in the Shadows of Motown reintroduced the Funk Brothers, the fabulous backup band that played on just about every Motown hit of the 1960s and early '70s. The musicians told wonderful stories about themselves and the not-always-so-great "good old days," but the audience never got to see them playing with the stars they helped make famous: Smokey Robinson, Marvin Gaye, Aretha Franklin. Instead, contemporary singers offered disappointing renditions of Motown classics. Only the Strong Survive, a new documentary about some of the old singers, has the exact opposite problem. It features the likes of Sam Moore, Wilson Pickett, Mary Wilson, and Rufus Thomas giving present-day performances of their signature songs, but it skimps on showing much about their backgrounds. We learn a few things about their lives now, but not their early years: where they grew up, how they got into the business, their struggles against racism. The portrait that normally reliable documentarians Chris Hegedus and D.A. Pennebaker give us is woefully incomplete. Opens Friday, June 27, at the Plaza Frontenac. (Jean Oppenheimer)
Together. Chen Kaige. Opens Friday, June 27, at the Plaza Frontenac. Reviewed this issue.
Wattstax. Long a victim of legal wrangling and only now seen in the version intended for release 30 years ago, this isn't the world's greatest rockumentary. The performances by the likes of Isaac Hayes, Rufus Thomas, Johnnie Taylor and other Stax Records vets, while often ferocious and engaging, are not career milestones for anyone involved; and we're taken out of the Los Angeles Coliseum so often -- for barbershop and restaurant interviews with Watts residents about relations between blacks and whites, men and women -- it's possible to forget for long stretches you're even watching a documentary of a single event. It's Richard Pryor who ultimately makes Wattstax invaluable: He's still young, still fleshing out the routines that would make him immortal, still finding a way to melt down unforgiving anger into unflinching comedy. He's the conscience of the film, shouting above the chorus of performers and interview subjects with bits that propel Wattstax with far more force than any musician. Opens Friday, June 27, at the Tivoli. (Robert Wilonsky)
Whale Rider. Niko Caro. Much like Bend It Like Beckham or Real Women Have Curves, Niki Caro's sound, smart, sweet and significant crowd-pleaser (liberally adapted from the novel by Witi Ihimaera) takes an elegant approach to its feminist salvo. Our focal point is Paikea (wunderkind discovery Keisha Castle-Hughes), a preteen Maori girl named by her bohemian father, Porourangi (Hollywood staple Cliff Curtis), after the male ancestor who originated the Ngati Konohi tribe of Whangara, New Zealand, a thousand years prior, arriving astride a whale. Pai's being a girl doesn't please her sternly traditionalist, unrepentantly sexist grandfather Koro Apirana (terrific Rawiri Paratene), so she strives to earn his acceptance and respect -- and claim her tribal destiny -- helped along by her whip-smart grandmother Nanny Flowers (energetic Vicky Haughton) and noble uncle Rawiri (charming Grant Roa). Caro's desire to make men look silly wears thin, but otherwise she relates Maori sensibilities and culture with great affection and aplomb, delivering a film as important as, yet generally more audience-friendly than, 1997's Once Were Warriors. Opens Friday, June 27, at the Hi-Pointe. (Gregory Weinkauf)
28 Days Later. Danny Boyle. Opens Friday, June 27, at multiple locations. Reviewed this issue.
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