Imagine “The Matrix,” with all of its eye-popping violence, sensuality, and salty language giving the material its very identity, as intended by the filmmakers.
Now picture “The Matrix” stripped of its coarseness, boiled down to a family-friendly adventure without bite and, for the most part, creative logic. In Utah, a war against sin has been waged for the last decade, pitting Hollywood legal firepower against a hungry Mormon movie nation, clamoring for blockbusters without balls.
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“Paper Man” has the appearance of a deeply felt, earnest film concerning unfinished emotional business.
It literalizes the burden of guilt in strange seriocomic ways, but the film as a whole is a woeful misfire of inexplicable outbursts and overpowering performances. “Paper Man” certainly reaches out for a hug and demands a few tears, but the execution of the film is irritating, making this sensitive picture dishearteningly hopeless and, at least during a few key moments of the feature, seemingly endless.
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Working without much of a budget or the comfort of a studio, the New York City drama “Don’t Let Me Drown” manages to pull off one of the most harrowing depictions of a post-9/11 world I’ve seen to date.
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For his ninth feature film, writer/director Tyler Perry has returned to the source of his most inspired work.
“Why Did I Get Married Too?” is a sequel to the 2007 domestic disturbance ensemble piece, reuniting all of the original cast to once again delve into the flood waters of marriage, trust, and infidelity. The original film wasn’t an astounding emotional investigation, but it permitted Perry a chance to work on a script concerning adults, without the pinching shackles of the demonic Madea character or his feckless stabs at religious enlightenment. “Married Too” continues the coarse matrimonial adventure, only now the childish rage and jarring tomfoolery has moved to the Bahamas, allowing the earsplitting melodrama a chance to grab a tan.
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Bringing the hit 1981 fantasy “Clash of the Titans” safely back to the big screen requires a divine touch that can successfully vault past the beloved special effects display of the original film.
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If it ain’t broke, don’t fix it. That’s not just a motto to author Nicholas Sparks, but the very key to his vast literary fortune.
The architect of North Carolina soap operas, Sparks launches another granny shot with “The Last Song,” an absurdly formulaic tearjerker based around the aging appeal of star Miley Cyrus. It’s a fascinating attempt for the former Hannah Montana to edge away from her clownish Disney ways, but even Meryl Streep would be hard-pressed to make something stimulating out of Sparks’s paint-by-numbers storytelling effort.
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