Review: "The Disaster Artist"

I am a virgin to “The Room,” at least the movie from end to end, though it exists as such a monumental cultural touchstone now that it’s impossible to be totally ignorant of its sideways charms.

Often called “the Citizen Kane of bad movies,” it has gone on to become a cult hit for its atrocious acting and nonsensical plot, with people packing midnight screenings to howl in laughter and shout out the dialogue in unison with the film, the same way their parents did for “The Rocky Horror Picture Show.”

Google it and you’ll find a multitude of gifs and memes, often centered around writer/director/producer/star Tommy Wiseau’s hilariously inept line delivery (“You’re tearing me apart, Lisa!”), vague Eurotrash accent and odd looks -- like an ‘80s hair band singer unaware of the passage of time and the fading of fame.

Showbiz people have long been fascinated by “The Room” and Wiseau, and indeed “The Disaster Artist” begins with a montage of (mostly) recognizable celebrities talking about how gobsmacked they were by the film. Director and star James Franco, along with screenwriters Michael H. Weber and Scott Neustadter, have clearly created their movie as combination homage to/mockery of Wiseau.

He may have been a ridiculously inept filmmaker, but nobody can deny the man his commitment and passion, reportedly sinking $6 million of his own money into the project. No dummy, Wiseau has spent the years since “The Room” came out proclaiming that he meant it to be a comedy all along.

James Franco nails Wiseau’s Schwarzenegger-meets-Phonics speech patterns and odd affectations, and we get a great deal of amusement out of him and the film. I’m not sure if the movie ever truly gets us deep inside his head and reveals what makes him tick. As the closing scroll reminds us, to this day nobody is exactly certain of where Wiseau is from, how he got his fortune or even his real age.

Tommy befriends a wannabe teen actor, Greg Sestero, played by Franco’s real-life brother, Dave. Together they move to Los Angeles to be struggling young actors… although they don’t really struggle too much, as Tommy drives a white Mercedes and already had an apartment in L.A. in addition to the one in San Francisco. He resists any questions about his background, claiming to be from New Orleans, or the source of his prodigious wealth.

Greg is tickled to have someone supporting him financially and emotionally, and the pair set about the usual round of auditions and agency interviews, with hilariously predictable results.

At an acting class, Tommy is distraught when the teacher tells him he’s a natural screen villain, refusing to be laughed at or placed in a box. To buck him up, Greg says he should make his own movie, and we’re off to the races.

Tommy cranks out a script, drops a load of cash on a fourth-rate movie studio and hires a bunch of film veterans before they’ve barely finished their introduction. Seth Rogen gets in a lot of comic digs as the script supervisor who often acts as the de facto director, as Tommy’s on-set antics and abuse continue to spiral as the shoot goes along.

June Diane Raphael, Ari Graynor, Josh Hutcherson and Jacki Weaver play members of the cast, actors who desperately want a paying gig on a feature film but soon recognize they’ve signed up for a one-man disaster parade. They’re the real unsung heroes of “The Room.”

The primary dynamic of the movie is the relationship between Tommy and Greg, who gets cast as the second lead in “The Room.” Greg gradually begins to realize he must separate himself from Tommy’s chaotic influence, helped by the urging of his new girlfriend (Alison Brie). The Franco brothers play off each other very nicely, keeping things comedic without tipping over into daffy.

Bad movies are not exactly a novel concept for good filmmakers. Tim Burton’s “Ed Wood” lampooned a man far weirder than Wiseau. “Troll 2” might argue about which film truly deserves the crown of “Best Worst Movie,” as it also had a documentary made about it that used that title.

“The Disaster Artist” is a very fun and entertaining film that amuses and informs, without every truly getting below the surface of these characters. Purely on amusement factors, I give it Hi Marks.

Video review: "Sausage Party"

I have heard “Sausage Party” described as one of the best movies of the year, by people whose opinion I respect. I’ve heard it called a smutty smear of cinematic excrement. Both descriptions leave me puzzled.

Certainly, “Sausage Party” is foul-mouthed, foul-minded, foul-humored, just… foul. It’s in the “dirty animated movie” tradition of “Fritz the Cat,” “South Park: Bigger, Longer & Uncut” and the like. Seth Rogen, Kristen Wiig, Salma Hayak, Jonah Hill, Bill Hader, Michael Cera and a host of other big names give voice to pieces of anthropomorphized food living in the grocery store who dream of one day being bought and taken home with humans.

To them, it’s their very reason for existence, their ticket to “the Great Beyond.” Little do they know that their destiny involves being chewed up and swallowed. Of course, they soon find out about their gruesome fate and set out to escape it.

Rogen and Wiig are the centerpieces as Frank and Brenda, who are a hot dog and bun with a burning desire to one day be together. Along the way there’s plenty of violence, cursing, and the whole thing culminates in a massive food orgy. Yeah.

Let’s put it this way: the villain is a real douche -- as in, the feminine hygiene product.

There are certainly some funny moments in “Sausage Party.” And the movie is more thoughtful than you might initially think, with some clever observations on how our political, ethnic and religious divides are largely constructed illusions.

In the end, though, it’s a breezily entertaining flick that will pass the time, but deserves neither the accolades or vitriol that have been heaved its way.

Bonus features are pretty good, though some of them are only available as digital downloads available through certain retailers. These include an alternative ending that occurs in the real (non-animated) world.

The DVD comes with a making-of doc, “Animation Imaginatorium,” as well as three featurettes. The Blu-ray adds another featurette, appropriately titled, “Shock and Awe: How Did This Get Made?” Plus a gag reel and “Line-O-Rama.”

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Video review: "Steve Jobs"

Let's be clear: although "Steve Jobs" is based on a biography by Walter Isaacson, who received the official blessing of the Apple computer pioneer, the movie is an utter fabrication from beginning to end.

Well, maybe not totally. It is about Steve Jobs. And includes conversations with several key figures in his life, spaced out over the years. And it shows the launch of actual iconic Apple products, including the original Macintosh and iPhone.

And the film depicts Jobs as both visionary and bully -- qualities that everyone who dealt with him agreed he shared in equal, plentiful quantity.

But beyond that, screenwriter Aaron Sorkin and director Danny Boyle have not really tried to make a factual biopic of Jobs. Rather, they are staging a sort of Shakespearean rumination on the man and the myth. Jobs encounters the most important people in his life, nearly all of whom have turned against him, almost like Scrooge with his sundry ghosts.

The movie is not just an exaltation of Jobs the technology visionary, but also an examination of how his personal failings brought him low. "Steve Jobs" is more about the idea of the man than the flesh-and-blood one who left this mortal coil in 2011.

Michael Fassbender is commanding and slithery in the title role. Perhaps deliberately, he looks and sounds absolutely nothing like the real incarnation we know from video, usually talking about how some expensive new gadget was going to forever change our lives. Fassbender's Jobs is hyper-smart, super aggressive and views every social interaction as a contest to be won.

Kate Winslet is terrific as Barbara Hoffman, his right-hand woman and fixer. Other recurring characters are Michael Stuhlbarg as Andy Hertzfeld, an early Apple developer; Jeff Daniels as John Sculley, Apple CEO and Jobs mentor-turned-nemesis; Seth Rogen as former partner Steve Wozniak; Katherine Waterston plays his resentful ex-girlfriend.

This fictional version of Steve Jobs may or not bear much relation to the real guy. But "Steve Jobs" is a gripping tour de force portrait of an overpowering personality.

Bonus features aren't terribly extensive, but they are quite meaty.

There is a lengthy making-of documentary. And not one but two feature-length commentary tracks: one by Boyle, the other by Sorkin and editor Elliot Graham.

It's too bad that actors are so rarely included in these conversations, because it makes for some wonderful insights. Maybe that'll come in "Steve Jobs 2.0."

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Review: "Kung Fu Panda 3"

I was not a fan of “Kung Fu Panda 2.” It seemed like an indulgent sequel made for the sake of having a sequel (not to mention critic-proof box office $$$). I enjoyed being able to brag that I’d never walked out of a movie or fallen asleep during one; after “Panda 2,” I could no longer assert the latter.

So I’m happy to report “Kung Fu Panda 3” is a return to joyous form. Perhaps because it’s been nearly five years since the last one, the filmmakers took a little time to figure out what they wanted to do on a third go-round. Here Po (Jack Black), the tubby bear who became the unlikely choice to hold the mantle of the mighty and beneficent Dragon Warrior, gets to rediscover his roots and find his true inner panda.

If you’ll recall (I didn’t), at the end of “2” we see an older panda in a remote mountain village having a transcendent moment: “My son is alive!” Now the old man turns up in Po’s village looking for him, voiced agreeably by Bryan Cranston. Of course, because these movies are comedies first, the two don’t recognize each other -- despite being the only pandas around.

Needless to say, the reunion gets happier from there. Though not for Po’s goose adoptive dad (emotively voiced by James Hong), who feels threatened by a competing paternal figure. Especially when Po decamps to the hidden panda village to learn the secret of controlling his ch’i.

That’s the Chinese word for the energy source for all living things, which according to legend the pandas used to heal the sick and wounded -- in between downing mountains of food. (Think “The Force,” but with dumplings.)

They need a master of ch’i because there’s a new baddie on the horizon: Kai, a power-mad bull who was banished to the spirit realm 500 years ago by Oogway (Randall Duk Kim), the turtle kung fu master who first anointed Po. Snortingly voiced by J.K. Simmons, Kai has found a way back to the mortal world by stealing the ch’i of Oogway and the other masters.

Other familiar characters return, notably the Ferocious Five (now simply called The Five): stern Tigress (Angelina Jolie), wisecracking Mantis (Seth Rogen), as well as Viper (Lucy Liu), Monkey (Jackie Chan) and Crane (David Cross), whose personalities sort of get pushed to the sides. Wise-but-crotchety Master Shifu (Dustin Hoffman) and his pupils try to make a stand against Kai, but like the others get their spirit absorbed by him and turned into jade zombies, which Po quickly dubs “jombies.”

Directed by Jennifer Yuh and Alessandro Carloni from a screenplay by Jonathan Aibel and Glenn Berger – who have been script men for all three films -- “Kung Fu Panda 3” has the same nice mix of martial arts action, humor and tugging emotions as the first movie.

For instance, one of the running jokes is that Kai announces himself wherever he goes as this infamous world-conquering destroyer, but nobody’s ever heard of him. And, of course, there are plenty of bits about Po’s fellow pandas being self-indulgent feasters and slackers -- they prefer rolling down hills to walking.

When Po sees even the little pandas putting away the grub he quips, “I’ve always felt like I wasn’t eating up to my full potential.”

This is one of those animated flicks intended for kids but with enough cleverness and little flourishes to keep the adults fully engaged, too.

Review: "Steve Jobs"

"Steve Jobs" is the second screenplay by Aaron Sorkin that peeks behind the fabricated legend of an Information Age titan and finds a small boy bearing many scars who lashes out at those around him. It's not quite on the level of the Oscar-winning "The Social Network," but even a half-step below is pretty rarified territory.

Michael Fassbender plays the title role of Apple co-founder Jobs, a man who was equal parts visionary and bully. As one character points out to him, he couldn't write code or create circuit boards or really do much of anything practical, but was a master at getting those who could to synthesize products in dynamic new ways.

Jobs didn't believe in letting the customer tell you what they wanted; he would invent a need they didn't know they had, then construct a product and marketing bombardment to convince people to satisfy it.

Directed by Danny Boyle ("Slumdog Millionaire"), "Steve Jobs" is already being attacked as a largely fictional version of the man and those around him. I don't doubt that. Although based on the book by Walter Isaacson, a mostly friendly portrait in which Jobs willingly participated prior to his 2011 death, Sorkin conducted extensive interviews and research on his own, and has used the text as a mere springboard.

What we're seeing is less biography than cogitation.

Start with the story structure, which is divided into a three-act play format, each centered around pivotal product launches in Jobs' career: the Mac in 1984, the NeXT cube in 1988 and the iMac in 1998. Each time Jobs is visited by key people in his life, and spars with them, like Scrooge and his ghosts. They difference is that here the man rejects the lessons his interlocutors would impart.

There's a whole lot of big speeches and emotional tirades, always in the minutes leading right up to the moment Jobs is supposed to go on stage and wow the audience. Pretty amazing coincidence, that.

Some of what is put forward is pure bullshit. For instance, Jobs' marketing chief and major domo, Barbara Hoffman (Kate Winslet), is shown putting out fires all three times, when she actually retired in 1995. And Jobs is shown as using the NeXT launch to springboard himself back into the Apple camp, when really that didn't happen until a decade later.

So keep in mind as you watch Jobs battling with co-founder and rare friend Steve Wozniak (Seth Rogen) or Apple CEO John Sculley (Jeff Daniels) that we're not seeing stuff that actually happened. These are Sorkin's words, not the real people's.

This is Hollywood-style high art here, folks: 'Lying in order to impart a greater truth.'

That's reflected by Fassbender in the title role, a sterling actor who does not resemble or sound like Jobs in the faintest. But it's still a whiz-bang performance, portraying a man of limitless imagination and stunted emotions. Here was a guy who denied the paternity of his daughter, Lisa, for years, allowing her and her mother to subsist on welfare while he became worth billions.

The movie is essentially a series of dialogues between Jobs and one other person. With each he has a different motivation and mindset, and that evolves over time along with events. He starts out friendly with Sculley, even seeing him as a father figure, but that changes when dad orchestrates his ouster from Apple. (Though, as the movie claims, it was a mutual assured destruction scenario.) For "Woz," there is affection tempered with resentment, each man recognizing and desiring qualities in the other they themselves lack.

Michael Stuhlbarg plays Andy Hertzfeld, a key figure in the early days of Apple, who is bullied and berated by Jobs but somehow attains a sort of geeky grace with time. The relationship with Hoffman is probably the deepest, as she seemed to be the one person in his life who didn't need anything from Jobs and could stand up to him without endangering her own position.

The face-offs with his daughter's mother (Katherine Waterston) are more rote than the others and therefore less interesting; we know how it's going to play out, with recriminations and eventual demands for money, and wait for them to pass. His interactions with Lisa probably best mirror reality: halted, fractured, but gradually moving toward warmth.

"Steve Jobs" reminds me of a phrase used in another context but pertinent here: "Fake but accurate." It's a remarkable film that gets to the essence of a person largely by making things up.

What a magnificent fib.

Review: "This Is the End"

What could have been a terribly tiresome joke turns out to be an extravagantly funny one. Young(ish) Hollywood stars playing themselves convene for a wild party at James Franco's house, which gets broken up by ... the Apocalypse.

Yeah, really: brimstone, demons, the whole bit. Needless to say, they aren't among those who ascend into heaven during The Rapture, which leaves these entitled stars feeling rather miffed. Things grow progressively worse, the food and water run low and they start turning on each other, with merrily over-the-top results.

I think what makes it a giddy romp instead of a giant sandwich of self-indulgence is that the versions of themselves played by the comedy stars are thoroughly unlikable and selfish. Each seems to be doing an amalgam of their various film roles, with all the negative characteristics played up.

It goes so far that they crack on each other for bad role choices or movies that underwhelmed. Seth Rogen, who co-directed and co-wrote the film with Evan Goldberg, gets a lot of abuse for the mush-brained "The Green Hornet" ... for which, of course, Rogen and Goldberg did the screenplay.

The bare-bones setup is that Seth is hosting his old friend Jay Baruchel in L.A. for a few days. Jay is estranged from Seth's new buddies, including Franco, Jonah Hill, Danny McBride and Craig Robinson. He gets strong-armed into attending a shindig at Franco's swank new Hollywood pad, it gets kinda awkward -- until death rains from the sky and holes open up in the earth.

Most of the guests and other celebrities get killed off rather quickly, including Mindy Kaling, Rihanna, Paul Rudd and Jason Segal. Michael Cera, playing an arrogant coked-up version of himself, meets an especially messy end.

The survivors spend the next days and weeks holed up in Franco's house (which somehow manages to retain electricity even as the rest of town is fried into a smoking cinder).

The humor is really, really raunchy, with a bend toward the scatological. The running thread is that the entire bunch is ruled by narcissism, even when it seems like they're playing buddy-buddy.

Jay is the lone voice of reason, suggesting they repent their sins and hope for salvation. But it's a hard sell with this bunch. Their facility with religious faith extends only as far as Franco comparing the Holy Trinity to Neapolitan ice cream.

Emma Watson has a wicked turn playing herself, who busts into the boys' house with an axe and can't wait to bust out again.

"This Is the End" is essentially a one-joke movie, but it's one these young show biz funnymen gleefully -- and skillfully -- play on themselves.

Review: "For a Good Time, Call..."

There's a difference between comedy and zany behavior. "For a Good Time, Call..." aims for the former but mostly contains the latter.

This Sundance Film Festival favorite is about two down-on-their luck Manhattan roommates who start a phone sex business to make ends meet. Now, phone sex is like prostitution lite -- a sex act is involved, one-sided in terms of pleasure received, money is exchanged, though the parties never meet in person.

Big in the '80s, it seems anachronistic in this day in which countless terabytes of free porn are available on the Web. I would think visually-inclined men would go that way instead of opting for an audio-only format. Not to mention, at $4.99 a minute, the Great Recession must have shrunk the customers base considerably.

But it's also why Katie and Lauren are able to clean up so well. Katie (Ari Graynor) is blonde, outspokenly slutty and under-motivated. Lauren (Lauren Miller) comes from privilege, is prim and a bit awkward. Katie works the phone sex thing as a side gig, making $1 a minute.

Lauren is predictably appalled when she finds out, but has the business sense to point out Katie could make a lot more if she stopped being a contractor and went into business for herself. They name their company "1-900-MMM-HMMM," which seems a recipe for misdialing the competition.

Over time, the two opposites learn to work together and even become close, the uptight one loosening up and the crazy cohort gaining some semblance of responsibility. I should point out that this is essentially the same plot as "Night Shift" with Michael Keaton and Henry Winkler, minus the morgue component.

In the finest Judd Apatow tradition, "Good Time" is a product of nepotism. Lauren Miller is married to comedian Seth Rogen, who appears in a cameo along with other famous funnymen and -women like Kevin Smith, Justin Long and Nia Vardalos.

Miller is also a co-screenwriter and co-producer with Katie Anne Naylon, her actual college roomie when they were at Florida State University. They supposedly based the story on their real-life experiences. (University of Florida alum, insert joke here.)

As we see in flashback, Lauren and Katie have A History. Back in college they barely knew each other, until there was an incident involving a brand-new car, a plastic cup and a full bladder. Ten years later, their mutual best friend -- catty gay caricature Jesse (Long) -- suggests they shack up together when they're both low on cash.

Katie inherited her grandmother's fabulous apartment overlooking Gramercy Park, but the rent control is going bye-bye. Meanwhile, Lauren's lawyer boyfriend (James Wolk) tells her he needs some space to evaluate, and wants her to move out of their apartment.

Sugar Lyn Beard has a short but memorable turn as a business recruit with an impossibly squeaky, girly voice -- and then, she takes it up (or down) a notch.

First-time feature film director Jamie Travis is a bit shaky with the pacing. Sometimes the jokes and loony bits fly at us so fast the audience can't hardly field them all. Other sections linger and mope.

The language coming out of the girls' mouths while they're working the phones is supposed to be shocking in its filthiness, but the wind-up overshadows the pitch.

Graynor has the bigger, flashier role as the hard-bitten girl with an embarrassing Big Secret, but I never bought her as authentic -- she's more personality than person. Lauren is more relatable, but it seems like the movie has all her moves are laid out for her five minutes in.

"For a Good Time, Call..." has a handful of genuinely funny bits. But compared to other films in the recent trend of R-rated female-centric comedies ("Bridesmaids"), it doesn't find the sweet spot.

2 stars out of four

Review: "50/50"

The characters and dialogue in "50/50" are so cool and hip and accessible, the movie almost succeeds in making us forget we've seen this story a dozen times before.

It's the tale of a young guy who comes down with a very scary form of cancer -- so scary, even other cancer patients have never heard of it. As one fellow patient advises, the more syllables a disease has, the worse it is.

Because it has an indie rock soundtrack and stars Gen-Y favorites Joseph Gordon-Levitt, Seth Rogen, Anna Kendrick and Bryce Dallas Howard, "50/50" has a witty, funny/sad vibe. But ultimately, it's another variation on the old laughing-through-the-tears shtick, in which monumental life challenges bring on the warm fuzzies, and the laughs.

The film was reportedly based on a real-life event involving a friend of Rogen, Will Reiser, who wrote the screenplay based loosely on his own bout with cancer. Rogen co-stars and is one of the producers, and Jonathan Levine directs with loose, jazzy style that gives most of the scenes a comfortable, lived-in feel.

Adam (Gordon-Levitt) is a 27-year-old producer for the NPR affiliate in Seattle, slavishly working on a project about a remote volcano his boss could care less about. That's sort of Adam's M.O. -- he's a guy who sticks himself in a corner, keeps low expectations and is content to be the wingman for Kyle (Rogen), his garrulous best friend who's always looking to get laid, all the time.

A pain in his back turns out to be spinal cancer, as his doctor lays out for him with an appalling lack of human warmth, spouting a bunch of scientific mumbo-jumbo into a voice recorder rather than talking to the man in front of him.

I happen to think Gordon-Levitt's one of the best actors of his generation, and he doesn't disappoint here, showing us the edges of Adam's interior. Adam has become very good at fooling others into thinking he's a happy person -- no one has fallen for it harder than himself.

His girlfriend, Rachael, is an artsy type played by Bryce Dallas Howard, who promises to stick by Adam, but everyone, including Rachael, secretly doubts she's up to the challenge. She only has one drawer's worth of her stuff at Adam's house, and we sense this mirrors her emotional investment in their relationship.

Kyle, meanwhile, keeps taking Adam out to drink and party, and eggs him into using his newly bald head and sad story to get women to sleep with him. (In the world that exists only in the minds of screenwriters, this actually works.)

"No one wants to (score with) me," Adam protests, "I look like Voldemort."

Some of the best scenes are at Adam's chemotherapy sessions, where he cozies up to the regulars. In this tiny community, one's affliction is announced like a vocation: "Alan, stage three lymphoma." "Mitch, metastatic prostate cancer." Philip Baker Hall and Matt Frewer quietly dazzle as a pair who have moved beyond fretting about letting their disease define them.

The X factor is Anna Kendrick as Katherine, the medical student who takes on Adam in therapy sessions. Adam, who is used to always being the youngest person in any room, is put off being administered to by someone even younger than he. She's so young, Katherine doesn't even get his Doogie Howser jokes.

Their relationship develops in time, though, and it doesn't take long to figure out they wish they'd met in other circumstances. I enjoyed the authenticity of Kendrick's performance as a serious young woman who's still figuring out her professional and personal boundaries. There is no doubt she will turn out to be a better, more caring doctor than the lunkhead who blurted out the news about Adam's cancer.

I enjoyed this movie, though admittedly I'm a sucker for a good weepy/funny dramedy. I just want Rogen, Reiser, Levine and the gang to know that even though I'm giving their flick a thumbs-up, I see through their ruse. This is "Terms of Endearment" with a heavy ladle of testosterone and a smirk.

3 stars out of four

Review: "Kung Fu Panda 2'

I think I may have actually nodded off during "Kung Fu Panda 2." This is surprising, because I have never fallen asleep in a movie theater before. Also, because it happened not during the talkie scenes but in the middle of the martial arts action.

It may amount to no more than 10 seconds I missed, but I still feel compelled to report it. I've sat near famous critics who snored halfway through a screening, and it troubled me when that didn't show up in their review. It may be largely subjective, but movie criticism is still journalism, so it's our duty to report the whole of our experience of a film.

To wit: "Panda 2" literally put me to sleep -- albeit very briefly.

I'm not an ingrained panda-hater; I very much enjoyed the first film from 2008. The mix of excellently-detailed CG animation and goofy kid-friendly humor made for a jolly good time that appealed to adults as well as tykes.

But the sequel is just going through the motions. The comedy is again built around the slacker sweetness of Po, an animated version of Jack Black as a tubby panda. It worked last time around because he was a nobody poser who dreamt of fighting alongside the Ferocious Five: Tigress (Angelina Jolie), Monkey (Jackie Chan), Mantis (Seth Rogen), Viper (Lucy Liu) and Crane (David Cross).

But as we learned at the end of the last film, Po completed his unlikely journey to become the Dragon Warrior, the culmination of kung fu mastery. His pratfalls and clumsy antics don't jibe now that he's the baddest bear in the land.

Although I must say that for the beast who's supposed to be the best of the best, both Tigress and their teacher Shifu still seem to have his number.

Speaking of Shifu, voiced by Dustin Hoffman, he's kind of kicked to the curb in the sequel, showing up for a few scenes near the beginning and end. He speaks cryptically about a new threat that could "destroy kung fu," which is like saying you're going to destroy gardening. Even if you kill all the best gardeners, there's still going to be plenty of people around who know a thing or two -- same with chop-socky.

The new villain is Lord Shen, a peacock who dreams of conquering all of China. He's well on his way to doing it, too, thanks to a new invention: the cannon. (For a brief time, the movie had a subtitle, "The Kaboom of Doom," that seems to have evaporated.)

Gary Oldman does a good job making Shen a somewhat sympathetic figure with some parental abandonment issues. He's also a lot more menacing than you might imagine a brightly-hued peacock could be -- for those cascading feathers hide a small arsenal of knives.

Screenwriters/producers Jonathan Aibel and Glenn Berger, who also wrote the original film, make the unwise choice of giving Po some backstory to explore. Po has a goose for a father, and one thing I liked about the first movie was that no one seemed to question this ornithological oddity.

But now Po is sent to chase after the memory of his missing parents, and it gives the sequel a downbeat fibe that sucks the life out of the lighter material.

Rookie director Jennifer Yuh's fight scenes don't have the crisp clarity of the last movie -- the action is either flying by too fast, or they dial up the slo-mo so far it's like we're stuck in molasses.

But mostly "Kung Fu Panda 2" just lacks the novelty of the original, which found a sweet spot in between martial arts and goofy animated critters, and milked it for every last laugh. This one feels like leftovers that have curdled.

1.5 stars out of two

Video review: "The Green Hornet"

"The Green Hornet" is what happens when smart people set out to make a dumb movie.

This hipper-than-thou would-be comedy can't decide if it wants to be a spoof of a super hero movie, or on homage to one. Director Michel Gondry and star Seth Rogen, who co-wrote the screenplay with Evan Goldberg, mock the conventions of the genre while indulging in them.

Interestingly, the Green Hornet -- who's best known to younger generations for a 1960s TV show co-starring Bruce Lee -- is one of the few costumed crusaders who didn't originate in a comic book. He started out as the star of a serial radio show in the '30s, followed by some cheapie movies, and only then did he show up in comics form.

Rogen plays Britt Reid, a petulant playboy and heir to a Los Angeles newspaper fortune. When his father dies mysteriously, he learns that the family mechanic Kato (Jay Chou) secretly built daddy an arsenal of weapons and gadgets, including a tricked-out 1965 Chrysler Imperial dubbed Black Beauty.

They decide to fight crime, but pose as criminals in order to infiltrate the underworld led by kingpin Chudnofsky (Christoph Waltz), who frets about his drab image.

Gondry ladles on the slo-mo fight scenes and cool stuff like the Green Hornet's sleeping-gas gun -- which makes up for Britt's decided lack of combat prowess. The running joke of the movie is that despite being the sidekick, Kato is the real muscle, and brains, of the outfit.

There's one or two really good laughs, but mostly "The Green Hornet" fails to sting, either as a super-hero flick or a send-up of one.

Video extras are pretty good, especially if you upgrade to the Blu-ray version.

The DVD edition is still decently stocked, with a feature-length commentary track by the filmmakers, gag reel and two featurettes on the writing of the screenplay and rebirth of Black Beauty.

The Blu-ray adds deleted scenes, several more featurettes and a couple of Easter Eggs, including Chou's addition tape.

Go for the 3-D Blu-ray/DVD combo pack, and you'll also get animated storyboard comparisons.

Movie: 1.5 stars out of four
Extras:3 stars

Review: "Paul"

"Paul" is quite possibly the first extraterrestrial stoner comedy. At least, I couldn't think of any others offhand. I Googled "movies in which aliens get stoned" and got zippo. Maybe I should've used Bing.

The alien and his human cohorts do not actually spend the entire movie getting high, but this film definitely has a crunchy road-trip vibe. Think "Cheech & Chong" meets "Starman," with some "Shaun of the Dead"-type genre spoofing. This latter flavor is not surprising, considering that "Shaun" collaborators Simon Pegg and Nick Frost wrote the screenplay and star in "Paul."

The title character, a buggy-eyed protagonist who can turn invisible and heal people and animals with a touch, is voiced by Seth Rogen in his blowsy, cool-dude mode. We get the distinct impression that on his world, he's the Jeff Spicoli. At least, we hope he is. Paul (a nickname, and later we discover how he got it) crashed his spaceship in the desert more than 60 years ago, and seems to have little ambition or direction in life.

He's been the guest-slash-prisoner of the U.S. government ever since, and would've been content to stay there until he recently learned that he's outlived his usefulness. He goes on the lam, smashes his stolen car and gets a lift from Graeme and Clive (Pegg and Frost), a pair of British nerds taking a tour of Area 51 and other alien-themed hot spots in a rented RV.

There's a lot of funny in-jokes about why all aliens in pop culture have the same general resemblance as Paul. He tells them the government disseminated those images so in case more of Paul's folks show up, people will at least have a frame of reference and not totally freak out. There's even a hilarious flashback where Paul gives Steven Spielberg the idea for E.T.'s glowing magic finger.

Hot on his trail is Zoil (Jason Bateman), a Secret Service agent who's really serious about his job, and seems impervious to humor. He takes orders from a female boss we only hear over the phone, and has to deal with a pair of nitwit rookies (Joe Lo Truglio and Bill Hader) assigned to help.

Paul, Graeme and Clive hide out in a trailer park, where they bump into Ruth (Kristen Wiig), the daughter of a Bible-thumper. She wears those odd glasses with one frame blacked out to conceal an eye condition, and it doesn't take special powers to guess Paul will have something to say about it.

His intervention helps her cling a little less bitterly to her religion, and soon Ruth is tagging along, determined to try out some new swear words and maybe break a few commandments. It's a charming, cheeky and funny role, and underlines the burning necessity that Hollywood give Wiig her own star vehicle, now.

"Paul" is directed by Greg Mottola, who helmed the ridiculously overrated "Superbad," but also the criminally ignored "Adventureland." Together with Frost and Pegg's script, they manag to find a loose, entertaining groove that's way funnier than "Pineapple Express." The humor is generally in well-traveled terrain with a generous helping of dick jokes, but somehow having it coming out of the mouth of a little green man makes it fresh and ironic.

3 stars out of four

Review: "The Green Hornet"

"The Green Hornet" is what happens when smart people set out to make a dumb movie.

Screenwriter William Goldman famously wrote that there are only three kinds of films: Those that are meant to be good and are, those that are meant to be good and aren't, and those that were never meant to be any good. Depressingly, this last category is the largest, and where "Hornet" belongs.

It's less of a super-hero movie than a spoof of one. I'm all for making fun of a genre ripe for ridicule, but "Hornet" is loaded with action scenes and nervous energy and cool gadgets ... and not much you would really call funny.

I laughed out loud exactly once, and it was the very last scene in the movie where young newspaper tycoon Britt Reid (Seth Rogen) and partner Kato (Jay Chou) take extraordinary steps to preserve the fiction that the Green Hornet is a villain, instead of a hero. It's a genuinely clever bit, and I don't mind saying I got the joke a few seconds before everyone else did, and enjoyed a moment of solitary guffawing before everyone else joined in.

Interestingly, Green Hornet is one of the few super-heroes who didn't debut in a comic book. He started as a popular radio show in the 1930s, followed by some cheapie film serials starting in the early 1940s, and only then did he arrive in comic form. He's probably best known to recent generations for a '60s TV show.

Britt is a lazy, rich party boy living off the fruits of his father's newspaper empire, The Daily Sentinel in Los Angeles. But when dad dies suddenly and mysteriously, he discovers that his father had been ordering up all sorts of advanced weapons from Kato, his mechanic-slash-confidant. Britt, wallowing in booze and anonymous hook-ups, knows Kato only as the guy who makes him a really awesome cup of coffee every morning.

Rogen, who's made a career out of playing schlubby, chubby (though noticeably less so here) man-boys, is less charming when he's not playing a loser. Britt is supremely arrogant, not in a nasty way but with a presumption of superiority that drowns any affection the audience might develop for him.

After a late night hijinx to behead his father's statue monument turns into a dust-up with some thugs, Britt realizes he's found his calling: To become the city's masked protector. Soon he and Kato are cruising around in a highly modified 1965 Chrysler Imperial decked out with machine guns and missiles they dub Black Beauty.

The big pun of the movie is that Kato is the real muscle and brains of the outfit, but the Green Hornet gets all the attention. Kato is a genius with cars and weapons, and even invents a gas gun for the Hornet that knocks out his opponents. Kato can even take on six bad guys at once with his martial arts prowess, which allows him to see things in slow time.

Britt, of course, still thinks he's the top gun, and takes to dismissing Kato as his henchman or sidekick, leading to inevitable fisticuffs between them.

Neither has much of a notion how to act like a villain, though, so they recruit help from Britt's hot new secretary Lenore (Cameron Diaz), who works at a temp agency but somehow knows more about journalism than the people working there. Britt and Kato take turns hitting on her, even though she's, like, really old and stuff. (She's 36.)

The heavy is played by Christoph Waltz, fresh of his Oscar win for "Inglourious Basterds." He plays Chudnofsky, head of L.A.'s gangland. Rogen, who co-wrote the screenplay with Evan Goldberg, tries to make a joke out of the fact that Chudnofsky is so dull and un-flashy a villain. (James Franco, in a cameo as another gangster, dubs his fashion sense "disco Santa Claus.").

Later he renames himself Bloodnofsky and takes to wearing red in a lame attempt to dovetail on Green Hornet's sizzle. But it turns out the gag of a bad guy fretting about his lack of charisma quickly turns into a whiny bore.

Also hanging around is Scanlon (David Harbour), the smarmy district attorney who seems overly interested in how the Sentinel is portraying all the violence left in the Hornet's wake. We don't quite know what to make of him, but with his beady eyes and a name like Scanlon, we know it's just a matter of time before something nefarious turns up.

"The Green Hornet" is directed by French filmmaker Michel Gondry, whose work has not impressed me. (He's universally beloved by critics for "Eternal Sunshine of the Spotless Mind," but not by me.) Perhaps he, Rogen and Goldberg think they've made a really smart, hip film that mocks the conventions of the super-hero movie while indulging in them.

But somewhere along the way of trying so hard to be cool, they made the movie they wanted to watch, rather than the one anyone else might want to.

1.5 stars out of four

Review: "Funny People"

"Funny People" should come with a warning announcement: "And now folks, a serious moment with Adam Sandler and Judd Apatow."

Yes, this is the movie where the dudes behind "The Waterboy" and "Knocked Up" team up and get all weepie.

Sandler plays a thinly-disguised version of himself, a massively successful star of mainstream comedy films, who has been diagnosed with a life-threatening illness. He hires a young wannabe comedian, played by Seth Rogen, to be his assistant/friend, and sets about to learn him some life lessons.

This formula actually works for awhile, as the big star and the young schlub bond. George Simmons (Sandler) teaches Ira how to hold his own doing stand-up, and Ira helps George see that there's more to life than his opulent mansion and anonymous hook-ups with female admirers.

There's also some pleasant byplay with Ira's roommates, who are both much more successful than him. Jonah Hill plays another comedian, and Jason Schwartzman has become the star of a horrible television comedy called "Yo, Teach!" Oh, and there's a girl comedian (Aubrey Plaza) for whom Ira is laying out a three-month seduction plan, but the Schwartzman character gives him 10 days to make a move before he turns on the star charm.

So the movie is humming along quite nicely, with plenty of laugh-out-loud moments, a little bit of serious stuff with George's illness, and then Ira and George take a trip to Marin County to look up an old girlfriend of George's, and the movie flushes itself right down the toilet.

The visit to see the girlfriend just goes on, and on, and on, until you realize it's taken up almost an hour of the film's ungodly 145-minute run time. The old saw about Judd Apatow movies is that they go on 20 minutes too long, but "Funny People" qualifies for a multiplier.

I hate to say this, but I think this section is only in the movie because the old girlfriend is played by Leslie Mann, who is Apatow's wife in real life. And although she's a talented performer, the whole concept of the girlfriend trip just kills the movie. She's married (to an Aussie played by Eric Bana) and has two daughters, and because of George's illness she convinces herself they're still in love.

This happens right after George learns that his disease has gone into remission. I'm not giving anything away here; this twist is in the trailer. I just find it ironic that it's only after George learns that he's going to live that "Funny People" becomes a death march.

The one truly interesting thing about this movie is that it seems to be making fun of Adam Sandler, or at least his movies. There are numerous clips from made-up flicks like "Merman," in which he's a half-fish, and "Re-do," where he has the body of a baby but his regular head. It's made clear that no one actually thinks these are funny, and yet they are essentially barely-disguised take-offs of Sandler's actual movies.

Since Sandler and Apatow were roommates when they were first breaking in, it raises the question of what the former roomies really think of each other's work. Based on "Funny People," they should have ditched the reunion.

2 stars

Review: "Observe and Report"

"Observe and Report" starts out on a promising note, with a few scenes genuinely worth a guffaw or three, and for a time I'd hoped that the incubating genre of mall-cop comedies was taking a leap forward after "Paul Blart: Mall Cop."

But then the Seth Rogen character goes on an extended depression bender where he starts threatening people, smashing store displays and getting into bloody fisticuffs with real police officers. There's a scene where he gets perp-walked out of his own mall, face battered to a bloody pulp as he glares at the television cameras, where I thought the filmmakers had actually experienced a psychotic break during production.

It's not just that the movie forgets to be a funny for a while; it seems to revel in its bleak and dreary phase. If it's possible for a film to go off its meds, this one did.

Here you are expecting a dippy comedy, and then it decides to go all "Taxi Driver" on you.

Fortunately, "Observe" gathers itself together for an outrageously funny ending that makes the towel-dropping in "Forgetting Sarah Marshall" look pretty tame.

Is it worth paying for a flick that's funny two-thirds of the time, and nearly unwatchable the rest? It depends on your pain threshold. For my money, that's an awful lot of sour to swallow with the sweet.

The set-up is similar to "Paul Blart": Rogen plays Ronnie, the chief mall cop who takes his job way, way too seriously. Ronnie wants to outfit mall security with automatic weapons, and publicly threatens to "effing murder" the flasher who keeps exposing himself to women.

It's not just that Ronnie has delusions of grandeur; even his delusions are pretty screwy. He wants to help people, but only if it involves killing. He seems to envision himself as a cross between Shane and the Columbine nutcases.

Ronnie is sweet on the bleach-blonde girl at the makeup counter (Anna Faris) because he's too dimwitted to see what a skeeze she is. Meanwhile, the coffee girl (Collette Wolfe) with a bum leg and inner sunshine would clearly like to offer him more than a free cup o' joe.

Some of the best scenes deal with Ronnie's leadership of the security crew, which consists of a lisping lieutenant (Michael Peña), a pair of Asian-American twins and a trainee. When the trainee complains that their meetings are conducted off the clock, Ronnie berates him with equal measures of passion and cluelessness: "How much did they get paid to storm Normandy? How much did King Arthur get paid to kill Merlin?"

Rogen has great dim-bulb charm, like an oversized puppy that destroys stuff and slobbers in your shoes, but you forgive him when he looks at you that certain way. But even Rogen can't save the movie during its scary phase.

"Observe and Report" was written and directed by Jody Hill, who did a little kung fu comedy called "The Foot Fist Way" starring Danny McBride that charmed a lot of showbiz comedy heavyweights. (McBride makes a very short but very funny cameo here.) Hill seems to have solid comedy instincts, so I'd love to see if he can make a movie that's funny all the way through, without going completely off the rails, like this one did.

2 stars