‘Klute’ Features One of Jane Fonda’s Best Performances on Film

Posted on by The Ultimate Rabbit

Klute movie poster

Many keep wondering what draws people, and not just women, to prostitution. It seems such a sordid profession which offers nothing but degradation and humiliation to those involved in it. Other than money, what does draw people into a lifestyle like this one which has been around for so long? From a physical point of view, it’s got to get tiresome after a while. Maybe it is appealing from a psychological point of view; people profiting off the needs and weaknesses of others may very well be its selling point. To have control over another person is always an appealing prospect.

This is made clear in “Klute” which was directed by Alan J. Pakula who had a talent for taking familiar stories and populating them with characters you can recognize from real life. The movie revolves around the case of a missing man and a private detective named John Klute (Donald Sutherland) who has been assigned to find him. The only lead he has is a prostitute named Bree Daniels, and she is played by Jane Fonda in one of her best roles.

Fonda won one of her two Oscars for her performance in this classic 1970’s thriller. It is a wonderfully complex role for an actress to play as Bree is a struggling actress and model who finds a power and control as a call girl she doesn’t have elsewhere in life. In one of several meetings with her psychiatrist, Bree admits she doesn’t enjoy the physical part, but she does enjoy the act she plays for all her clients. When she is with them, she considers herself to be the greatest actress in the world and brilliantly exploits their weaknesses to gain a higher price for her services.

Bree, however, ends up finding a different view on life with John, a man as straitlaced and upstanding as they come. Donald Sutherland has one of his best roles here, and while his character ends up succumbing to Bree’s charms, he never completely loses himself in his desires. Throughout the movie, he remains the source of hope and strength Bree needs when she finds out someone wants to kill her.

When Bree does ends up sleeping with John, she thinks she has him right where she wants him. She quickly intuits her strength over him as a result of him not making her orgasm as a weakness on his part, but later finds herself losing this power she has over men while she is with him. Bree finds she likes being with him, and this scares her because love is not something anyone can have any control over. There is a beautiful moment when she is shopping with John at a local farmer’s market, and you can see the insecurity on her face. She feels strongly for John, and it frightens her as the addiction she has for being a call girl may overwhelm her true love for him.

Pakula does a great job of increasing tension throughout “Klute,” and this is heightened by the characters being very relatable and down to earth. This has been the case with the majority of his movies like “All the President’s Men,” “The Parallax View” and even “Presumed Innocent.” Even if the plots of some of his movies seem far-fetched, it is the reality of the characters and the world they inhabit which sucks us in.

“Klute” also features another great performance by the late Roy Scheider as Frank Ligourin, a pimp disguised as a record producer. Scheider makes him unlike other pimps we have seen in “Taxi Driver” or “Street Smart” as he makes his character much more casual in his cruelty and control over those who work for him. He doesn’t deal too much in force because it doesn’t suit him well, and it would affect the relationships he has with his employees.

We do find out who’s threatening Bree early on, so the whodunit element of “Klute” disappears rather quickly. This could have really sunk the movie, but Pakula gets away with it because we find it is integral to the themes the movie explores: perversity, sexuality and the mentality behind them. Many think they are above perversity, but there is a darkness inside of us which often goes unchecked. The more we repress it, the more explosive it becomes when finally released. There are no good or bad guys in this movie, just people trying to measure out what they feel is right and wrong, and some do a better job of figuring this out than others.

“Klute” does have an anticlimactic ending, but that’s probably because the one we expect a movie like this to have would have just taken away from the reality of the story. Either way, it proves to be one of the most memorable movies of the 1970’s.

* * * * out of * * * *

‘The Incredible Hulk’ Proves to Be a Decent Marvel Reboot

Posted on by The Ultimate Rabbit

The Incredible Hulk poster

WRITER’S NOTE: This review was written back in 2008.

Well, it’s not incredible, but it’s still pretty good. “The Incredible Hulk” is not so much a sequel as it is a reboot. Ang Lee’s “Hulk” was not the movie Marvel Comics fans were waiting for, and the backlash against it was pretty severe. This was a shame because Lee’s movie was not at all bad, but I came of it knowing it would get a lukewarm response from audiences because it was more of a character driven piece which the summer movie season typically relegates to arthouse cinemas. But with this action-packed blockbuster, fans will likely get more of what they were looking for the first time around.

“The Incredible Hulk” thankfully sprints past this particular superhero’s origins by doing a quick recap of Dr. Bruce Banner’s accident which turned him into the ferociously mad and enormous beast who tears through all of his clothing with the exception of his underwear (very convenient for a PG-13 rating). We catch up with Dr. Banner, now played by Edward Norton, in Brazil where he has successfully managed to control his anger for over 130 days. While working a menial job at a bottling plant, he continues to look for a cure which will keep him from turning green and becoming super pissed. As a result, Banner is one of the few people on this planet determined not to go green in order to save the environment. But despite all the breathing exercises he does to control his anger, we all know he will soon find it’s not easy to keep from being green.

This Hulk movie is a lot more action packed than the previous one as it starts up quickly and never lets the pace go slack. Directing this superhero reboot is Louis Leterrier who directed “The Transporter 2” and “Unleashed.” He clearly likes the hyperkinetic style of filmmaking and it shows throughout. The direction is not necessarily outstanding and Leterrier doesn’t seem to quite have a style of his own yet, but he gets the job done and he keeps the film entertaining from start to finish.

The cast is different as well, with nobody but Stan Lee and Lou Ferrigno, doing their mandatory cameos, returning from Lee’s film. Norton is in some ways a better fit for Bruce Banner than Eric Bana was, and a lot more animated too. He may not physically look like someone who could become the Hulk, but that’s the point. Norton also did an uncredited rewrite of the script, but the Writer’s Guild of America denied him credit (Zak Penn gets story and screenplay credit). As always, Norton reminds us why he is one of the best actors of his generation, and he comes across as an ordinary joe thrust into circumstances beyond his control.

Liv Tyler takes over the role of Dr. Betty Ross from Jennifer Connelly, and while she doesn’t have much of an acting range, she is always a nice presence to have in any film (not just as eye candy mind you). She holds up well next to Norton as they both work to find a way to stop him from becoming the Hulk again. William Hurt plays her father, Gen. Thaddeus ‘Thunderbolt’ Ross, and he is always an interesting actor to watch. All the same, I have to admit that I liked Sam Elliott better in this role when he played it in Lee’s version. Elliott comes across better as an army general than Hurt does, and he was one of the best things about the previous film.

But the best addition to “The Incredible Hulk” is Tim Roth as Emil Blonsky, chief nemesis to Dr. Banner and his angry alter-ego. After playing a wuss of a man in the highly disturbing remake of “Funny Games,” Roth is in bad ass mode as a soldier who wants to take the Hulk down, but soon finds himself wanting his power. In the film, Emil ends up getting injected, by choice mind you, with the same stuff Banner got injected with. It’s enough to give him the power to overcome the most serious of injuries, but he soon finds that he wants more of that power which leads him to become the Abomination. Roth’s character is actually one of the more complex and most realized characters in the movie.

Roth’s performance here is a reminder of what a strong presence he is and watching him here should help ease the memories of the torture he endured in “Funny Games.” How refreshing it would have been to see he Abomination take out those two young cads who tortured that family. Of course, Michael Haneke would just rewind back from Abomination’s victory to intentionally frustrate the audience.

If there is anything lacking in “The Incredible Hulk,” it is not as strong on character development. One of the strengths of “Hulk” was the attention it paid to its characters and how they really drove the movie. I know Marvel Studios didn’t want to get too caught up with this in this reboot, but it would have been nice to see more character work here to keep this from being just an average action movie. In the end, this was a movie made to please the fans who felt let down by what they saw in 2003.

I wish I could say that I loved this incarnation of the Hulk, but it didn’t quite reach the heights I wanted it to. But it still was a lot of fun and kept me entertained from start to finish. It is a flawed film, but we do get to see Hulk smash in a way we didn’t get to see as much of previously. That was probably the best thing about this film, seeing Hulk smash stuff up. Using two halves of a police car to take out stupid humans makes for great action. All the same, it could have been better.

* * * out of * * * *

‘Iron Man 3’ Fares Better Than the Average Threequel

Posted on by The Ultimate Rabbit

Iron Man 3 poster

WRITER’S NOTE: This review was written in 2013.

Robert Downey, Jr. is back as Tony Stark/Iron Man in “Iron Man 3” which finally made its way to movie theatres after an endless advertising blitz. Then again, it hasn’t been long since we last saw him as he was in “The Avengers” which came out last summer. It makes you wonder if Downey, Jr. might be getting a little sick of playing Tony Stark and his alter ego as this role has monopolized his time over the past few years. But in “Iron Man 3,” the actor finds a fresh way to portray this iconic comic book character as he becomes afflicted by something I know more about than I would ever care to: panic attacks.

That’s right, ever since his near-death experience in “The Avengers,” Stark has been having serious anxiety problems and is constantly worried he won’t be able to protect the love of his life, Pepper Potts (Gwyneth Paltrow). But there’s an even bigger problem on the horizon for him and it comes in the form of The Mandarin (Ben Kingsley), an unrepentant terrorist who leads an international terrorist organization known as The Ten Rings. The Mandarin is out to punish America and its President, Ellis (William Sadler), for their crimes against humanity, and also for trying to adopt Chinese culture in such a ridiculously fake way.

In addition, Stark has to deal with his ex-flame Dr. Maya Hansen (Rebecca Hall) and Aldrich Killian (Guy Pearce), a scientist he arrogantly rebuffed back in 1999. In the present, Killian has become a brilliant scientist who has developed the Extremis virus which cured him of his own physical disabilities, and we soon find it also gives those exposed to it superhuman strength and the power to generate extreme heat. Will it be used as a weapon for bad against good? Is this a superhero movie?

The big news about “Iron Man 3” is Jon Favreau who directed the last two installments has stepped out of the director’s chair, and in his place is Shane Black, the same man who wrote the screenplays for “Lethal Weapon,” “The Last Boy Scout,” “The Long Kiss Goodnight” and who eventually directed one of his screenplays with “Kiss Kiss Bang Bang.” Black seems like an unusual choice to helm a summer blockbuster, but the change in directors proves to be a good thing as Black focuses on character as much as he does on the spectacle. It’s a darker entry than the last two films, but Black still injects a lot of humor into the proceedings.

Now where “The Dark Knight Rises” was more about Bruce Wayne than it was about Batman, “Iron Man 3” is more about Tony Stark than his alter ego. In fact, we don’t see Iron Man in action as much as we did previously or in “The Avengers” for that matter. Some might see this as a serious flaw, but I think it benefits the story greatly. Being Iron Man has become a serious addiction for Stark to where he can’t sleep and function normally unless he’s working on one of his darn suits, and he’s never been the easiest guy to be around. Clark Kent and Peter Parker struggled greatly with their alter egos, but Stark’s position proves to be far more precarious.

Downey, Jr. could almost walk his way through this iconic role of his, but he still captures the different sides of Tony Stark beautifully. Even when he is a bit too dismissive to 10-year old Harley (Ty Simpkins), we still love the actor to death. Come to think of it, is there another actor in Hollywood who can make arrogance look sexier than Downey, Jr.? I think not.

Kingsley is the kind of actor who can play any role, and this has been the case for a long time. As The Mandarin, he creates an ominous presence in “Iron Man 3” which makes you believe he can be a nasty threat anywhere and everywhere. My only frustration with him was, even before I saw this sequel, I knew he wouldn’t be able to top the most malevolent prick he has ever brought to life in the movies: Don Logan from “Sexy Beast.” Then again, when “Iron Man 3” reaches a certain point, it becomes very clear why this is the case.

Pearce can go from playing a good guy to a bad guy with relative ease, but his last few movies have had him portraying the slimiest of villains (check out his performance in “Lawless”). He succeeds in making Aldrich Killian both an unfortunate victim and a selfish bastard all in one, and you have to give Black and his co-screenwriter Drew Pearce credit for giving us more than your one-dimensional baddie. Pearce always knows how to create a nemesis we just love to despise.

Paltrow gets her biggest role yet in the “Iron Man” franchise this time around, and I could tell you why but this would be giving away far too much. The important thing is she looks to be having a blast playing Pepper Potts this time around, and her fun is contagious.

Hall is, as always, a very appealing presence, and she is terrific as Dr. Maya Hansen. James Dale Badge makes Eric Savin, one of The Mandarin’s henchman, a ruthless bastard you want to see taken down ASAP. William Sadler seems like an unlikely choice to play the President of the United States after seeing him play the bad guy in “Die Hard 2” and the Grim Reaper in “Bill & Ted’s Bogus Journey,” but he sells himself in the role with no problems. And while I still miss Terence Howard as Col. James “Rhodey” Rhodes, Don Cheadle still gives an excellent performance as that character.

Everyone who reads my reviews knows I usually expect the third movie in a trilogy to be the one which destroys a franchise, but “Iron Man 3” doesn’t do that. I liked it more than “Iron Man 2” which had far too much going on in it, and the change in directors serves this franchise well. Black has made an entertaining and compelling film which brings closure to this particular Marvel Studios trilogy. But then again, it’s highly unlikely this will be the last time we’ll see Downey, Jr. as Iron Man.

As always, be sure to stay through the end credits for the return of another Marvel Comics character.

* * * ½ out of * * * *

 

‘Iron Man 2’ is Overloaded but Still a lot of Fun

Posted on by The Ultimate Rabbit

Iron Man 2 poster

It was too easy to expect “Iron Man 2” to be better than the original. Many comic book movie sequels in recent years have blown away their predecessors to where you struggle to remember what the previous films were about. “Spider-Man 2,” “X-Men 2,” “Blade II” and “The Dark Knight” made us believe it was mandatory for sequels to be more enthralling because all the origin stuff was finally out of the way to where things could become a whole lot more interesting.

I was worried “Iron Man 2” would end up being like “Spider-Man 3,” a film whose massive disappointment still irks me years after its release. That sequel had far too much going on in it to where I quickly lost interest, and it was such a comedown from the brilliant “Spider-Man 2.” You’d hope the filmmakers and studios would remember how these movies do best with just one villain for the superhero to deal with. Sometimes you can get away with two, but you may be asking for trouble if you go beyond that.

With that said, “Iron Man 2” is still a lot of fun. Regardless of the flaws and clichés this time around, it is still the kind of experience you hope to have with a summer movie like this. Director Jon Favreau is back as is the always entertaining Robert Downey Jr. as Tony Stark, whose heroics prove to be every bit as big as his ego.

This sequel starts six months after Tony has come out to the world as Iron Man, feeling no need to disguise himself in some geeky disguise like Clark Kent or Peter Parker. He makes a grand entrance at the Stark Expo which has since been relocated to Flushing, New York, and he resists the urge to make his technology available to the U.S. military. Regardless of the demands of smarmy Senator Stern (Gary Shandling is great fun to watch here) to make Tony turn over the Iron Man suit over to him, Tony stands confident in telling everyone he has successfully privatized world peace.

As always, success breeds enemies, and you can only go so high before you get knocked off your pedestal. The vicious knock down comes from Ivan Vanko (Mickey Rourke), a deeply embittered and heavily tattooed Soviet physicist who is led by his father to believe Tony’s father, Howard Stark, had betrayed him by deporting him from America. Ivan eventually puts together his own arc reactor which allows him to use these electrified whips to inflict serious damage on objects and especially humans foolish enough to come within 20 feet of him. Clearly, Ivan has spent at least a decade in prison, and he has tattoos covering just about every section of his body. It made me think about what Robert Mitchum said about Max Cady in the “Cape Fear” remake:

“Jesus! I don’t know whether to look at him or read him!”

Rourke is a lot of fun to watch in this role which has him doing a pretty good Russian accent, and it’s a vast improvement over the crazy Irish brogue he tried to pull off in “A Prayer for The Dying.” Like the best actors, he focuses on the pain which drives his character, giving us something much greater and more fearsome than your typical one-dimensional villain. The only downside of his performance is that we don’t get to see enough of him. After one great fight scene on a race trick, we have to wait for Ivan’s electric whipping act to return in the film’s final act. Still, this is Rourke we’re talking about, and he gives it his all here like he did in “The Wrestler.” If there is one thing which hasn’t changed, it’s that Rourke still plays characters who never take the time to shampoo their hair.

Tony’s other chief nemesis is Justin Hammer, a business rival looking to create his own line of Iron Man suits since Tony is unwilling to share his. Plus, Hammer is looking to get into the Pentagon, a place Stark cannot see himself partying at. Hammer is played Sam Rockwell who provides a good dose of comic relief while still giving his character a nasty edge. You can feel the relentless resentment Hammer has for Stark and how it spills over into bringing Ivan on board not so much out of respect, but as a chance to tear down the empire Stark Industries has built up over the years. Rockwell continues to be one of the most interesting actors working today, and I loved how he tried to mimic Tony’s dance onto the stage at his own show to little avail.

The other big addition to “Iron Man 2” is Scarlett Johansson who plays Natalie Rushman, Tony’s new personal assistant. But eventually she is revealed to be a spy for S.H.I.E.L.D. named Natasha Romanoff/Black Widow who is flexible in ways her enemies only wish they were. The coolest fight scenes in “Iron Man 2” belong to Johansson, and she dominates the screen every time she’s onscreen. Her cool confidence combines with an irresistible sexiness. Like Rourke, she is underused here, but she is fantastic to watch throughout.

And of course, we have returning characters such as Pepper Potts played by Gwyneth Paltrow, and Pepper ends up inheriting more responsibilities such as becoming the new CEO of Stark Industries. Samuel L. Jackson is also back as Nick Fury, having appeared in the post credits sequence of “Iron Man.”

Also returning to Tony’s side is Lt. Col. James ‘Rhodey’ Rhodes, only this time he’s played by Don Cheadle. Cheadle is a fantastic actor and it is fun to see Rhodey try on one of those Iron Man suits, but I miss Terence Howard in the role. Howard brought a gravity to Rhodes which balanced out perfectly with Stark’s uncontainably egocentric personality. It’s no fault of Cheadle’s that Rhodes is not as strong a character this time around.

Watching “Iron Man 2” quickly reminded me of how good the first one was. Yes, it was an origin movie, but it was also one of the better ones in how fresh it felt and of how invested it was in the characters as well as special effects, something other summer blockbusters could learn from. We were left wanting more, but we also didn’t leave the theater feeling partially or completely unfulfilled. “Iron Man” left us patiently waiting for the sequel instead of craving for it in record time. Considering how good the first one was, we wanted the filmmakers to make as good a follow up as humanly possible.

“Iron Man 2,” however, is somewhat undone by putting too much into one movie. There are too many characters and bad guys here to where some don’t get enough of a chance to develop into something more interesting than usual. But Favreau keeps everything moving at a swift pace, and the cast is perfectly chosen as each one gets their moment to shine and bring their own uniqueness to their character.

But the one guy who really holds this franchise together is Downey Jr., and not once does he try to compromise Tony Stark/Iron Man and make him easily likable. Whenever Tony ends up acting like a jerk, we know what fuels his character; a despair over knowing how that the thing which saved him may also kill him sooner than he would prefer. I’m also thrilled he didn’t turn Tony into another superhero who constantly whines about the responsibilities they are forced to deal with. Tony wants all those responsibilities, and you know that with Downey Jr. playing the role, he will never shy away from what is expected of him.

I’m glad to say “Iron Man 2” is no “Spider-Man 3” thank goodness, but it could have been had Favreau and company not kept things going at the right pace. In the future, let’s hope Marvel sticks with one villain instead of two or more as it will make for a more effective motion picture. Still, all we ask from a summer movie like this is for it to be a lot of fun, and this one gives audiences a very entertaining ride.

* * * out of * * * *

‘Iron Man’ Got the Marvel Cinematic Universe Off to a Strong Start

Posted on by The Ultimate Rabbit

M Payoff 1sht

The 2008 summer movie season started off with a bang with the long-awaited release of “Iron Man” which starred Robert Downey Jr. as the egocentric weapons maker turned world protector, Tony Stark. It also marked the beginning of the Marvel Cinematic Universe which brought its many characters to the silver screen with great success, and this one still remains one of the best to come out of it.

“Iron Man” starts with Tony traveling through the Afghanistan desert with a military convoy that gets attacked by terrorists. Tony flees the hummer transporting him and almost gets killed by one of the missiles he designed. When he comes to, he is being held captive in a cave and kept alive by an electromagnet attached to his torso which keeps the shrapnel inside his body from going to his heart. The terrorists, led by Raza (Faran Tahir), force Tony to build them one of his most destructive missiles on pain of death, but he instead takes the parts they give him and creates a bulletproof suit which allows him to escape in spectacular fashion.

When he gets back to America, he has a press conference where he states he will turn his company from a weapon making factory into one that doesn’t promote endless destruction. Having seen the damage he has done to others, he is now determined to protect those from the weapons he created. As for the iron suit which saved his life, he works at perfecting it into something strong and indestructible. On top of giving him the ability to fly, it also allows him to get back at those who took advantage of his destructive creations.

“Iron Man” is a tricky movie to make because it is the type meant to set up this particular superhero and then move on to the inevitable sequels which never come out soon enough. It is a credit to director Jon Favreau that the characters are as interesting as the action is exciting. Unlike other comic book adaptations, this story feels much more grounded in reality and doesn’t have characters that don’t seem real. Unlike Peter Parker in “Spider-Man 3,” here we have a superhero who doesn’t waste his time feeling sorry for himself on a regular basis.

But the real masterstroke of “Iron Man” is the casting of Downey Jr. as Tony Stark. He is without a doubt one of the best actors working in movies today, and it is impossible to picture anyone else in this role. When he first appears, he clearly acts like the man Weird Al Yankovic sang about in “I’m Such a Groovy Guy.” Both brilliant and sexy, it’s tempting to believe Downey Jr. is playing himself, but that assumption would be unfair. He makes Tony’s transition from selfish egomaniac to world protector almost seamless and never less than believable. Inside that cool and ever so confident exterior, there lies a man who is taking his life and company in a direction which may completely kill it.

Seriously, Tony is one of coolest comic book heroes to appear in movies for the longest time. Most of the comic book heroes we have grown up with are emotional wrecks and understandably so. Batman saw his parents murdered in front of him, Superman only got to see his parents at that Crystal Palace as he lost his human father earlier than he should have, and Spider-Man lost his uncle when he was murdered. But Tony isn’t necessarily waylaid by emotional disasters the way those characters were. While many of us want to spit on those who look like they had everything handed to them on a silver platter, Tony more than earns his place in society and you never doubt his abilities to create extraordinary things.

Also, Tony has quite the lifestyle most guys envy. He has one hell of a mansion up in the hills of Malibu that has the most incredible view, and his personal jet is equipped with a pole that comes out of the floor for his very lovely stewardesses to take advantage of. I saw this movie in a theater with some friends of mine, and one of them leaned over to me and said, “This is the only way to live!”

In retrospect, this character is a relief after watching those other male superheroes who turn into whiny crybabies that remind me too much of myself. Female superheroes don’t fall into this category much, so that should make you wonder which gender is truly the stronger one.

The rest of the “Iron Man” cast is perfectly chosen. When the movie came out, Jeff Bridges was one of the most underappreciated actors working in movies (this has since changed). His character of Obadiah Stane, one of the main heads of Stark Industries, is a slimy corporate executive whose outer exterior projects a man of kindness and trust Tony relies on. That trust is utterly betrayed when Obadiah files an injunction against Stark to gain control of his company and put it back in the direction it was going before Stark started changing his ways.

Unlike Tony, Obadiah has no creativity or brilliance to rely on. All he has are selfish desires and a misplaced loyalty to Stark’s father who helped build the world’s first atomic bomb. Although he has the makings of another villain whose sole interest is world domination, Obadiah represents those who are too easily threatened by the winds of change. Bridges, like Downey Jr., gives Obadiah dimensions you wouldn’t necessarily expect a character like this to have. This is not just some one-dimensional bad guy like others, and it is a credit to Bridges’ brilliance that he makes this very clear.

Also, on board is Gwyneth Paltrow who is a wonderful presence as Tony’s longtime assistant, Virginia “Pepper” Potts. While it might seem weird for her to play someone’s assistant, she imbues Pepper with beauty, smarts, intelligence and heart which Tony more than depends on his life for. She also shares great chemistry with Downey Jr., and their relationship is key as those inevitable sequels would prove. Paltrow also has one of the movie’s best lines as she meets up with a Vanity Fair writer Tony made out with the night before:

“So, you just spend your time taking care of everything Tony asks you to do?

“I take care of all duties that Tony asks of me to do. That includes taking out the garbage.”

We also have Terence Howard as Tony’s military consultant and close friend, Jim Rhodes. Jim is the one who tries to keep Tony grounded in reality, but he never quite succeeds. Howard is great here if he a bit underused here, and this is the second movie I have seen where he plays a character constantly giving press conferences (“The Brave One” was the other one).

The movie has many great action scenes which you come out of feeling justified in saying, “that’s cool man!” When Iron Man fights off terrorists in a war-torn country, he finds very creative ways to dispatch his enemies that are too good to reveal here. Also, there are scenes where Tony is testing out different parts of the suit. This can usually be seen as the boring set up part for the superhero, but these moments make you jump out of your seat because you find yourself laughing harder than you usually do.

With “Iron Man,” Downey Jr. who gives us something more than the average super hero. He gives us one with brains, smarts and, most importantly, a soul. It doesn’t matter if you have great special effects if you don’t have the story or the characters to match up with it. “Iron Man” has that, and it set the bar high for the comic book movies which followed in its wake.

* * * ½ out of * * * *

‘The Avengers’ Was Well Worth The Wait

Posted on by The Ultimate Rabbit

The Avengers movie poster

So now we finally have “The Avengers,” a movie which has been hinted at over the past few years in “Iron Man,” “Iron Man 2,” “The Incredible Hulk,” “Thor” and “Captain America: The First Avenger.” Director of S.H.I.E.L.D. Nick Fury (Samuel L. Jackson) has made cameo appearances here and there to remind these superheroes there is this way they can all come and work together, and for a bit it seemed too good to be true. But low and behold, Joss Whedon has given us a summer blockbuster which was worth the wait and focuses on character as much as it does on spectacle.

“The Avengers” starts off with S.H.I.E.L.D. experimenting on a powerful energy source known as the Tesseract when Loki (Tom Hiddleston), Thor’s brother and nemesis, appears out of nowhere and steals it. His plan is to use it to subjugate Earth and its inhabitants because he feels they wanted to be lorded over more than they realize. From there it’s up to these various superheroes to join forces and defeat Loki and his army before it’s too late.

This movie does take its sweet time getting started, and it almost seems unnecessary considering how well acquainted we have become with all these superheroes through their individual movies. Still, meeting up with them again feels good as we are curious to see what they have been up to since their last set of adventures. Captain America/Steve Rogers is still trying to acclimate to present day life after being frozen for decades, Dr. Bruce Banner/The Hulk spends his time in a foreign country helping its people while trying to control his anger, and Tony Stark/Iron Man is busy completing a new skyscraper along with the love of his life, Pepper Potts. Others make their entrance at unexpected times and play more of a role here than they did in previous movies.

What makes “The Avengers” work so well is that Whedon never lets the iconography of these characters speak for them more than the actors do. While these few have amazing superpowers we all dream of having, they are seen as freaks who are not part of society as a whole. Being so alienated from the common man and woman, their relationship with themselves and those around them is dysfunctional to say the least.

Seeing these characters interact with one another gives this film its best moments. While they may have a lot in common, their ideas of protecting humanity differ quite significantly. Captain America is as old fashioned as they come, and his methods and beliefs have the more cynical people snickering behind his back. As for Thor, he’s from another planet which has all those around him wondering what the hell he’s talking about.

And then Tony Stark comes into this ruckus like John Bender in “The Breakfast Club,” gleefully and playfully chiding all those around him (he calls Thor “Point Break”). Robert Downey Jr. inhabits this character like few others could, and he makes Stark a likable character even while he’s being an arrogant bastard much of the time. In many ways, Downey is the most prominent presence among these Avengers even while others in the team are nowhere as selfish as Stark.

The actors in “The Avengers” confirm what we already knew in the past, that they were exceptionally well cast. Each one brings a depth of humanity to their characters in a way that keeps them from becoming mere caricatures of what we grew up reading about. Special kudos goes out to Chris Evans and Chris Hemsworth who make their roles as Captain America and Thor count for all they are worth. What could have been made inadvertently laughable has been rendered largely charismatic by these two thespians, and we cheer them on as they fight the good fight against Loki and his army.

It’s also nice to see Scarlett Johansson and Jeremy Renner get more screen time here as Black Widow and Hawkeye than they did in previous films. Renner had one of those blink and you missed it cameos in “Thor” while Johansson’s role in “Iron Man 2” was in a movie which had more characters than it had any right to deal with. In “The Avengers,” the two of them are given more room to grow, and each invests their character with real emotions which makes us root for them throughout.

But the one actor who stands out above everyone else in “The Avengers” (literally and figuratively speaking) is Mark Ruffalo who is the latest actor to portray Dr. Bruce Banner, better known by his alter ego of the Hulk. Marvel has had the hardest time translating this particular comic book character to the big screen despite memorable performances from Eric Bana and Edward Norton. But like those two actors, Ruffalo finds his own interpretation of this famous character, and he succeeds in making this role his own. Unlike the moody Bruce Banners of the past, Ruffalo gives us one who yearns to fit in with everyone else regardless of the angry state he gets in from time to time. In the process, Ruffalo gives us a Hulk worth cheering for as he dominates each action scene he’s in thanks in part to vocal help from the original Hulk, Lou Ferrigno. As a result, I see a future for the actor as this character in a way I couldn’t before. Seeing him slam Loki all over the place as if he were a wet rag had the audience clapping loudly.

Are there plot holes and inconsistencies to be found in “The Avengers?” Probably, but with a movie like this you don’t really find yourself thinking too much about that. What sucks for Thor is he never gets to meet up with his earthbound love Jane Foster (Natalie Portman) who is sent off to some remote place where she’ll be safe. When “Thor” ended, the portal between his world and Earth was forever destroyed it seem. It’s never made clear how it somehow got fixed to where Thor could travel back, but anyway. You’d figure he would at least spend some time with Dr. Foster, but some superheroes can only be so lucky I guess. At least you can give Thor some credit for looking her up. Dr. Banner never looks up his old girlfriend who was been played in past movies by Jennifer Connelly and Liv Tyler. What gives Hulk? You smash things but did you also smash what’s left of your emotional connections? Oh well…

The big problem with big budget blockbusters like “The Avengers” is they can easily get overwhelmed by the special effects to where the human element is completely lost. But none of this is ever lost on Whedon who has given us such great entertainment over the years with “Buffy The Vampire Slayer,” “Firefly” and “Cabin in The Woods” which he co-wrote. Here he gives a satisfying blockbuster which works on us emotionally as much as it thrills us. This could have easily been a major disappointment, and the fact it is not makes the film a huge success.

* * * ½ out of * * * *

WRITER’S NOTE: This review was written in 2012 not long after “The Avengers” was released.

‘Duck Butter’ Examines the Joys and Perils of Intimacy

Posted on by The Ultimate Rabbit

Duck Butter movie poster

When it comes to the films released under the banner of Duplass Brothers Productions, I have found many of them to be fearless in the way they deal with intimacy and vulnerability. We come into this world feeling free and uninhibited, and then we get our hearts broken in a way which leaves a scar that never disappears. From there, we build up our defenses to keep strangers from getting too close because we don’t want our feelings getting gutted, and the thought of being vulnerable with another person can seem terrifying sometimes. Movies like “The Skeleton Twins,” “Tangerine” “The One I Love” and “Blue Jay” have dealt with these themes effectively, and they are presented in a very intimate fashion to where you don’t feel like you are watching a movie, but instead real life unfolding before you. It serves as a reminder of how much we want intimacy and of the euphoric highs and terrifying lows which come with it.

The latest Duplass produced movie to deal with this is “Duck Butter,” and if you want to know what its title means, you have to watch it to find out for yourself. Alia Shawkat stars as Naima, an aspiring actress in Los Angeles who has just snagged her biggest role in a movie written and directed by Mark and Jay Duplass. But while Naima may find a certain freedom in acting, we see she is a bit repressed emotionally and has developed a bleak worldview as the daily news is filled with nothing but bad stuff like the inability of humanity to control global warming which, by the way folks, is very real. For those who do not believe me, please check out Werner Herzog’s “Encounters at the End of the World.”

At night, Naima goes to a club where she meets Sergio (Laia Costa), an aspiring singer who is everything she isn’t: a free spirit who is open to taking risks the average person would be quick to avoid. Sergio asks Naima to dance with her, and it gets off to an awkward start to where Sergio has to shake Naima’s arms in order to get her to loosen up. I remember a female friend having to do this with me, and it did work in releasing the stiffness which has enveloped certain parts of my body. It certainly works between these two women to where they just fall into each other’s arms in a way which spells out how they have found a strong connection not easily discovered.

From there, Naima spends the evening at Sergio’s house with friends of hers, all of whom encourage Naima to come out of her protective shell and express herself freely. After that, the two of them are left alone with each other and make love in a way which feels not the least bit choreographed and totally authentic. Both discuss the dissatisfaction they have had in dating and romantic relationships which came to be destroyed by dishonesty. So caught up they are in their truly intense chemistry, they decide to spend the next 24 hours together, having sex every hour on the hour in the belief they can transcend the deceit which usually plays a part in most relationships.

Van Halen, when Sammy Hagar was their lead singer, once sang, “How do I know when it’s love?” Watching Shawkat and Costa here is to know, or so it seems at first. Their intense connection is intoxicating to witness, and I hope to discover it in my own life sooner rather than later. These actresses make their attraction seem not only real, but exhilarating. As a result, I really got caught up in their relationship to where I didn’t want to see it fail. But as “Duck Butter” moves on to its second and third act, you can sense things will fall apart to where you wonder if things can ever be made right again.

Like many Duplass Brothers Productions, “Duck Butter” was made on a very low budget and with a shooting schedule which never seems long enough. Movies can suffer as a result from these factors, but this one benefits from them as the two main characters are confined to whatever locations they end up at to where we feel completely stuck with them. Intimacy can be a wonderful thing, but it can also be seriously scary when things fall out of our control and understanding.

“Duck Butter” was directed by Miguel Arteta who cowrote the screenplay with Shawkat. He is best known for directing “Star Maps,” “Chuck & Buck,” “Youth in Revolt” and “Cedar Rapids.” Each of his films deals with the insecure relationships people have, and this one is no exception. I reveled in the connection Naima and Sergio have with one another to where I wanted nothing to come between them. But as the story rolled along, I sensed something would, and it made me both nervous and resigned to an inevitable fate the even the writers could not avoid.

Shawkat is best known for her work on the television shows “Arrested Development” and “Search Party,” and we are long past the point where we have to realize what a talented actress she is. Watching her take Naima from being a repressed individual to one eager to embrace the love she has found is entrancing. From start to finish, she makes Naima an individual desperate for a connection she feels has been denied to her, but she also makes us see a character who eventually comes to see how her own needs are equally as important as her partner’s.

I am not familiar with Costa’s work, but she did win the Lola, the biggest award one can get from the German Academy of Cinema, for her performance in the critically acclaimed “Victoria.” Costa makes Sergio into the free spirit many of us wish we could be, and she makes the character into a romantic force to be reckoned with as she tests Naima to come out of her protective shell more than she has already. Costa appears like such a free spirit to where I wanted to be swept up in her orbit, and this is even though speed bumps in this relationship felt inevitable.

What I admired most about “Duck Butter” was how emotionally naked these two actresses were. Whatever you think about the art of acting, this is not as easy as many think it is. Both Shawkat and Costa have to break down their own defenses to make the plights of their characters all the more real, and you have to admire what they pull off here as their emotions infect us in a way we are not typically prepared for. We revel in the chemistry these two have, but we also fear their intimacy will lead them down a path which will destroy it irrevocably.

Many may see “Duck Butter” as a gay relationship movie or a part of queer cinema, but we are now in a time where putting things into one particular category only speaks of a person’s limited worldview. The screenplay originally had a heterosexual couple instead of a homosexual one at its center, but the trials and tribulations of love are the same no matter what side of the sexual spectrum you reside on. This movie shows how love can be exhilarating and damaging all at the same time, and I was captivated by it from start to finish.

* * * ½ out of * * * *

“Duck Butter” opens in Los Angeles and New York on April 27, and it will premiere on digital formats starting May 1.

Exclusive Video Interview with Scott Beck and Bryan Woods about ‘Nightlight’

Posted on by The Ultimate Rabbit

Before they co-wrote the screenplay for “A Quiet Place” along with John Krasinski, filmmakers Bryan Woods and Scott Beck spent some time in the found footage genre with “Nightlight.”  This movie takes place in Covington forest, a place believed to be haunted as many troubled youths have gone there and committed suicide. This, however, doesn’t stop a group of five teenagers from venturing out there for an evening of flashlight games and blood curdling ghost stories. But of course, it doesn’t take long for the fun to come to a screeching halt as they end up awakening a demonic presence, an unseen evil wastes no time in preying upon their deepest fears. From there, the five friends struggle to help each other to escape the forest before they are forever plunged into the most terrifying of nightmares.

From the outset, “Nightlight” looks to be your typical found footage horror movie a la “The Blair Witch Project,” but there is one thing which helps set it apart. It is one of the recent films in this genre which deals seriously with issues teens go through. We come to discover how these kids lost a friend of theirs named Ethan to suicide, and he ended up taking his life in the same forest they are spending the night in. While trying to evade the demonic force hunting them down, they also try to make peace with Ethan’s death and of the part they feel they played in it. While a lot of horror movies are filled with dumb teenage characters, these ones in “Nightlight” feel relatable, and their problems may end up reminding you of what you felt like at their age.

I got to speak with Woods and Beck back in 2015 while they were in Los Angeles to promote “Nightlight,” and it turns out they have known each other since the sixth grade. Their early years of making movies with action figures has gotten them to where they can confidently helm their own feature films, and their careers would soon hit an even bigger peak with “A Quiet Place.” They were full of details on the making of “Nightlight” such as how they found the forest featured prominently in this movie, how they wanted to make this particular found footage stand out from so many others like it, and why they decided to cast unknown actors. In addition, they also had some interesting stories to tell about animal wranglers and the importance of sound design in a horror movie.

Please check out the interview above. “Nightlight” is now available to own and rent on DVD, Blu-ray and Digital.

Nightlight movie poster

‘Inside Out’ is One of Pixar’s Best Films

Posted on by The Ultimate Rabbit

Inside Out

“Inside Out” is far and away one of the very best movies Pixar has ever made. A story of a girl experiencing conflicting emotions and an ever-growing shyness after she moves with her family from Minnesota to San Francisco, it is bound to have you experiencing a wealth of emotions such as happiness and sadness. Honestly, these animated characters feel more human and real than others you find in the typical Hollywood blockbuster. If you say you came out of this movie unmoved, you are nothing but a flat-out liar. Yes, “Inside Out” is that good.

We are introduced to Riley right out of the womb as she is born to very loving parents. At the same time, we are also introduced to the emotions which occupy her mind: Joy (Amy Poehler), Sadness (Phyllis Smith), Fear (Bill Hader), Anger (Lewis Black) and Disgust (Mindy Kaling). All of them take their turns at the controls of Riley’s mind, but Joy has the most influence as she is determined to keep Riley as happy no matter what. In the end, who wants to be unhappy, you know?

But then things change dramatically for Riley when her family moves from one side of America to the other and to a place which ruins pizza (watch the movie and you’ll see what I mean). While she tries to put on a brave face as the new girl in town, she finds her heart quickly breaking as she misses her old life and friends. This leads to her having an embarrassing moment in class and a hard time making friends and, as a result, Joy feels increasingly threatened as the more negative emotions begin to have increased influence over this pre-teen girl who has yet to discover the horrors of turning 13. Yes, this movie takes place before she hits puberty. Imagine what the sequel will be like!

“Inside Out” affected me deeply as I completed related to what Riley went through. When I was her age, my family moved me and from a town I felt very settled in to one which made me feel like an alien from another world. Being the new kid was no fun at all, and Riley’s emotional state should be completely understandable to those who have been through the exact same situation. In some ways she is lucky because she lives in the age of social media where she can talk with her friends via computer or Skype. I would have loved to have had this when I was her age.

This movie was directed by Pete Docter who helmed two of my favorite Pixar movies, “Monsters Inc.” and “Up,” and it was influenced by two things in his life; when his family moved to Denmark where he had trouble adapting to his new surroundings, and of the shyness his daughter began experiencing as she got older. For an animated movie, the characters like Riley and her parents feel wonderfully complex in a way you don’t necessarily expect. This isn’t the first Pixar movie to give us characters like these, but it is worth noting here.

I also liked how Riley is not portrayed as your stereotypical pre-teen girl. She is big into hockey in a way girls are more than we ever bother to realize, and she doesn’t obsess over the usual things we have been conditioned to believe girls obsess over like dresses and potential boyfriends. Docter has us see her as being like any other individual to where her gender is more or less beside the point. The feelings Riley experiences are universal, and they will quickly remind audience members of the ones they experienced when they were her tender age.

Now while I may be making “Inside Out” sound like an animated remake of “Pump up the Volume,” I assure you it is also very, very funny. This is in large part thanks to the cast which was perfectly chosen. Amy Poehler has always been one of my favorite “Saturday Night Live” stars, and it’s hard to think of another actress who could have voiced Joy better than she does. Her gleeful and spirited banter infects the character fully, and she also humanizes Joy to where she realizes why Riley can’t be happy all the time.

Phyllis Smith turns Sadness into a wonderfully funny character regardless of her infinitely depressed disposition. Bill Hader is absolutely priceless as Fear, Mindy Kaling makes Disgust more fun than she has any right to be, and who else could have done a better voicing Anger than the combustible comedian who is Lewis Black? Black steals every scene he has here as Anger, understandably, has difficulty keeping his cool. And let’s not forget Kyle MacLachlan and Diane Lane who voice Riley’s father and mother and make them into the most loving parents Riley could ever hope to have.

As “Inside Out” probes the memory banks and emotional centers of young Riley’s mind, it proves to be absolutely boundless in its imagination and visual effects. I keep waiting to see what surprises Docter had in store for us as we keep getting introduced to new characters like Riley’s imaginary friend Bing Bong (Richard Kind is fabulous) and other memory centers which are presented to us as if they were giant theme parks.

The filmmakers clearly did a lot of research on the human mind. This leads to many unforgettable moments like when certain parts of Riley’s mind such as Imagination Land crumbles and falls into the Memory Dump where memories are forever forgotten. On one hand it is an amazing piece of animation, but on the other it is a reminder of the things we lose in our lives as we get older. We may want to get some of these things back, but a lot of times we cannot.

But perhaps the most important thing we can get out of watching “Inside Out” is not the fact we can’t be happy all the time, but that Joy and Sadness need to coexist with one another. You can’t have pleasure without having pain, and this is made abundantly clear in one of the movie’s closing scenes which is beautiful and will have at least one tear trickling down your cheek.

Many have said Pixar has lost its footing in the past few years with an overreliance on sequels, but I have yet to see a movie of theirs which I have not liked. “Inside Out,” however, reminds you of how amazing they can be when they focus on giving you a great story more than anything else. It’s a movie for anybody and everybody, and I cannot recommend it highly enough.

* * * * out of * * * *

‘Beverly Hills Cop III’ Felt Like the End of Eddie Murphy

Posted on by The Ultimate Rabbit

Beverly Hills Cop 3 movie poster

There’s a scene early on in “Beverly Hills Cop III” where we see Detroit Detective Axel Foley (Eddie Murphy) walking down a tunnel located beneath the Wonder World amusement park. It’s almost a silent movie scene as Axel just walks and says nothing. In moments like these, Murphy is quick to come up with something very clever to make things lively, let alone funny, but here he does nothing but walk, and it represents the lack of passion he appears to have had for reprising one of his most famous cinematic characters. Murphy was paid $15 million for this long-awaited sequel, and watching him in it made me feel like he just took the money and ran.

When “Beverly Hills Cop III” came out in 1994, the same year I graduated from high school, I was very excited to see Murphy bring Axel Foley back to the silver screen as the first two movies in the franchise were among my favorites to watch over and over as a kid. But after watching him in this second sequel to Martin Brest’s 1984 smash hit, I felt like giving up hope of his career ever making a much-needed comeback.

As with the previous two movies, Axel Foley heads over to Beverly Hills following the death of a friend, in this case his boss, Inspector Douglas Todd (the late Gill Hill). Once there, he is reunited with his friend Billy Rosewood (Judge Reinhold) who has since become promoted to the role of DDO-JSIOC, Deputy Director of Operations for Joint Systems Interdepartmental Operational Command. His partner John Taggart has since retired, and he now partners with Jon Flint (Hector Elizondo) who already knows all about the trouble Foley causes whenever he drops by. Unsurprisingly, Foley raises all kinds of hell as he infiltrates Wonder World, a Disneyland-like amusement park, where the criminal link he is seeking out resides.

The big news about “Beverly Hills Cop III” is it reunited Murphy with John Landis, the director who helmed two of his best movies, “Trading Places” and “Coming to America,” the latter which had them coming to blows to where they promised they would never work together again. Through the graces of the movie gods, they overcame the differences to work together again, but the end result proves to be infinitely depressing as their efforts cannot equal the comic genius which preceded it. Sure, there are some good moments like the mechanics we see singing “Come See About Me” by The Supremes, the hilarious blunder of a police raid at the movie’s beginning and a scene where Foley rescues kids on a ride which has malfunctioned, but they all feel half-realized. Having re-watched this sequel recently, I keep thinking of all the ways this sequel could have been improved, and the list of those improvements is depressingly long.

Years after its release, Landis described the making of “Beverly Hills Cop III” as being “a very strange experience.” He said the screenplay, written by Steven E. de Souza of “Die Hard” fame, was terrible, but he believed Murphy could save it with his unique brand of humor. But while we have come to know Axel Foley as a wise-cracking cop, this sequel sees him become a more mature character. This proved to be a big mistake as I went into this believing Murphy would not hesitate in bringing his unique sense of humor to this project. But in taking Axel Foley in a different direction, Murphy ends up subverting our expectations in a negative way. Some franchises thrive on evolution, but this one is the kind which thrives on familiarity as “Beverly Hills Cop II” did nothing to change the formula of the original.

Seriously, it feels like Murphy isn’t even trying here. Perhaps we have asked too much of him over the years as screenwriters feel they don’t need to provide him with much material because everyone believes Murphy can come up with comedy gold no matter what. Maybe the man who became a star on “Saturday Night Live” and in “48 Hrs.” felt it necessary to remind his fellow filmmakers of how he cannot always come up with the goods. Still, it looks like he is coasting on his ego and fame to get this sequel to the finish line, and he just ends up looking like a fool in the process.

Indeed, there is much about “Beverly Hills Cop III” which feels lacking. The first two movies were produced by Jerry Bruckheimer and the late Don Simpson, but they both bailed on this franchise and were replaced by Mace Neufeld and Robert Rehme, best known for bringing the novels of Tom Clancy such as “The Hunt for Red October” to the silver screen. They seem an ill fit when it comes to the “Beverly Hills Cop” franchise as they make this particular sequel feel bland and infinitely uninspired.

Also missing this time out is Harold Faltermeyer who famously composed the score for the first two movies and made the “Axel F” theme one of the most popular to come out of the 1980’s. In his place is Nile Rogers, but his presence only exacerbates what is not present here. John Ashton was unable to return, so his part was more or less rewritten for Hector Elizondo. Ronny Cox failed to return as Captain Bogomil, but he explained why during a 2012 interview:

“They wanted me to be in ‘Beverly Hills Cop III,’ but…I read the script.”

It is nice to see Reinhold back as Billy Rosewood, but he really doesn’t get much to do here. As for Elizondo, his character of John Flint is essentially John Taggart, and the only thing which has changed here is the last name. The fact these characters share the same first name should give you an idea of how hard the screenwriters worked at distinguishing the characters from one another (which is to say, not at all). For what it’s worth, Elizondo does have this sequel’s best line of dialogue:

“I got a wife and three kids. I haven’t seen a fifty (dollar bill) in twelve years.”

As for the villains of “Beverly Hills Cop III,” they are a bland bunch with little in the way of dimension to make them the least bit interesting. Timothy Carhart has given memorable performances in “Thelma & Louise,” “Ghostbusters,” “Witness” and “Working Girl,” but as Ellis DeWald, he doesn’t get much to work with. His character is essentially the one-dimensional villain who might as well tell the audience, “Hate me! I’m the bad guy and I am greedy. I live for money and nothing else!” Steven Berkoff, Jürgen Prochnow and Brigitte Nielsen had more to work with in the previous “Beverly Hills Cop” movies, so it makes me feel bad for Carhart here.

Did anyone escape the aftermath of “Beverly Hills Cop III” in one piece? Well, Bronson Pinchot does return as Serge in a cameo, and he is a very welcome presence as his character has gone from working in the art gallery to hosting the “Survival Boutique” which features a massive weapon which is even capable of making coffee, something I know a future version of the iPhone will be able to do. Theresa Randle also has some nice moments as Wonder World employee Janice Perkins, and she shares a good deal of chemistry with Murphy which, in retrospect, this sequel could have built more upon. I also remember audience members cheering loudly when Randle punched a bad guy in the face, and this reminds me of how this sequel came out in a time where we didn’t see enough women kicking ass like that. Thankfully, times have changed.

When “Beverly Hills Cop III” reaches its final act, it feels so lazily put together to where you wonder if anybody involved here just gave up before the production wrapped up. The defeat of the bad guy feels completely unfulfilling, and the revelation of another character seems just tacked on for no particularly special reason. Once the end credits came up, I found myself walking out of the theater very disappointed. The first two movies in this franchise were some of the most entertaining of my youth, but this one felt inescapably underwhelming.

Looking back, this seemed like the ending of Eddie Murphy’s career as the wisecracking comedian we came to love so quickly seemed to have disappeared forever. Granted, he scored a huge comeback with the remake of “The Nutty Professor” and went on to score an Oscar nomination for his performance in “Dreamgirls,” but “Beverly Hills Cop III” really felt like the end. We have seen Murphy go through so many ups and downs, and this one felt like the final straw.

As I write this review, the possibility of a “Beverly Hills Cop IV” is still in the air despite many false starts. Murphy has long since admitted how the third entry in this franchise was “atrocious,” so here’s hoping the next entry not only redeems the character of Axel Foley, but is also made with a lot of heart and thought. It’s not enough to please an audience. You need to give them a reason to pay for a movie ticket instead of just banking on their nostalgia. While you are at it, bring back Harold Faltermeyer. His music would be a very welcome addition, and it will serve as a reminder of how the 1980’s never left us.

* ½ out of * * * *