With the Fourth arriving on Friday, Hollywood is getting an early jump on the holiday box office bonanza. For 2 July, here are the films in focus:
Hancock is either a brilliant disaster or an often uneven masterwork. It either represents Will Smith’s decision to break free of his formerly fashionable (and profitable) summer movie mythos, or another chink in a box office armor that has shown some signs of wear as of late.
Will Smith is the new up to date version of the late in life career of Charleton Heston. No, he's not some gun wielding NRA apologist who narrates Bible videos in between bouts with aging. As one of Hollywood's leading ticket/turnstile draws, he's embraced the science fiction format in a way no actor has since the one and only Chuckster. From Independence Day, Men in Black, I, Robot, I Am Legend, and now his latest, the surreal super hero movie Hancock, no other contemporary star has dabbled in the speculative as often as he. Sure, he moderates such stints with powerful dramas and urbane comedies, but it's clear that the majority of his bankability comes from action and adventure. Whether this latest film will advance his reputation remains to be seen. read full review...
The Children of Huang Shi is so desperate to be the Asian Schindler's List, an example of atrocity draped in abject artistry, that it forgets to lay out the context.
While it may seem sacrilegious to say it, stories of heroic human efforts during the tenuous dangers of wartime appear to be an international dime a dozen. Just when you think all the narrative bases have been covered, and no other angle could possibly emerge, a film comes along that explains yet another case of will triumphing over evil, spirit surviving the horrors inherent in conflict. Granted, not every one of these tales needs to be illustrated, but that doesn't stop Tinsel Town from cranking out such indirect apologies. Japan's torment of China prior to World War II serves as the basis for The Children of Huang Shi, yet another explanatory attempt. Yet as typical with most of these stories, it takes a courageous Caucasian to steer the natives - and the narrative - in the right direction. read full review...
G Rated fare is so rare in Hollywood these days that even the most mediocre example of kid pandering receives a slap on the patently wholesome back. Who cares then if the premise is founded in a misleading marketing gambit? As a popular doll and book series, the American Girl movies have been boob tube staples of years. Now, Oscar nom Abigail Breslin is aiming her prepubescent crossover appeal by playing the juvenile reporter turned community defender…and she doesn’t even look Nancy Drew-ish. When her dad looses his job and heads off to Chicago in search of work, a Depression era Kit helps her mom convert their Cincinnati abode into a boarding house. While a series of shady and stereotyped characters wander in and out of the front door our high-strung heroine helps the poor misguided hobo population redeem themselves in the eyes of a prejudiced public. In between homeless slurs (usually centering on the term "evil") and soft sell slapstick, there is an attempt to impart a meaningful message of not judging a book by its penniless cover. Unfortunately, said good intentions get lost in a sea of formulaic plotting and tear-jerking contrivances. Even the mystery at the center of the story delivers an obvious dumbed down denouement.