Fast Five

For my fifth review this month, I've picked a film called Fast Five. It's the fifth film in The Fast and The Furious franchise which involves cars that are fast and furious. For further analysis, read on.

In the end of the last film, Fast and Furious, illegal street racer and thief Dom Toretto (Vin Diesel) found himself on a bus to prison. As this one opens, his motley crew stages an elaborate stunt to bust him out. Sometime later, they're back in business staging a car heist aboard a train in Rio de Janeiro.
They find out the hard way that the cars actually belong to crooked businessman Herman Reyes (Joaquim de Almeida). His minions peg them for murdering a few federal agents, which results in lawman Hobbs (Dwayne Johnson) coming after them. To get back at Reyes, Dom decides to swipe all of his assets and retire early. This plan involves cars, a few alumni from the previous films, and an assault on a police station.

What the franchise is best known for is staging big stunts with fast cars. There's plenty of stunts in Fast Five, up to and including the wild ride of a steel vault down Rio. These scenes, staged by director Justin Lin, turn the film into an entertainingly over-the-top spectacle.

Not lost in the confusion is any semblance of plot. Aside from the chases, the film's story is actually comprehensive. Some familiarity with past events is recommended, but fortunately, screenwriter Chris Morgan doesn't leave franchise neophytes wholly in the dark. The only real flaw is that it finishes at an unusual over-length of 130 minutes.

But still, Fast Five is the film that's supposed to signal the arrival of summer. In that regard, it has surely crossed the finish line in flying colors.

Water for Elephants

Legendary Circus man P.T. Barnum never said “there’s a sucker born every minute.” Another circus man, August Rosenbluth, verifiably philosophized that “the world’s run on tricks. Everyone plays.”

Rosenbluth and his circus, the Benzini Bros., are actually fictional. They are all part of Sara Gruen’s novel, and now film, Water for Elephants.

In 1931, Jacob Jankowski (Robert Pattinson) was studying at Cornell University’s veterinary school until his parents died in a crash. Left with nothing, Jacob left college behind and hit the road. He finds a train to hop on that turns out to be that of the Benzini Bros.

August (Christoph Waltz) likes to see nuisances, including stowaways, flung out of the train at first opportunity. But Jacob’s background impresses him, and he appoints him the circus vet. Jacob has no problem making friends with the troupe, which also includes August’s wife and top star Marlena (Reese Witherspoon). But the unhinged August does have a problem with Jacob when he notices him getting too close to Marlena.

Of the leads, Waltz gives the best performance. Charming one minute, and brutal the next, he makes August into an unpredictably scary villain. His supporting cast is made up of a well-played ensemble of likable characters such as the drunkard Camel (Jim Norton) and dog trainer Walter (Mark Povinelli).

Its production and costume designs are perfectly suited for the time period. Also helping the film are James Newton Howard's score and Rodrigo Prieto's cinematography. Brought together by director Francis Lawrence, these production values give the film a majestic quality. It really is a film that's great to look at.

Water for Elephants is a film that easily lets its audience under the big top. It won't be around forever, so try to see it before it packs up and goes.

Hanna

What does Hanna have in common with Hop and Rio? A one word title, the third such film I’ve reviewed this month. What does Hanna NOT have in common with Hop and Rio? A whole lot.

The titular Hanna, as played by Saorise Ronan, lives in the Finnish tundra with her father, Erik (Eric Bana). Their daily existence involves him teaching her how to be the perfect killer. Their goal is to get her ready to meet, and kill a woman named Marissa Wiegler.

Wiegler (Cate Blanchett) is a CIA Operative and an unpleasant face in Hanna’s past. Hanna quickly demonstrates her killer training on Wiegler’s cronies, and makes her way to Berlin to meet with Erik. Of course, after living in a cabin for her whole life, Hanna’s unprepared for civilization.

Joe Wright, who previously directed Ronan to an Oscar nomination for Atonement, is in charge here. One thing Wright’s films haven’t been known for are exchanges of bullets and fists. But with this film, his fourth, Wright and his crew prove they are up to it.

Among the off-screen input, there’s great on-location photography by cinematographer Alvin H. Kuchler that sets the scenes quite nicely. The music score, by the duo called The Chemical Brothers, knows how to set the right mood. Editor Paul Tothill, meanwhile, sets a good pace for both the action and dramatic moments.

It also benefits from the writers, Seth Lochhead and David Farr. They make their heroine’s plight come from not just the bad guys, but also from her being in civilization. It’s a situation that they handle with both humor and tension. With Ronan’s performance, Hanna’s situation is believable through-out.

It is a film that unravels its secrets slowly, so much patience is needed. But if a mindless action flick isn’t what you want, then Hanna’s style will suit you just fine.

Rio

And now, for the first time in a while, comes an animated film available in both 3-D and flatscreen formats. Its title is Rio and it is currently the year's finest display of color and music.

Blu (Jesse Eisenberg) is a neurotic Spix's Macaw who lives in a Minnesota bookstore with Linda (Leslie Mann). One day, an ornithologist named Túlio (Rodrigo Santoro) comes in with Blu on the brain. It turns out Blu is the last male of his species, and a female named Jewel (Anne Hathaway) awaits him in Rio de Janeiro. So Blu and the humans head off to the aforementioned city just in time for Carnivale.

Except when Blu meets his “mate,” he quickly finds that Jewel’s not that interested. They get caught by smugglers, but despite them getting chained together, they escape. Since Blu can’t fly, he’s not much help. But with a few new animal friends, the two have a better chance to get out of this mess.

As with the avifauna in Brazil, the film is amazingly colorful. Under director Carlos Saldanha, a native of the eponymous city, both the animals and their environments are perfectly visually realized. It also benefits from its catchy and fun music, whose collaborators include John Powell and Sergio Mendes. It’s simply the best glimpse of Rio one can get at a bargain price.

Amongst the supporting cast, the best has to be Nigel (Jemaine Clement), the smugglers’ campily evil cockatoo mascot. Other highlights include the duo of Nico and Pedro (Jamie Foxx and Will.i.Am), who provide a few tunes to the soundtrack. Their distinctive quirks, as well as those of the leads, are perfectly provided by their big name talents.

To 3-D or not to 3-D? You’ll have to decide that. You'll also get to see a fun cartoon starring Scrat from the Ice Age movies just before the film starts. Whatever the choice, you won’t regret going to Rio.

Jethro's Note: What about Mars Needs Moms? According to some opinions, it's not even an animated film. Uhh, OK.

Hop

All E.B. (Russell Brand) wants to do is to play drums in a band. His father, the Easter Bunny, (Hugh Laurie) wants him to inherit the family business. E.B. decides to run off to Hollywood to make his dreams come true. Thus begins Hop, a nice film just in time for Easter.

Meanwhile, Fred O’Hare (James Marsden), an unsuccessful job hunter, gets kicked out of the house by his satirically mean family. His more sympathetic sister (Kaley Cuoco) gets him a job house-sitting for her boss. Soon enough, Hare meets bunny.

Fred soon has to hide his new house guest to save face. E.B.’s also willing to hide to avoid his pop’s royal guard, the Pink Berets. Back home on Easter Island, an evil chick named Carlos (Hank Azaria) decides to take over the holiday by force. Only once our heroes embrace their responsibilities will they save the holiday in the end.

There's plenty of silliness going around in the sea of candy. A lot of it comes from the amusing interaction between man and rabbit. They're aided by fine visual effects work which perfectly realizes both the critters and the candy. A few good gags, including celebrity cameos by David Hasselhoff and Hugh Hefner, add some fun to the basket. Even the real Russell Brand appears on-screen with E.B. for film's best self-referential gag.

It's directed by Tim Hill, previously the helmer of Alvin and the Chipmunks, and thus experienced in this type of film. It's sweet like a lot of candy, but not overly-sweet so it hurts. Thus, Hop should provide the type of holiday fun that usually comes out seven months from now.