Pop Culture Round-Up

Enjoy Slate's Summer Movies issue.

Ponder the MPAA.

Check out the We Own the Night trailer.

Agree (or disagree) with the Guardian's reader-selected 100 unforgettable movie moments.

Watch the (possibly unintentionally) hilarious Nintendo DS commercial with Nicole Kidman.

Spend a little time with Flight of the Conchords.

1408 (2007)

Idea: Author Michael Enslin (John Cusack) specializes in debunking paranormal phenomena. He receives an anonymous postcard that prompts him to check into room 1408 at New York's Dolphin Hotel, despite heavy protestations from the general manager, Gerald Olin (Samuel L. Jackson).

I suspect it must be difficult to play Stephen King's stand-in. I know I wouldn't want to do it. Are you a prick because you sold-out or because you're bereaved? Why must you have such terrible highlights in your hair? What's with your clothes? Are you not yet folksy Uncle Steven, dispenser of pop culture wisdom and homespun truisms?

I also suspect it must be difficult to be the leading man in a situation that basically consists of you alone in a room for an hour, reacting to whatever the evil room throws at you, whether it's a little man in your mini-bar fridge or an alarm clock that only plays one song. There are quite a few times when poor Cusack is yelling things like, "What do you want from me?!" at his room, and you have to try really hard not to laugh.

I also suspect that it must feel kind of stupid to leave the reason as to why the room behaves as it does open-ended, considering the fact that CW shows like Supernatural come up with a reason 22 weeks a year.

Finally, I suspect that it must be tough to be John Cusack, who turns 41 tomorrow. He's old enough to play start playing the dad, which I guess is good news, considering that his bread-and-butter, romantic comedies, are a dying breed. But, let's try to stay away from this stuff, shall we? Doing Grisham is bad enough. Let's leave Stephen King alone.

Director Mikael Håfström delivers a few chills and genuinely scary moments, but it's enough to distract from how boring the movie often is. In addition, I had come to expect better of you, composer Gabriel Yared. I think judicious trimming and a shorter set-up could have done this movie some favours, but, as it is, it's not quite right. C

Fantastic Four: Rise of the Silver Surfer (2007)

Short: As Sue (Jessica Alba) and Reed's (Ioan Gruffudd) wedding day approaches, a series of unnatural phenomena and giant craters begin opening up around the world. The Silver Surfer (voiced by Laurence Fishburne) heralds the world's end, leaving Johnny (Chris Evans) and Ben (Michael Chiklis) contemplating the few moments they have left, while the Four attempt to stop the apocalypse.

Judging by the first, I didn't see this sequel coming. I've never even bothered watching it again. It was bad, it was seen, it was over with. But you gross over $300 million world wide and that means we mean more of you? Fine. And I'll probably go see a third movie if you crank one out.

Back when it was the main movie in the AV Club's cinema section, they called it the movie that everyone saw and no one liked. I don't know anyone other than Em and I who've admitted to seeing it, much less seeing it in the theatre.

For those of you who did see it (I know you're out there), if you can imagine a sequel exactly the same as the first movie, you can imagine what you see here. Alba maintains a lack of expression rivaled only the confusion in Gruffudd's performance. Chiklis again gives the only believable performance, and his relationship with Evans is the only subtle and nuance point the film has going for it. Evans will probably never be an actor known for his range, but, what can do, he does well.

I do appreciate the hammy elements that Julian McMahon brings to the screen. That's why we all watch nip/tuck anyway, right?

As with the freshman outing, Don Payne and Mark Frost's screenplay raises more questions than it could ever dream of answering, and Tim Story's non-direction and lack of personal style make this (dare I say it?) franchise as bargain basement as they come. D

To be honest, you're probably more likely to get a more honest and enjoyable Fantastic Four experience reading this Inventory than seeing the movie. I mean, Nixon tells off Reed Richards? Doesn't get better.

The Namesake (2006)

Brief: After surviving a train derailment, Ashoke Ganguli (Irfan Khan) moves to New York with his new wife Ashima (Tabu). Together in this new country, they raise Gogol (Kal Penn) and Sonia (Sahira Nair). Finding it easier to fit in in the new world rather than the old, Gogol struggles against his parents' traditional upbringing and his unusual name.

I'd like to like this movie more than I do. I love watching director Mira Nair's movies because of her wonderful senses of colour and place. She's the only director I can think of that could make a movie set in Calcutta and New York without going to far toward exotic or gritty. She strikes a balance that I think represents most people's experience, making it both personal and relatable.

Relatable, regrettably, is the problem. When you watch Ashima sprinkle curry powder and peanuts into her Rice Krispies on one of her first few days in wintery New York, the corners of your mouth tug into a sad smile for her home and the ways in which her life is about to change. But that's about all I did. I have no immigrant experience on which to draw, and her children's difficulties in finding a niche between the two worlds strikes me as more bratty than anything else. I spent a lot of the time after the film switched focus to Gogol's life wanting him to be less of an ass. Ashima deserved better.

For, despite what the trailer led me to believe, this story is more Ashima's than any one's. Her marriage, her children. 30 years of her life go by under Nair's lens, simply crafted and surprisingly touching. Tabu carries it off with an earthly grace.

Penn, not so much. It's not that he's bad: he just didn't bring a lot of complexity to the role either. It's good starter stuff, but it's too early to tell which way it will go. Of course, it doesn't help that a lot of the stuff that would help explain his character are glossed over (how did he get together with Jacinda Barrett's Maxine? What went on between the second date and subsequent marriage*?) There's too much emotional baggage and not enough story to make it compelling.

Even so, between Tabu and Nair, I think we might have something here. B

* I don't think I'll spoil the identity of the bride for you.

Black Book (2006)

Premise: A Jewish woman (Carice van Houten) joins the Dutch Resistance and ends up working undercover as the secretary (and lover) of the head of the Dutch Gestapo, Ludwig Müntze (Sebastian Koch).

Director and co-writer Paul Verhoeven hasn't had the best of luck with his recent movies on this side of the Atlantic. The notorious Showgirls, the maligned Starship Troopers, the horrible Hollow Man. The fact that it's been six years and the rumour that he and co-writer Gerard Soeteman have spent twenty years hammering out the script suggest that there is something different this time around. And there is. This movie is really good.

What a find van Houten is! Unknown to Feria Films prior to this screening, she is magnificent in this role. She strikes a wonderful balance between the oppression of Rachel's circumstances and her will to survive.

The chemistry between van Houten and Koch is as fun to watch as it is nerve-wracking. The instant bond between them is never explained or even spoken of, but that made it seem all the more natural, as though it came from some deep sadness that neither one could begin to express. Koch remains as dignified and sexy as he was in The Lives of Others but a little more dangerous. He also speaks English! Well, for a line.

I could have done without Anne Dudley's ridiculously over-wrought score or some of Verhoeven's desire to capture absolutely everything (Rachel dyes all her hair to go undercover). Aside from those, there's magic at work here. It's sad and it's plausible and it gets under your skin. A-

2:37 (2006)

Brief: The lives of seven high school students (Teresa Palmer, Joel Mackenzie, Frank Sweet, Clementine Mellor, Charles Baird, Sam Harris, and Marni Spillane) with secrets are put under the microscope the same day that one of them commits suicide.

What a stomach churning nightmare from first time director/writer/editor/producer Murali K. Thalluri. I can barely get the hellish images out of my head. But let's back up a bit.

No one is listed, so I really don't know who to thank, but the costuming in this movie was excellent. I learned so much about these characters by the way they dressed, and it was done with nuance and detail. I can't go into it here without giving too much away, but I assure you that if you pay attention, you will be rewarded.

Congratulations are in order to Thalluri for taking an inexperienced cast and directing them in such honest and vulnerable performances. Almost every beat is subtly underplayed and expressed in a way that feels fresh. The standout is the mesmerizing Palmer (pictured) as Melody. Melody, to my mind, is one of the two most difficult characters to play, and Palmer infuses her with such genuine emotion that your heart breaks for her.

For such a short running time (91 minutes here), Thalluri packs in an incredible amount of plot without it feeling rushed. Mind you, he cannily uses black and white interviews to prevent a lot of the exposition clunking. He also has the camera follow around the students from behind a fair bit, sneaking up on them around corners as their paths cross in the school, giving the viewer the sense that they are watching real events as they unfold. He manages to fit in blink-and-you-miss-'em clues as to who won't make it through the day in the midst of all this.

Despite the fact that I haven't a bad word to say against the movie, I can't help thinking that there is something wrong with it. Maybe it's the gut-wrenching images I can't shake free from my mind. Maybe it's the idea that all these sad, fucked-up lives could intersect on a regular basis. Maybe it's the fact that it should have a profound impact on me, alter my perspective, and give me insight, but all it really does is make me a little sad and really sick to my stomach. B

Ocean's Thirteen (2007)

Outline: Willy Banks (Al Pacino) double crosses his latest casino partner Reuben Tishkoff (Elliott Gould), landing Reuben in the hospital. When Will refuses a Billy Martin from Danny (George Clooney), the gang (Brad Pitt, Matt Damon, Eddie Jemison, Don Cheadle, Shaobo in, Casey Affleck, Scott Caan, Bernie Mac, and Carl Reiner) plan to take down Banks' casino during the soft open as payback, with a little help from Terry Benedict (Andy Garcia) and Roman Nagel (Eddie Izzard).

Oh, how delightful. The series goes back to its roots: Las Vegas and fun. Yup, it's fun again, kids. Might as well enjoy it.

Director and cinematographer Steven Soderbergh has it back on the rails, and it rolls along quickly and smoothly. Writing team Brian Koppelman and David Levien keep the plot streamlined, allowing more room for the loving character bits that made the first installment such a thrill to watch. There are plenty of giggle-worthy in- and out of character jabs.

Also, much to my delectation, Affleck gets his own subplot, and it's both relevant and hilarious. As much as the big stars are important, and as much as convivial amusements as Cloons, Pitt, Damon, Garcia, etc. bring to the screen, these movies are only as good as their supporting players. If Caan and Affleck, despite looking nothing alike, weren't believable antagonistic sibs, the movie would grind to a halt when they hit the screen. If Qin, with his lovely head of hair, wasn't such a good sport, the rest wouldn't matter.

Pacino tones it down enough to let his enjoyment in this boys club show, and the crazy hot Ellen Barkin adds the needed estrogen boost.

So much of the first picture comes full circle this time around that it's easy to forget the failings of the second. In fact, why don't we? Let's just sit back and enjoy. B+

Pirates of the Caribbean: At World's End (2007)

Story: Will (Orlando Bloom), Elizabeth (Keira Knightley), Barbossa (Geoffrey Rush), and crew team up with Tia Dalma (Naomie Harris) and Singapore pirate Captain Sao Feng (Chow-Yun Fat) to find the world's end and rescue Jack (Johnny Depp), so he can help put a stop to Lord Cutler Beckett (Tom Hollander) and Davy Jones' (Bill Nighy) reign of terror.

Even though the pre-credits sequence aimed at "political" and ended up hitting "reminiscent of Robin Hood: Prince of Thieves*" and even though The Hater has proclaimed the movie/franchise unbearable, I am here to tell you that it is the opposite of unbearable. This third installment is downright . . . tolerable! It's occasionally enjoyable! Sometimes good!

What? If you may recall, the second one was awful. Anything better than insufferable is an marked improvement.

*Which rocks, so they've got that going for them.

Mind you, the movie's far from perfect. The movie's really Elizabeth heavy. Listen, writers Ted Elliott and Ted Rossio, you cannot convince me that absolutely everyone is hot for Knightley. She's got no shape to her. Her hair was slightly better this time around (bad dye job, better styling), but her unflattering lipstick remained in place. Also, still not much going on in the acting department for this one. Her big rousing speech? Had me rolling my eyes. Her credulity straining interest in Jack (still, again, some more)? Impossible. It's the same problem every time: Knightley over-reaches. The best way to approach most of her scenes would be with subtlety and nuance, and she blows them nearly every time. It's odd because her scenes with Bloomers work really well (they have a sweet, understated chemistry), and her desire for adventure comes across clearly. Putting the focus on her only emphasizes how under-prepared Knightley is to carry the bulk of the movie.

Will and Elizabeth are apparently not talking when the movies opens, although the first scene with both confirms their love for and fidelity to one another. Elizabeth is in some danger or vaguely sexually threatened? Cut to Will clenching. Elizabeth does something smart/clever/inspirational? Cut to Will looking all kinds of turned on. Hee. Bloomers gives a great reaction shot. Yes, young Bloomers remains one of the greatest enigmas Elfin April has ever faced. When he's silent, when it's simple, Bloomers hits the mark. Anything more complex, and he tends to veer off course. It makes him the perfect candidate for these sort of movies, actually, as they run straight. Maybe typecasting wouldn't be such a shame for him after all.

As for Depp, what's left to be said? He's fey, and we all love it. His hair was still more dready and less braidy, but I can live with that so long as I can watch that scene with Keith Richards as Captain Teague over and over again. Elliott and Rossio, however, need to cool it a bit with their love of Jack. You'll see what I mean.

Also: Cutler is totally hot for Jack (admit it, you saw it, too). Rush appears to be having a ball. Norrington got boring again after putting back on the powdered wig. The one-eyed man and his scraggly haired companion finally get names. Stellan Skarsgård steals every scene he's in, breaking hearts along the way. This FAQ makes the post-final-credits sequence confusing.

In all my writing on the subject, I have failed to mention Hans Zimmer's delightful score. It's catchy in a way that you don't mind having in your head for days, allowing you to recall the best parts of the high seas adventure and dump the rest.

Despite the fact that it's too long and way too heavy on elements and sub-plots best left to the fishes, it's still a far more palatable entry than the second. If it were to end here, I think it's something we could all look back on and smile. Not a bad way to lose an afternoon. B+

Pirates of the Caribbean: Dead Man's Chest (2006)

I went to see PotC: At World's End yesterday, but I don't want to write about it until I get my thoughts about the middle child down. It's RE-view time.

The movie remains long and largely boring, but it works better if you break it up into chunks, like I did. A finger on the fast-forward button would also do the trick. Mostly, I'd skip a lot of the stuff on the island, a lot of stuff with Elizabeth, and some of the Cutler/Governor Swann stuff. I love Tom Hollander in the role, but so much of what he does is just set-up for the next movie. You'd do just as well to wait and catch up then.

As for the island stuff, it's kind of funny the first time around, but it loses it's charm on subsequent viewings, and it feels more like filler than genuine dramatic tension (will they save Jack? Gee, I don't know!)

Oh, Elizabeth. You know, when it came to the first movie, Bend it like Beckham, and Love Actually, I would I have said that I liked Knightley alright. She's not spectacular, but she's serviceable when she's not over-reaching. Plus, as I have long said, she's got a pretty face. But here? Why the focus on Elizabeth? She's childish a lot of the time, and her "attraction" to Jack is possibly the most unbelievable part of the entire movie (of the many I could choose). Her signature line, "Oh, Jack," with a little sigh at the end? Plays like he's her screw-up older brother. If it's supposed to be a more carnal interest, it doesn't show.

To be honest, I don't buy the attraction going either way. Depp can play anything at any time in any way and make me a believer, but the sub-plot groans under the weight of the tacked-on tension. It's upsetting but expected that Jack trade Will's life for his own. But try to steal his lady? Never. Jack knows he could never come back from that. Mind you, all of this speculating is possible because Depp plays the most fully fleshed character on the screen at any given point.

No matter which chunk I was watching, I was consistently impressed with Will's character development. No, seriously. Will is the central character, the tie that binds the mainland lives of Elizabeth, the Governor, and Norrington (Davenport is so foxy when he's a rogue) to the sea-faring world of the pirates, and the movies' moral centre. When he lights that sword on fire? I found myself thinking, "Will's ingenious." During that amazing, best set piece of the movie, water wheel fight? I hoped Will would come out on top. Bloomers bugs in a lot of ways a lot of the time, but here? He's quick on his feet, and I can get behind that.

It's still too long, too exposition-y, too reliant on call backs instead of new material, but it didn't turn me off of going to see the final (?) installment. That's saying something. Not a lot, but something. I'm sticking with my original grade. C+

Knocked Up (2007)

Premise: Alison Scott (Katherine Heigl) is promoted at E!, and she heads out for the night with her sister, Debbie (Leslie Mann), to celebrate. Alison meets cute with Ben Stone (Seth Rogen) while he is out with his stoner roomies (Jason Segel, Jay Baruchel, Jonah Hill, and Martin Starr). Eight weeks later, Alison is preggers.

Hurrah! I have returned from my little hiatus refreshed and ready to review. Miss me no longer, gentle reader. I'm back.

Naturally, I'm back with some sweet Judd Apatow (writer/director here) action. Yes, people, naturally. I have a love for M. Apatow that knows no bounds. F&G rocked, I own Undeclared, and I spent weeks begging my friends to go see The 40-Year-Old Virgin with me. He's the main delivery service for an addiction known as Seth Rogen (Ken! Ron!).

First of all, he's cute. Secondly, and most importantly, he's funny. He's wonderfully sarcastic, and he obviously can see the humour in a lot of different things, like the first time you get sick away from home. All in all, Rogen made a great TV boyfriend, and it seems he is on his way to make a great movie boyfriend.

Oh, Heigl, they really made Izzie reprehensible this season, no? It's too bad 'cause Izzie was my favourite intern. Of course, no matter what ridiculous speech the writers throw at you, you carry it off with aplomb, as you are far, far more talented than they seem to realize. You are also a delight here with deft comedic timing and a winsome screen presence. You know, in addition to being really hot. Hope there's more big screen roles in your future, as I am about ready to abandon the show you currently call home.

Much like with the outlandish Virgin premise, Apatow succeeds in taking something that, by all
rights, is creepy and icky and turning it into something hilarious and sweet. Carrell's subtle performance did it for the first, and Rogen and Heigl's budding relationship, contrasted with Debbie and Pete (Paul Rudd)'s marital strife, does it for the second. It's too bad about the way that the abortion discussion gets the bum's rush, but, in a movie whose premise is so clearly stated in the title, what do you really expect?

Anyway, must be time to go read what Dana Stevens says they got wrong about women. I'm sure I'll be incensed when I am finished. Until then, I remain enraptured. A-