Hancock *1/2

Director: Peter Berg

Cast: Will Smith, Charlize Theron, Jason Bateman

Apparently it's Will Smith's world and we're just living in it.

Or so seems to be the fuel behind "Hancock"; a summer movie that should've been hamrless, explosive fun, but becomes so condescending to the audience that at one point you start wondering why did you even buy the ticket to see it.

With the idea that everyone on Earth loves Smith (G-d forbid if you don't), the story has him playing John Hancock, an immortal, invincible man who has the physical traits of a superhero, but acts like a junkie.

He spends his days sleeping and drinking. Whenever a crime occurs he comes to save the day, but detroys trains, cars and infrastructure in the process.

Villains and victims hate him and people calling him an "asshole" becomes a sort of motif in the movie.

This gets to the point where the city of Los Angeles demands he is incarcerated for damages.

Enter Ray Embrey (Bateman) an idealistic publicist who sees in Hancock what nobody else does: a chance for redemption.

In the best Hollywood way he reforms the, not so heroic, hero and turns him into what comic books tell us he should be like, all to the dismay of his wife Mary (Theron) who thinks Hancock can only bring danger to her family.

But there is a dark past to Hancock, one that holds the key to the past he doesn't remember and that sinks the film into dramatic territory it can't pull off.

"Hancock" begins with promise as it explores the side effects of being a superhero. Who hasn't wondered how the cities recover so fast after final battles?

But as you watch the film you also begin to realize that the whole hero thing becomes a lazy metaphor for what it's like to be a celebrity nowadays.

Hancock isn't liked and he often does more wrong than good, but the media pays so much attention to him that he becomes an easy target for martyrdom.

Watching him struggle with issues that "normal" people deal with in private, you will remember all those starlets who plague the press every day with their scandals.

Like them, Hancock wallows in the mysery that comes with being "different", as if that is justification for his irreverence.

Shot with what can be described as reality show aesthetics, the cinematographer loves doing awkward reaction shots, particularly with Theron that announce plot twists ages before they come (and don't really help the actors look good, except for Bateman who owns the film).

The sad part is that the film as a whole could've exploited this and become a parody of sorts, it only works when it's being silly fun, but it takes itself too importantly and deals with the sort of double morality that is inherent from its very casting.

You know when it starts that while you may dislike Smith at the beginning, there's no way the feeling will remain the same by film's end.

But director Berg couldn't care less about the audience and knowing that the film would make a profit regardless of how incoherent it turns, he inserts subplots that drag and feel like lazy backup plans.

The themes "Hancock" deals with have been explored in much better films (like "The Incredibles" for one) and while its attempts at emotional depth come off as good intentions, sometimes all we really want from our heroes is that they save us.

The Bank Job **1/2

Director: Roger Donaldson

Cast: Jason Statham, Saffron Burrows

Stephen Campbell Moore, Daniel Mays, Richard Lintern

Based on a true story, "The Bank Job" takes on the September 11, 1971 robbery of a London bank, where over a hundred safety boxes were emptied and a D-Notice was released to the press in order to preserve the identity of all the involved.

Jason Statham plays Terry Leathers, a small time crook trying to live the decent life as a garage owner. His ex-girlfriend Martine (a sumptuous Burrows) tells him that she has the floor plans to a local bank and if they pull off a heist they can retire and live the big life.

What Terry doesn't know is that Martine is being blackmailed by a MI5 agent (Lintern) who knows she has contacts in the underworld and is trying to recover some information from one of the safety boxes that incriminates a certain member of the British Royal Family.

In more than one way, beginning with the Steve McQueen-ness of Statham, "The Bank Job" is a direct throwback to classic films of the genre.

Like "Rififi" it takes us to every step of the process, including the consequences, which are often obviated in the genre because they take the glamour away from the crime.

During the actual heist sequences the movie can't stress enough the fact that these people are not professionals and that everything can go wrong when we least expect it.

The simple fact that you never see them wearing gloves makes you gasp and wonder how things will turn out for them.

Director Donaldson does marvellous work keeping suspense and giving the film a darkly comedic touch when it needs it the most.

"The Bank Job" plays more like "Boogie Nights" for thieves than any of the Ocean's flicks, because it embraces the grittiness that comes with any sort of crime.

The characters sadly aren't the kind which you totally identify with, they mostly remain archetypes and when the script attempts to give them some dramatic tension the results are more awkward than interesting.

And it's here where the film doesn't pull off the masterful hit with the audience, as it dangles dangerously between its intentions of uncovering history and the limitations that must come with making a movie out of it.

One of the movie's most delightful elements is how it peels off layers revealing a British hierarchy that goes beyond social classes.

There's mobsters, corrupt policemen, kinky royals, porn barons and more, all looking to preserve their status.

And when the film concentrates on what will happen next, there's a whole lot of wonder not even a safe is able to contain.

Forget the Union Scene...

watching "Norma Rae" today my jaw fell to the floor during the scene when Sonny (Beau Bridges) tells Norma (Sally Field) "I'm gonna see you through getting tired, getting sick, getting old. I'll see you through anything that comes up and there's no one else in my head...just you."

Put on Your Sunday Clothes and...

Click on the picture to read my review for "WALL-E".
Then come back and comment.

Hello, WALL-E!

The colors, the gowns, the unabashed romance and hopefulness described in the lyrics...
But what remains even more fascinating is that Andrew Stanton chose this as the movie WALL-E loves so much.
Within the film, "Hello, Dolly!" aquires a spooky sense that makes us wonder if a time will come when we will have to learn emotions from history.
And if that's the case, will that history be the one we know from the movies?
How can someone not fall in love with this?

The Ruins **1/2

Director: Carter Smith

Cast: Jena Malone, Jonathan Tucker, Shawn Ashmore, Laura Ramsey, Joe Anderson

"Four Americans on vacations don't just disappear" says Jeff (Tucker). He's talking to his girlfriend Amy (Malone) and his friends Eric (Ashmore) and Stacy (Ramsey) to try and make sense of what's happening to them.

While on vacation in Mexico, they meet Mathias (Anderson) a German tourist who invites them to a mysterious archaelogical site, off the maps, where his brother is working.

After convincing themselves that they should be doing more than downing cockatils at the pool, they all go. Once they arrive at the ruins they are surrounded by Mayan descendants with weapons that threaten to kill them if they leave the ruins.

After discarding the idea that these people are acting like crazy killers they realize that they're being kept there in order to contain something that lurks within the ruins.

Feature film debut by director Smith, this is the rare horror movie that is able to scare because of what's not being said or shown, as opposed to relying on gore, blood and extreme violence.

While other directors working in the genre feel like sadists who actually have fun making their characters go through hell, Smith knows that audiences have to empathize with the characters in order to feel for them.

And he tries his best to give them personalities, even though they always remain vapid. His direction is precise and never relies on cheap tricks to get your heart racing.

But the film is a collision of opposing forces, on one side we have the director who sometimes seems to care too much to show us what's going on and then there's the writer, Scott B. Smith who adapted from his own novel and sometimes feels as if he's saying these people deserve what's going on with them.

The screenplay is structured in such a way that at first we begin to think that it'll be yet another "pretty people in danger" story, but slowly as smith peels the layers, we end up with pure psychological terror rooted on misconceptions Americans have about the rest of the world.

With a dark sense of humor and some absolutely witty lines Smith exposes a dual mode of thought (subconscious mostly) which tells us that the characters probably needed this terrifying rush to justify their trip and get their money's worth.

But at the same time, when something bad happens, it proved to them that they were right all along and nothing good can come from an "uncivilized" country.

With an ambiguous mix of cheesy B movie-ness and exploration of complex themes, "The Ruins" may not be exactly the world's ninth wonder, but you're gonna want to excavate to find what it hides.

I'm in heaven.

Coming soon, my review for the best film released this year so far.

When a film is able to take your breath away, punch you in the gut and inspire you all at once, you know you're onto something special.

In the meantime, go watch it!