Hollywoodland: Awards for Affleck?

Earlier this year, Brandon Routh became a star, stepping into Christopher Reeve’s shoes to re-start the Man of Steel franchise in Superman Returns.

But this week, Ben Affleck won the Best Actor award (yes, I’m serious) at the Venice Film Festival for his performance in a Superman cape. Affleck is winning raves for dramatizing the life of television actor George Reeves, who became famous playing TV’s Man of Steel, and whose death from gunshot wounds might … might … have been suicide.

Exploring one of Tinseltown’s most notorious unsolved murder cases, Hollywoodland is a semi-historical, noir-ish mystery from Allen Coulter, who has directed episodes of “Rome,” “The Sopranos,” and “Sex in the City.” The film stars Academy Award winner Adrien Brody (The Pianist, King Kong) as a befuddled detective, Robin Tunney as Reeves’ fiancé e, Diane Lane as the woman who became obsessed with Reeves, and Bob Hoskins as her jealous husband, an MGM studio executive.

“I suspect many viewers will simply regard Hollywoodland as a lot of yelling, drunken anger, and adulterous relationships that don’t amount to much in the end,” writes Russ Breimeier (Christianity Today Movies). “After all, there is only speculation as to whether Reeves’ death was suicide or murder. … Hollywoodland is nevertheless well made and boasts some strong performances.”

Harry Forbes (Catholic News Service) says that, due to “sleazy ambience,” this movie is “definitely not one for the kids—and … possibly not for some adults either.” He explains that the movie “may be of interest to fans of the Superman series and those intrigued by Hollywood lore, but there are no conclusive answers.”

Bob Smithouser (Plugged In) is impressed with some aspects of the film, but concludes that the R-rated content is “deadly kryptonite to Hollywoodland, an otherwise riveting, poignant statement about the complexities of tragic human relationships and how they can leave a wake of victims, suspicion and pain with no clear answers or obvious culprits. So much for ‘truth, justice and the American way.'”

Frederica Matthewes-Green (Frederica.com) says the film is stylish, and it’s as cynical as a noir film should be. But does this “thriller” thrill? “That’s where the film lets us down,” she concludes. “The feeling of the movie is melancholy rather than menace.”

Christian Hamaker (Crosswalk) finds little of value to take away from the experience. “It turns out that the lives of the rich and famous several decades ago were—just as they are today—filled with moral compromise, and that once you get past the glamorous surface of Hollywood, there’s an ugly underside. … Like so much that has emerged from Tinseltown over the years, it’s largely distasteful and quickly forgettable.”

Most mainstream critics find a few things to praise, but remain unenthusiastic about Hollywoodland.

Protector: Jaa-dropping action, no story

Are you ready for another big screen display of standard-setting martial arts?

Tony Jaa, the star of Ong-Bak, is back, this time as Kham, The Protector, a man who ventures from Thailand to Australia rescue a stolen, sacred elephant from a gang of Asian thieves. Oh, there’s more to the plot. But reviewers are quick to admit that The Protector’s story serves as an excuse for high-concept stunts and spectacular fight scenes.

Marcus Yoars (Plugged In) says, “Watching [Jaa] jump around kicking and pummeling row after row of hapless enemies in The Protector reminded me not just of fighting through 20 levels of a violent video game, but worse, being forced to watch someone else fight through 20 levels of a violent video game.” He adds, “[T]here are laughably horrendous video games out there with better stories, characters and acting. Lots better.”

But Greg Wright (Looking Closer) says, “Some films are enjoyable on their own terms and defy scholarly critique. The Protector is one of these.” He recounts spectacular, “mind-boggling” martial-arts displays, one of which “out-Chans Jackie Chan,” and another which pushes Jaa to “his utmost physical limit.”

Mainstream critics are split on whether to embrace the film for its action or reject it for its ludicrous screenplay.

Covenant No. 1, but not with critics

Good high school witches try to fight off a bad high school witch—a transfer student—in director Renny Harlin’s latest action film, The Covenant.

Who wins? Nobody, according to critics, who are almost unanimously lamenting this lousy, not-so-thrilling thriller. But their efforts seem to be in vain. This poorly acted, poorly scripted project is the weekend box office champ.

David DiCerto (Catholic News Service) writes, “The dank atmospherics can’t disguise a run-of-the-mill script which substitutes schlocky sorcery effects for story or any real suspense. There are a couple of mildly spooky sequences … but overall there’s not much scary in the movie.”

Bob Hoose (Plugged In) says it’s “an adequately acted (though one-dimensional) movie … aimed squarely at the teen and twentysomething Buffy the Vampire Slayer and Charmed audience.” He found it surprisingly short on gore and explicit sexuality, but he’s still uncomfortable with the way it treats real-world darkness as mere fantasy.

You’ll find a lot more lamenting in the reviews of mainstream critics.

More reviews of recent releases

The Wicker Man: David DiCerto (Catholic News Service) isn’t too pleased with Neil LaBute’s remake of this cult classic. “Following the basic outline of the original, minus the eroticism and adding a feminist twist … LaBute generates some suspense in his cerebral approach, but overall the film is a bland and unnecessary retread, more hokey than creepy as the story progresses.”

Little Miss Sunshine: Harry Forbes (Catholic News Service) writes, “It is important to note that there’s an unfortunately high quotient of expletives and some sexual references … that would seem to limit the film’s suitability to adults … . But given the overwhelmingly positive context of the story in which these elements appear—with the transformative nature of the story, and several unexpected moments of grace—many more will enjoy the film than its restrictive rating would suggest. … If you can see past the objectionable elements, this is a road trip you’ll be glad to take.”

Mike Parnell (Ethics Daily) says the movie “actually re-enforces the truth of the power of family. Family can be a place where people are nurtured, as what happens to Olive. Family can also be a place where people are stunted, which is what happens to everyone else. … Little Miss Sunshine will move you to cheer for Olive—not that she would win, but that she would rise above what is around her.”