Movie Title: The Closet
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You may not know the name of French director Francis Veber, and his laughable French comedy “The Dinner Game” (1999), but if you are fond of comedy, you might have seen the films like “Father’s Day” and “Birdcage.” Yes, the last two Hollywood outings are actually remakes of his works, and though not all of his films are masterpieces, “The Closet” alone would obtain you remember his name. This film is that comical.

Daniel Auteuil is M. Pignon, who has been working for a condom factory as an accountant for 20 years, now he happens to learn that he is going to be fired. Disquieted by the news, he thinks of jumping from the window to waste himself when an dilapidated man living in the next room gives a tip; “pretend you’re ecstatic.” For political reasons (and commercial ones too) the company cannot fire him as they are petrified of being accused of having discriminating attitudes. It succeeds, and M. Pignon is jubilant … for a while.

Because unexpected things happen like chain reaction; “sexual harrassment” from his glowing female boss (she has her acquire reason), sexual near from his co-worker and rugby coach (he has his enjoy reason, too), and so on. The fable goes on with twists and turns, finally leading to the confidence newly established in M. Pignon.

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Though the ending is not as trustworthy as it should be, and some parts are a bit amazing, the cast is so tremendous that those flaws are all ignored in the demolish. Daniel Auteuil’s dead-pan humor is always effective, and funniest is his face when he is in a parade wearing a tall tip of condom on his head. Also comical is Gerard Depardieu, whose character experiences a total transformation.

“The Closet” has some satire on our attitude about sexuality, but it doesn’t preach them. Rather, the film handles them with a lighter tough, which avoids the pitfall of being too murky or philosophical. The fact is, the film is too light for some; and clearly the director hesitates to push some piquant points the film presents. But “The Closet” should be about M. Pignon, who, honest like the protagonist of the same name in “The Dinner Game,” is about Mr. Everyman. His swagger to a current life is what we recognize, and we appreciate watching. As such the film succeeds, and it is because of astonishing Daniel Auteuil.

Francis Veber, the King of French Farce, keeps cranking ‘em out at a rate that would boggle even the mind of Georges Feydeau. His latest, “The Closet,” features nebbishy accountant Francois–mocked by his colleagues, abandoned by his wife, dissed by his son and about to be fired–who schemes to support his job by pretending to be contented. Francois’ ecstatic psychologist neighbor advises him not to change anything about himself–what will change is other people’s perception of him. That’s not the only thing that changes in Veber’s smoothly written, surefire-as-clockwork farce. Francois’ life ends up changing in unforeseen ways, as do the lives of the people around him–particularly that of Santini, the homophobic personnel manager who must suddenly play up to Francois in order to support his gain job. All sorts of crazy complications ensue, and the denouement is appropriately sunny. “The Closet” won’t change your life, but it will leave you feeling elated, and you will marvel at the sheer star power lavished on this lightweight story. Daniel Auteuil and Gerard Depardieu, France’s retort to Kevin Spacey and Robert De Niro, play Francois and Santini; in the supporting cast are Thierry Lhermitte, Michel Aumont and Jean Rochefort, which is roughly equivalent to having Richard Gere, Gene Hackman and Michael Caine in the supporting cast of an English-language movie. These favorable professionals know exactly what is required of them, and vow it gift-wrapped. As crazed as the comedy gets, it is the peaceful individual moments that will really leave you rolling in the aisles: whether it’s Auteuil’s sick embarrassment at sitting on a Delighted Pride float wearing a condom hat, or Depardieu’s blissed-out, zombie discover as his world crumbles around him, you know that you are in the hands of master farceurs.
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Movie Title: I Am Legend
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“I Am Anecdote” is not a film that sticks closely to it’s source material. While that is it’s biggest flaw, it is also where it shines. If you ha told me two years ago that I’d obtain misty-eyed watching Will Smith snarl “Three Minute Birds” in a expansive budget motion narrate I’d have laughed myself amusing, but this adaptation of Richard Mathson’s untouchable unusual that -while itself being a vampire story- inspired the entire zombie film genre as we know it takes the anecdote we all know whether we’ve read the book or not and turns it into an exceptionally personal affair for all of us. One man. One dog. A familiar metropolis deserted by day, but crawling with death by nightfall. This is our setting and it’s one that never gets weak for me.

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The plague that wipes out Robert Neville’s world is never fully explained, simply inferred to be the result of some sort of failed cure for cancer. Gone from the new and the new Vincent Tag classic, The Last Man on Earth, is the long struggle of Neville to do his ill daughter, his wife’s tranformation, and the frightful actions of the US government to fill the plague. What it left is simply one man, alone trying to occupy his sanity and hopelessly searching for a cure to a disease that has already wiped humanity off the face of the earth and left the “survivors” as rabid vampiric horrors. It’s dark, it’s pathetic, and it’s perfectly human. Will Smith has a penchant for picking abominable, schmaltzy films to star in, but no one can stutter his talent and charisma as a leading man. Naturally, this is a film he must carry single-handedly and he does an awesome job of it; he’s dramatic, he’s relateable, and at times, he is amusing. The humor is that of the dim and faulty kind, but in a world like his, that is all there is left.

The vampires/zombies/infected in this are all CG and more than a bit reminiscent of Gollum from The Lord of the Rings. I’m not a fan of these kind of effects when practical would have been more effective and was acutely aware of the fact that I watching computer-generated monsters, but they worked nonetheless. The infected exhibit to be frightful foes for Neville to face, combining suprising cunning, inhuman strength, and impossible agility (hence the CG) . Their only weakness is that sunlight kills them almost instantly. Neville plays a game of cat-and-mouse with them, gathering supplies, researching cure, and searching for survivors by day while making certain to obtain wait on to his fortified apartment before nightfall when the creatures approach out to hunt for his hiding residence. More than a few shades of 28 Days Later are point to in this film, which is comical considering the book and it’s film offspring are largely what provided the elements of that film. So I guess the genre has officially advance paunchy circle now.

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Ultimately, it’s the personal touches that beget “I Am Tale” such a treat. Bob Marley provides both the soundtrack to Robert Neville’s day and the inspiration for his work, which is both ironic and uplifting at times. This may sound exclusive for a alarm flick, but if you are a fan of Marley (himself a Record) it makes all the sense in the world as you seek. Watching Neville attempt to interact with mannequins he’s spot up as he returns the movies he rents (in alphabetical order, one at a time) and seeing him snap when one of the figures is moved is both droll and, at times, intensely disturbing. When relief finally comes, Neville finds he has lost the ability to interact with other humans at all and is relegated to performing lines from “Shrek”, which is playing on his television at the time. The ending is a complete 180 from the book which is disappointing, but not as corny as it could have been. The unique I Am Memoir has one of the most sparkling and darkly ironic endings ever save on paper, but director Francis Lawrence didn’t end it by go for the tickled ending either. The result is a compromise between the pitch blackness of the book and the cloying cheese that many Will Smith fans cherish. It turns out a bittersweet and hopeful conclsion that should satisfy both while not thrilling either. But I left the theater with “Redemption Song” level-headed ringing in my ears and a happy feeling. If only every movie could do that for me.

“I Am Narrative” fails to adapt the book of the same name to the mountainous cloak, but succeeds in so many other ways. I can’t give it a perfect pick up, but I will give it a very hearty recommendation to fans of Will Smith, zombies, vampires, and Bob Marley. Savor.

I Am Anecdote can’t catch a sparkling shake. This Will Smith-led production is the third attempt Hollywood has made to adapt the knowing new. None of the adaptions have truly done the current justice (which is a shame), but this version has near the closest.

Here we have a incandescent beginning; footage of a scientist (played beautifully by Emma Thompson) saying humbly that she’s discovered a design to cure cancer. Rapidly forward a few years, and Unique York is utterly devoid of human life, attach for Robert Neville (Will Smith) . As the first half of the film progresses, we learn about his meager living, spending the day harvesting and trying to gape a cure, even now, while spending the night huddled in his protected home as creatures prowl.

His only companion, a incredible dog named Sam, protects Neville as Neville protects him. They have a friendship based on loneliness and the human need for someone or something to acquire onto. Sam is Neville’s only connection to the past and the only design to picture what microscopic humanity is left, either in the world or Neville himself. This period in the movie is pitch perfect, puncuated by one or two ugly sequences that instill pleasurable apprehension.

Unfortunately, the last half of the film deteriorates into an action movie that completely changes the meaning of the words “I Am Story.” Don’t earn me base, it’s mostly done really well. Constantine director Francis Lawrence has a marvelous handle on the action and delivers some gracious scenes. But, it becomes muddled and veers off completely from the fresh. My biggest complaint, though, is the employ of CGI. Instead of using trusty flesh and blood actors, all of the creatures are created with CG and they explore incredibly fraudulent when lined up next to proper people. In the beginning, it’s not a spot but as you seek more of them (and you will) it’s glaringly clear. And annoying.

All of this I was expecting going in, though. Considering that the film was co-written by Akiva Goldsman who also wrote I, Robot, I knew this version would stray from the source material impartial as I, Robot did. As a movie, it’s genuinely thrilling and creates the perfect balance of tension and action through most of its entirety. And, surprisingly, Will Smith shows that he’s a really honorable actor as he has to not only tackle many conflicting emotions during the two hour urge time but he also has to do so without having mighty of anyone to react to. Spending a proper hour or so without another single actor for Will Smith to work with was a gamble and it paid off.

Your enjoyment of the film is entirely based on what you bring to the table. If you’re coming to this film expecting to observe the book reach to life you’ll be sorely disappointed. However, if you’re looking for a obliging action movie that actually has a obedient narrative and a human aspect, you’ll be hard-pressed to accumulate one as thrilling recently.
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Bad Boys
Slick to a fault, this glossy action flick takes place in sunny Florida, where Martin Lawrence and Will Smith play two cops–one married with kids, the other a swinging bachelor. The two are forced to trade places to foil criminal mastermind Fouchet (Tcheky Karyo) who has stolen $100 million worth of heroin from a police lockup. Violent, illogical, and filled with wall-to-wall profanity, Bad Boys was the last film produced by the hit-making team of Don Simpson and Jerry Bruckheimer before Simpson’s untimely death, and marked the directorial debut of Michael Bay who followed up with The Rock. Bad Boys will be of interest to action buffs and fans of Tea Leoni, who makes one of her early screen appearances in the central supporting role. –Jeff Shannon

Bad Boys II
No one goes to a movie directed by Michael Bay for delicacy and grace; you go because Michael Bay (Armageddon, The Rock) knows how to make your bones rattle during a high-speed chase when a car flips over, spins through the air, and smacks another car with a visceral crunch. Bad Boys II fulfills this expectation and then some. Will Smith and Martin Lawrence may be mere puppets amid all this burning rubber and shrieking metal, but they actually provide a human core to the endless cascade of car wrecks and gunfights. Their easy rapport makes their personal problems–a running joke is Lawrence’s attempts at anger management–as engaging as the sheer visual hullabaloo of bullets and explosions. The plot is recycled nonsense about drug lords and dead bodies being used to smuggle drugs, but orchestration of violence is symphonic. If that’s your thing, then this is for you. –Bret Fetzer

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You expect cheap gags from a Rob Schneider movie, and The Animal delivers in the best possible way. Schneider plays Marvin Mange, a schlub of a police file clerk who drives off a cliff and is horribly mangled–only to wake up not only whole, but feeling better than he ever has in his life. He suddenly develops strange powers that lead to him being praised as a super cop. Unfortunately, his powers are the result of a scientist’s bizarre experiment–and before long, some side effects start to take over his life. It’s hard to put a finger on Schneider’s appeal, but he’s got something. He can get away with tasteless jokes about bestiality and bodily functions because… well… he’s sort of helplessly sympathetic, and somehow this actually makes him funny. –Bret Fetzer

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