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What Happens in Vegas

For a standard rom-com, this pretty package sneaks in a few surprises. Cameron Diaz and Ashton Kutcher play the mismatched couple who “meet cute” on a drunken rebound night in Las Vegas. Their intentions for a quickie divorce are squashed when, after hitting in big in a slot machine, a judge forces a six month trial marriage, millions to be divided only after the two strangers at least give their relationship an earnest try.

I suppose there could be moral cries of outrage even over the premise here. Wild, quicky, alcohol induced legal hookups? But isn’t this the stuff of decades of plot set-ups, including that of Friends Ross and Rachel who did the same thing on the public airwaves at family viewing hour? So, getting over this potential obstacle, the rest of the proceedings here are relatively tame. Yes, the obviously attracted couple lives together but he’s on the couch. And even when temptation comes their way, neither strays from their court appointed monogamy.

Director Tom Vaughn has enhanced the proceedings with a nice supporting cast, including, as the wacky best friends, Lake Bell and Rob Corddry. And while Dana Fox’s screenplay has its holes, she also takes pains to add the neat twist of having the female as the type A achiever, driven by the potential of a big promotion on Wall Street. What makes what happens work, though, is the complete charm of its two stars. We’ve seen Cameron Diaz do most of what she does here before, but who can’t enjoy this sleek comedienne again and again? Ashton Kutcher, on the other hand, actually gets to do some real acting, in between the obligatory slacker scenes, and his natural ease and peeks of vulnerability makes his not-so-great-catch impossible to resist.

Iron Man

This action special effecter seems to have all the right stuff: so how come it isn’t more fun?

Jon Favreau has mounted this newest Marvel comic come to screen with a sure hand and a solid appreciation of its roots. The always wonderful Robert Downey, Jr. is a hoot as early guy Tony, boozing it up with the  players, babes and nuclear arms that have made him an internationally famous gazillionaire. Quickly, he witnesses the wrath of his own creations and our loveable playboy has a crisis of conscience. Not to worry: our boy doesn’t just sit in his magnificent surfside abode and contemplate his navel. No, Tony descends into the basement and comes shooting up with Iron Man, the most amazing soaring bucket ‘o tin since Howard Hughes’s Spruce Goose. And yes, it is very cool watching him create this modern day stunner. But the very special effects of trying on a computer generated arm don’t last long enough and pretty soon, we’re back to stuff we’ve seen all too often before.

Not that the cast doesn’t give it a game try. Gwyenth Paltrow is adorable as the standard assistant with a dream; a shaven (head, not chin) Jeff Bridges seems to be getting a chuckle out of his mentor role and Terrance Howard hints of glee to come in the inevitable sequel.

Purists, I suppose, will appreciate the grisly violence and real bleakness of the war scenes here; I’m wondering how they will play to the aimed for “family crowd” that this movie is supposedly trying to please. Wouldn’t it be something if, after all the Iraq themed movies landed with a thud at the box office, it took a guilt driven comic book hero to get the masses to think while they cheer?

Deception

The promise of sex with strangers lures Ewan McGregor in way too deep; it may also attract a few unsuspecting ticket buyers: joke’s on them.

Here’s the deal. McGregor’s a lonely corporate auditor who’s befriended by the overly friendly Hugh Jackman. Soon, the two are fast friends, and, through a switched cell phone, sharing the spoils of a private sex list, one whose members are Manhattan power brokers, happy for a hot, uninvolved quickie.

Don’t get too excited. Even though the women are spectacular looking, the sex we get to see is spotty and soon, the “action” focuses in on one of beautiful babes, a pretty but not too polished Michelle Williams, with whom McGregor falls in something like love.

What could have been a nifty little thriller disintegrates into a stupid, nasty bit of business. The nonsense drags on so long,

the audience can’t help but wonder who’s deceiving who here.

Then She Found Me

If the idea of Helen Hunt playing a young Jewish woman sounds a little odd to you, not to worry. There is a reason why this does, indeed, make sense. In this adaptation of Elinor Lipman’s novel, our heroine is devout, but she has also been adopted. After the death of the woman who raised her, April is contacted by a woman who insists she is the birth mother. Emotionally overloaded (did I forget to mention husband Matthew Broderick has just walked out?  And she’s pregnant?), April allows herself a lunch with the lady and, despite her better instincts, begins to warm to the possibilities. After all, who’s going to say no to Bette Midler? Or to Colin Firth, who gives another delicious leading man turn here as the new love interest? This is, like many of Lipman’s books, a warm, embracing story that delicately, but firmly acknowledges the real messes of life. And Helen Hunt, who not only stars, but directs, too, is a perfect fit for the woman-at-sea who finds her anchor not only by reaching out, but by reaching within.

Forgetting Sarah Marshall

Is it me, or are all these Judd Apatow-produced comedies beginning to run together? This sporadically funny tale is, admittedly,

written by and stars Jason Segal (who got his start on the wonderful Apatow TV series Freaks and Geeks), but Apatow’s

distinctive stamp is all over it. As we’ve seen in the heavy marketing campaign, this is a movie about a Regular Guy who gets

dumped by a woman who isn’t good enough for him anyway. Understandably, he’s still devastated (we’ve all been there), but have

we all run around naked at the shock of it all? What is distinctive about this vulnerable-guy-makes-good chapter is that much

talked about full frontal scene, which takes place early on in this overlong skittish picture. So, if you’re going to

check out this ‘Sarah Marshall’, don’t forget to show up on time.

Shine A Light

Just call me a little rock and roller, but I had a very tough time sitting still during this Martin Scorsese/Rolling Stones concert film.

What I wanted to do, watching this behind the scenes and on the stage document of the Stones performance during Bill Clinton’s 60th birthday party

bash in New York City, was to get up and dance.

A must for Stones fans, the performances here include classics, some lesser played material and celebrity duets.  Thanks to the extraordinary cinematography of Robert Richardson, the film audience is brought very up close and personal with the veteran rockers. We can’t help but marvel at their endurance, especially as we see the craggy effects of their lives, contrasted with historical footage in which the boys look charmingly fresh and oh so young. It’s also kind of cool to see snippets of a current interview with Ron Woods and Keith Richards; a sit down with front man Mick Jagger is notably absent. But then again, with a saucy, snarly and all out performance on stage, maybe Mick is saying all he needs to say right there.

Where the real light is shown in this picture is in its first, pre-concert chapter. Scorsese, the filmmaker, is savvy enough to include a short and tantalizingly edited prequel, explaining how fly-by-the-pants this film had to be, thanks to the Stones’ schedule, the logistics of the Beacon theater, and, perhaps, by an ambivalence on the group’s part. But it is irresistible and maybe the most revealing part of this “Light” when the four “bad boys of rock” take to the stage for a meet and greet with the Clinton entourage. Seeing Keith’s sweet expression as he reaches to shake hands with Hilary Clinton’s aged mother is downright delicious. It is then that this film really shines: glowing in the love of politics, show business, film and The Rolling Stones.

Under the same Moon

Director Patricia Riggen makes an auspicious feature film debut with this hot button drama that’s as warmhearted as the midday sun.

Ostensibly a story of the undeniable pull of mother and son, this effecting piece is also a savvy look at the multidimensional

realities of illegal immigrants in today’s America.

The very beautiful Kate del Castillo stars as a Mexican housekeeper, trying to make ends meet in Los Angeles. Her goal is to, eventually, earn her green card and bring her mother and child, living back home, to southern California. But, when the young boy (the remarkable Adrian Alonso) finds himself suddenly alone, he figures he is smart enough to make his way to his beloved mother, and in time to get there before their regular

Sunday morning phone call.

Ligiah Villalobos’s script relies on the standard mother/son love story we have seen in many a picture before, but also is smart enough to throw a couple of curves our way. While we are pretty sure all will turn out ok, there are more than a few times we find ourselves caught up in some unexpected twists and turns which make us, too, question the boldness of this young hero’s actions. And then, of course, there is the politics of the thing. While we all know who we’re rooting for here, impressively, the plot insists on presenting a picture that is aiming to be fair and balanced, to coin a phrase. While some “real Americans” are pretty awful, so, too are some of the Mexicans. And everyone, it turns out, has their own reasons for their behavior, as we are all, it seems, struggling to do the best we can, under the same moon.

Semi Pro

With this yet-another-Will Ferrell-sports spoof, the goofy comedian shoots for something a wee bit more. And, guess what? He actually does score! Not that this is Hamlet, mind you. Here, the backdrop is the 1970’s American Basketball Association, specifically, the Flint, Michigan franchise, which allows Ferrell, as the team’s owner/player/coach and chief bottle washer, the opportunity to revive embarrassing ‘70’s fashion and all too familiar urban dejection. When this down on its luck team goes all out for its last stand, the win isn’t just for its ragtag members, but for the struggling town as well.

Some real actors have joined the collection of comics for this chapter of the Ferrell oeuvre; Woody Harrelson, Maura Tierney and Andre Benjamin are a welcome bump up for the piece as a whole. But so, too, are the yummy cameos, a few of which are hysterical.

This often “dirty”, often easy joke movie is not designed for the critics: but this critic found herself laughing out loud. A lot.

Definitely, Maybe

A promising proposal, not much sparkle. Ryan Reynolds steps up from some former, lackluster film and tv work to take on the role of a political consultant (interesting what careers become sexy) whose marriage is over. The good news: his relationship with his pubescent daughter is not and, as she tries to figure out What Went Wrong, he spurts out the history of his not-so successful love life.

Written and directed by Adam Brooks, whose Bridget Jones followup was a severe disappointment, this romantic comedy does have its finer points. Ilsa Fischer is a sure star on the rise and she definitely captures hearts, if only the audiences’, here. And speaking of scene-stealers, who can’t love young Abigail Breslin, a fine actress who seems to instinctively know how to be charming on screen without being cloying and annoying.

It is no wonder why her on-screen dad knows above all else, just who is his own true love.