In-flight movies — perhaps these are the ultimate justification for Hollywood pabulum. Anesthetic for the tense traveler. When you’re cramped in your seat and anxious about your untenable position hurtling through the stratosphere, it would be nice to be rapt out of yourself by dramatic catharsis, but it AIN’T HAPPENING (although I would welcome with keen interest and incredulity any stories of mid-air catharsis you have to offer) so you settle for the numbing tedium of badly thought-out genre bullshit —
PERCY JACKSON AND THE LIGHTNING THIEF
Not only have they made a Harry Potter rip-off based on a rip-off novel, they’ve got Christopher Columbus who made the first two HARRY POTTER films to direct it. That’s just like stamping the word SAP on the forehead of every child who buys a ticket, isn’t it?
Terrible dross, and all I can say in my defense is that I’m working on a project with some mythological elements so I wanted to see what the kids are thinking about myth these days. Some cute moments — using an i-phone camera to observe the Medusa without getting petrified is neat. Uma Thurman has gone from Venus in BARON MUNCHAUSEN to Medusa in this — a pithier charting of the leading lady’s career arc than even Sondheim has given us.
There’s something irresistibly hilarious about the idea of Pierce Brosnan as a centaur, something the film is completely unaware of. None of the actors playing gods make much impression except Steve Coogan, doing what he does. Zeus is Sean Bean, who made Tolkien sound credible but is screwed when he has to say “You have done well,” as opposed to “Well done.” Look, it’s Kevin McKidd — as with 300, you can’t do ancient Greeks without casting a Scotsman. Now, I’ve never seen a real ancient Greek but I’ve seen the modern variety, several times, and none of them looked like Scotsmen. “It’s the magic of the movies!” you cry.
CAPTAIN AMERICA THE FIRST AVENGER
Perfectly adequate up to the two-third mark: this Chris Evans fellow is quite sweet, and the wimp-to-ubermensch narrative is engaging, the action lucid (oh, you mock Joe Johnston, don’t you, but in his fight scenes you can SEE WHAT’S HAPPENING — feel the nostalgia!) and the supporting players mainly do what they’ve been contracted for. Tommy Lee Jones is gruff, Stanley Tucci is solemn, Toby Jones is short. For a while, Haley Atwell is suitably prim, but when called upon to restage the start of A MATTER OF LIFE AND DEATH, her inability to pull off anything else except pulchritude punctures the pathos. Hugo Weaving provides the entertainment with a Werner Herzog impersonation and hilarious little facial reactions, soon subsumed in a splurge of CG as he rips his own face off to become The Red Skull.
Continental Air likes to provide a couple of oldies and a couple of indies to its transatlantic clientele, so we get this recent-ish Soderbergh (it was this or GUESS WHO’S COMING TO DINNER? and I was actually up for that, but then I felt that I wanted to actually do it justice). Matt Damon always seemed kind of a schlub-in-the-making, and here he gets to play an actual Philip Seymour Hoffman role, and he’s splendid. I haven’t followed Soderbergh religiously — asides from his Spalding Gray bio last year, AND EVERYTHING IS GOING FINE, I haven’t seen anything since half of THE GOOD GERMAN (it wasn’t good) and bits of OCEAN’S TWELVE. I should catch up sometime, this was funny and clever. Soderbergh’s ludic side (cf SCHIZOPOLIS) is allowed just enough room to breath by the quietly demented voice-over, a calm recitation of delusions, non-sequiturs and stray pub facts.