Look Who's Talking Too (1990)

I knew there had to be a reason for me having never seen any of the sequels to Look Who's Talking before now. That would be because they may be awful (the verdict on the next one is due next week). Where the first film had the novelty of allowing viewers hear what a baby may be thinking as they make sense of the world around them, this sequel decides to . . . ummmm . . . actually, it decides to just keep doing that more. In a way that is much less entertaining.

James (John Travolta) and Mollie (Kirstie Alley) are now an item. There's another baby on the way. It's a girl. So Mikey (still voiced by Bruce Willis) has to figure out what is required of him in his new role of big brother to Julie (voiced by Roseanne Barr). Meanwhile, things start to become strained between James and Mollie, a situation not helped by the arrival of Mollie's brother, Stuart (Elias Koteas).

With Amy Heckerling returning to the director's chair, this time co-writing the script with Neal Israel, you would hope that she had an idea good enough to help her recapture the magic of the first film. That's not the case. Look Who's Talking Too isn't without very occasional moments of fun (one being the unexpected treat of watching Gilbert Gottfried dancing alongside Travolta), but it generally tries to rework elements of the first film with less wit and smarts. That's what many sequels do, of course, but it's harder to enjoy something that feels a lot lazier and poorly handled.

The adults don't do a bad job. Travolta and Alley still work well together, and I am always happy to see Koteas have some screentime. The aforementioned Gottfried cameo is as bewildering as it is highly amusing. If the film somehow managed to sideline the kids and stay focused on the adults then it could have been an okay, if unspectacular, comedy about parents dealing with the various issues that life throws at them. But this is a film trying to focus on the kids, and it's the kids who do the worst work. To be fair, they're not exactly to blame. Remember when Mikey seemed a bit too old by the end of Look Who's Talking to continue communicating with the inner monologue of Bruce Willis and not his own words? Yeah, that's a much bigger problem here, what with him being an older character, and the child seemingly unable to stop wanting to babytalk to anyone close enough to him in every scene. Although Julie is younger, it also feels as if she has already gone beyond the point of just having an inner voice. Willis and Barr deliver their lines in a fairly perfunctory manner, which also doesn't help, but there are a couple of fun voice cameos from Damon Wayans and Mel Brooks, with the latter portraying a bizarre "talking" toilet.

It's a shame that they didn't decide to either do away with the inner voice gimmick, or perhaps mix that inner voice with whatever the kids might have been able to say in person, because this could have been more bearable if that hadn't been the focus. As it is, you will end up smiling far too infrequently, rolling your eyes at the contrived finale, and being glad when it's all over.

3/10

You can buy this set here.
Americans can also buy that, or get this set here.

Novocaine (2001)

A quirky comedy thriller that doesn't have quite enough laughs or thrills, Novocaine isn't a bad film, by any means, but it's far from a great one. The script isn't exactly sizzling, and the execution of the material lacks any style and flair, but everything is made better thanks to a great cast who look like they're having fun.

Steve Martin stars as Frank Sangster, an orderly and efficient dentist who runs his business with constant help from his loving partner, Jean Noble (Laura Dern). That ordered and efficient life is turned upside down by the arrival of Susan (Helena Bonham Carter), an attractive young woman who also has a bad habit of stealing drugs. Susan comes with some bad baggage, in the shape of her violent brother, Duane (Scott Caan). Frank also has a troublesome brother, Harlan (Elias Koteas), but he's not as troublesome as the corpse that turns up, looking very much like he has been put in that state by Frank.

Written and directed by David Atkins (with Paul Felopulos helping create the story), this is a quirky comedy-tinged thriller that just falls short of being really worth your time. The twists and turns aren't twisty and turny enough, the little laughs are just that - little - and the whole thing feels as if it is trying, and failing, to be cool.

The cast all do a great job, and that's what helps the film to stay just above average. Martin is solid in another non-comedic role, allowing most of the humour to come from the characters played by Dern, Caan and Koteas, who all have fun with their roles. Helena Bonham Carter is good, and Keith David and Kevin Bacon steal their limited onscreen time, playing a cop and actor researching an upcoming cop role, respectively.

Novocaine is enjoyable enough but, and here's something I thought I'd never say, there are a few much better dentist movies out there. The Dentist and The Dentist 2 are horror movies that make the best of our instinctive fears while The Whole Nine Yards takes a more similiar path to this one, with better comedic results.

This movie is worth a watch, but it's probably not one to revisit and grow overly fond of. It's more of a temporary filling.

6/10

http://www.amazon.co.uk/Novocaine-DVD-Steve-Martin/dp/B00009B0QH/ref=sr_1_1?ie=UTF8&qid=1377031436&sr=8-1&keywords=novocaine

Zodiac (2007)

David Fincher hasn't made a bad movie, I'll say that right now so that people know how biased I am when it comes to his work. I'd even go so far as to say that he's made at least three modern masterpieces. One of those modern masterpieces is Seven, a movie which really reinvigorated the thriller genre after too many years of safe, but enjoyable, movies that all had a movie sheen to them. Zodiac certainly isn't Seven, but it's most definitely made by the same man who shows such attention to detail and seems to always find some new way to treat material from any genre.

Zodiac is about the Zodiac killer, and the lives that he changed. The strange thing, and the thing that many people will know before the movie begins, is that the Zodiac killer was never caught. A Jack The Ripper for the modern age, he committed his crimes, taunted the police and deliberately kept changing his M. O. to stay one step ahead of those trying to catch him. The fact that he was never caught explains why Zodiac is half a film about a serial killer and his crime spree and half a film about the obsession that he sparks in those who become involved in the investigation. The murders start to consume Inspector David Toschi (Mark Ruffalo), reporter Paul Avery (Robert Downey Jr.) and even a cartoonist who starts to weigh up the evidence and begin his own amateur investigation (Robert Graysmith, who wrote the book that the screenplay was based on, played by Jake Gyllenhaal).

Closer in feel to All The President's Men than Seven, and all the better for it, this is a tour de force mix of great acting, superb attention to detail and sheer bravura (as Fincher paces the film perfectly while also jumping through the years to various pivotal points in the investigation and the life of Graysmith).

The actors already mentioned give performances that show just why they're often heaped with praise, but the supporting cast features other people effortlessly doing what they do best. People like Elias Koteas, Anthony Edwards (so good here that it makes me wish he had more good roles through the years), Brian Cox, Chloe Sevigny, Donal Logue, Philip Baker Hall, John Carroll Lynch, Candy Clark, Dermot Mulroney, Zach Grenier, Charles Fleischer, Clea Duvall and Jimmi Simpson. You may not know recognise all of the names, but you will know most of their faces.

The script by James Vanderbilt may be hampered by having to stick to Graysmith's interpretation of events, but it's pretty flawless in all other respects. Dialogue informs the viewer about both procedural events and each character is nicely rounded out, both in the usual way and also in the way that the ongoing murders begin to affect them.

Everyone deserves praise for working together and achieving such a great end result - director of photography Harris Savides, David Shire who created the score, the hundreds of people that it took to get the look and feel of everything just dead on - but it's all overseen by David Fincher, who shows, once again, just why he's a director I always support. I know that there are people who will pick at least one of his movies to highlight as a bit of a mis-step, to say the least, but I really don't feel that. He's a master of the medium, able to elevate even average material into something well worth seeing. With the story that he's handed here, it's almost another masterpiece. Almost.

To hear my gushing praise, you'd be forgiven for thinking that I view this as a perfect film, but there are a couple of minor flaws that see it falling short of perfection. First, the fantastic script also has a few too many lines that make for great soundbites as opposed to real exchanges/replies. That worked better in The Social Network, but seems a bit incongruous at times here. Second, the first half is understandably a bit rougher than the second half, with so many characters needing introduced and the whole situation being set up. The second half becomes rather more streamlined as people fall out of the big picture, leaving only those most caught up in the events to see it all through to the very end, whatever that end may be.

Despite those small flaws, I was still tempted to rate this film as perfect, but I ended up going with near-perfect instead. See the film for yourself and find out whether or not you agree with me.

9/10

http://www.amazon.co.uk/Zodiac-Directors-Blu-ray-Region-Free/dp/B0013BCWEW/ref=sr_1_2?ie=UTF8&qid=1364751546&sr=8-2

The Haunting In Connecticut (2009)

I used to absolutely love haunted house movies. They would always entertain me and also scare the pants off me at the same time. The Amityville Horror (both versions), The Changeling, The Legend Of Hell House and The Haunting (1963) are a few of my favourites. Yet the tide of my opinion has been turning over the past 5-10 years. I think the fact that so many of them nowadays are labelled "based on a true story" or "based on the horrifying truth" or "based on the book based on the facts told to the neighbour by some previous owners" has turned me against them. Because, it seems, the more that they purport to be based on fact the easier it is to spot how false it all feels.

Here are a few common factors to spot in any modern haunted house movie "based on a true story" - the family is already under some kind of stress (emotional or financial), someone always helps them when things get a lot worse and, coincidentally, when the family unit is weakened. Kids are usually at the epicentre of events (this is often explained away by the fact that puberty and raging hormones encourages supernatural activity or some other hogwash). And, of course, most of the facts are based on testimonies as opposed to any actual, ummmm, evidence.

Like Mulder, I still want to believe. It's just getting harder and harder to remain a wannabe believer.

This movie doesn't help.Written by Adam Simon and Tim Metcalfe, and directed by Peter Cornwell, it checks off all of the factors just mentioned and then puts them together to create something dull, unscary, predictable and borderline incompetent (just count the amount of "jump" scares that don't work because of the way that the camera moves and/or scene blocking indicate what's about to occur).

It's a shame because this movie wastes a damn good cast. Virginia Madsen is always someone I enjoy watching onscreen (and sorry to be so shallow but is she getting even finer in her 50s??) while Martin Donovan is solid enough. They play the parents to a cancer-stricken young man played by the excellent Kyle Gallner. Amanda Crew is an acceptable young actress and then we have a supporting turn from the superb Elias Koteas. They're all left floundering.

The poor script isn't laughably bad but it's just dull and seems to be two steps behind the viewer. The CGI is sometimes okay but usually overdone and distractingly fake. The direction is awful. The only fact that rings true by the time the end credits roll is that you shouldn't waste your time on this.

3/10.

http://www.amazon.co.uk/Haunting-in-Connecticut-the-DVD/dp/B0027UY836

A Very Harold & Kumar 3D Christmas (2011)

Time has rolled merrily along since the second Harold & Kumar movie and the two characters have gone their separate ways. Harold (John Cho) has a great job, a lovely wife (Paula Garces, reprising her role from the first two movies) and generally a life of comfort and security that always seemed to elude him while he spent his time getting high. Kumar (Kal Penn) hasn't really gone up in the world and is, funnily enough, still mostly interested in getting high. Fate brings the two together just in time to put Christmas in jeopardy and they spend the movie trying to put things right. If Harold doesn't manage to sort out a Christmas tree that will please his father-in-law then he will be in big trouble. Especially when that father-in-law is played by Danny Trejo.

With Jon Hurwitz and Hayden Schlossberg back on the writing duties it's surprising to find that this Harold & Kumar movie feels the least like an actual Harold & Kumar movie. Perhaps that's due to the Christmassy nature of the whole thing or perhaps it's simply because our duo have, inevitably, grown up. Just a little bit.

Regardless of the reason, we get quite a slightly movie this time around. The one thing that stays constant throughout all three movies is just how much fun the supporting players are. Danny Trejo in a Christmas sweater, Patton Oswalt as a drug-dealing Santa, Neil Patrick Harris as "Neil Patrick Harris", Eddie Kaye Thomas and David Krumholtz as bickering friends, Thomas Lennon as the main scene-stealer this time around, Richard Riehle as another Santa Claus and Elias Koteas as a violent gangster - there's plenty to enjoy.

Director Todd Strauss-Schulson doesn't do too badly in his role, and the direction and script both make some of their best little gags out of the whole 3D razzle dazzle, but you can't help feeling that this should really be the last hurrah for Harold & Kumar. The quality and quantity of the comedy has dipped since that enjoyable first outing but they've managed to stay the course through a decent enough comic trilogy.

6/10

http://www.amazon.com/Christmas-Two-Disc-Blu-ray-UltraViolet-Digital/dp/B006OFN0ES