The Commercial Appeal - Go Memphis - - Go See -

Roger Cor­man-pro­duced drive-in cheapie “Death Race 2000” re­mains a satir­i­cal sci-fi cult clas­sic; this big-bud­get semi-re­make is both more lav­ish and more sim­plis­tic: It’s a rab­ble-rous­ing gas guz­zler, directed with the pedal to the metal and a sur­pris­ing min­i­mum of vis­ual in­co­her­ence by Paul W.S. An­der­son (“Res­i­dent Evil”). Set in 2012, after the col­lapse of the U.S. econ­omy, the film casts Ja­son Statham as an ex-race car driver framed for his wife’s mur­der so he can be forced to par­tic­i­pate in Amer­ica’s top re­al­ity show, “Death Race,” in which con­victed vi­o­lent of­fend­ers en­gage in “three days of the ul­ti­mate in auto car­nage” on the prison strong­hold of Ter­mi­nal Is­land. Three-time Os­car nom­i­nee Joan Allen is the prison war­den; her most mem­o­rable line is: “Re­lease the Dread­naught.” Stage Cin­ema, Ma­jes­tic, Col­lierville Towne 16, DeS­oto Cin­ema 16, Cor­dova Cin­ema, Par­adiso, Hol­ly­wood 20 Cin­ema, CinePlanet 16, Sum­mer Quar­tet D rive-In. Fly Me to the Moon (G, 81 min.) A 3D an­i­mated fea­ture about three young house­flies who stow away aboard the Apollo 11 flight to the moon. Par­adiso, CinePlanet 16. Ham­let 2 (R, 92 min.) Tal­ented Bri­tish comic Steve Coogan plays failed ac­tor Dana


Marschz, a de­luded Tuc­son high-school drama teacher (“My life is a par­ody of a tragedy,” he says) with a low sperm count and an al­co­hol prob­lem who stirs com­mu­nity out­rage when he stages an in­spi­ra­tional mu­si­cal se­quel to Shake­speare in which the melan­choly Dane uses a time ma­chine to re­write his­tory and meet Je­sus Christ; as the Son of Man, Coogan dons tight jeans and a wife-beater T-shirt for a show-stop­ping num­ber called "Rock Me Sexy Je­sus.” Writ­ten by di­rec­tor An­drew Flem­ing and “South Park” vet­eran Pam Brady, the movie seems con­structed from bits pulled from such films as “Wait­ing for Guff­man” and “Rush­more,” with the hyped Je­sus jokes a failed at­tempt to bait con­ser­va­tives into gen­er­at­ing the type of con­tro­versy that re­sults in free pub­lic­ity. The wor­thy sup­port­ing cast in­cludes Cather­ine Keener, Amy Poehler, David Ar­quette and Elis­a­beth Shue, as her­self. Ridge­way Four, Stage Cin­ema, Stu­dio on the Square, Stage Cin­ema, Cor­dova Cin­ema, Hol­ly­wood 20 Cin­ema, CinePlanet 16. Han­cock (PG-13, 93 min.)

Will Smith is the re­luc­tant ti­tle “su­per­hero,” a surly and seem­ingly home­less drunken am­ne­siac whose de­struc­tive hero­ics make him a pariah un­til an ea­ger pub­lic re­la­tions pro­fes­sional (Ja­son Bate­man) tries to re­hab his im­age. Am­bi­tious, clever and pe­cu­liar, the film is com­pro­mised by low com­edy, a pan­der­ing

★★★✩✩ ❚

Newspapers in English

Newspapers from USA

© PressReader. All rights reserved.