Bovie Movie

Steve Carell’s show-stopping turn in the 2003 Jim Carrey vehicle Bruce Almighty was the spark of creation for this biblically themed comedy. Carell here reprises his role as vain newscaster Evan Baxter, who has only just been elected to Congress when he’s visited by God (Morgan Freeman) and instructed to build an ark. Carell’s everyman quality and impeccable comic timing serve him well as he struggles to convince the world that the end is nigh, although there’s nothing here as riotously funny as that one “nervous breakdown” scene in the first film. Director Tom Shadyac struggles with a thin premise, and there are some uninspired running jokes, such as the miracle of the eternally growing beard — a gag that does indeed seem to drag on forever. Wanda Sykes has all the best lines as Baxter’s sassy assistant, but it’s Carell’s geeky charm and a bagful of CGI tricks that just about keep this afloat. 

Even the slobbish charm of Roseanne’s John Goodman can’t save this horribly misconceived comedy of palace shenanigans. When the entire British royal family is wiped out in a freak photography accident, the unlikely successor turns out to be a Las Vegas entertainer (Goodman), who proceeds to bumble his way through the affairs of state with the assistance of adviser Peter O’Toole. The latter, and John Hurt as a scheming courtier, look to be having a hugely enjoyable time, but the talented cast is let down by writer/director David S Ward’s dim script and theme-park (spotted dick, chirpy cockneys) view of British life. 

Computer animation pioneers Pixar (Toy Story, A Bug’s Life) continue their exploration of magical worlds that keep themselves hidden from human eyes with this frantic, funny and very furry animated feature. This time the focus is on the creatures that lurk inside the bedroom closets of children and who venture out to terrify their human prey when the lights are off. Creatures such as towering fluffball Sulley (voiced by John Goodman) and malevolent chameleon Randall (Steve Buscemi) are employees of Monsters Inc, a power provider for the city of Monstropolis, which is fuelled by the screams of human children. But Monstropolis is facing an energy crisis. Youngsters are getting harder to scare and, to make matters worse, Sulley accidentally lets a little girl into a realm where kids are believed to be highly toxic. Packed with the sort of artistry and storytelling panache we’ve come to expect from Pixar, the film creates a believable monsters’ universe full of colour, energy and amusing creatures — especially the two horned, one-eyed joker known as Mike (voiced by Billy Crystal at his wisecracking best). The attention to detail is as staggering as ever, right down to the subtle movements of Sulley’s rippling blue fur. A genuine monster smash. 

This is a convoluted Omen-esque chiller from the director of Primal Fear, Gregory Hoblit. Denzel Washington gives a strong central performance as a Manhattan homicide detective pursuing a supernatural serial killer. The initial development of the tale is intriguing, with seemingly disparate strands of information gradually combining into the discovery of a vengeful ancient god. But the atmosphere is only fitfully scary because of writer/producer Nicholas Kazan’s loose-ended, pretentiously unresolved script. While the best sequence has the evil spirit transferred by simple touch around police headquarters, it’s the shock Revelations-inspired climax that makes the biggest impression — for being so outrageously daft. 

Against the backdrop of a nation on the brink of revolution, Uncle Sweetheart (John Goodman) and Nina Veronica (Jessica Lange) are slimy promoters planning a benefit concert. They desire the services of legendary singer Jack Fate (Bob Dylan), and soon Fate is sprung from jail. A rock journalist (played by Jeff Bridges) investigates the concert, attempting to determine just who will benefit. Revolution may be raging outside the arena, but Jack Fate and the benefit concert play on as planned.

Think Flashdance meets Cocktail and you’ll have a good idea what this flashy Jerry Bruckheimer production is all about. Cute Violet (Piper Perabo) leaves her toll-booth-worker dad (John Goodman) and the safety of the New Jersey suburbs for the bright lights of New York City to pursue her dream of becoming a songwriter. Knocking on the doors of various record companies with tapes of her songs, Violet meets with a distinct lack of enthusiasm. In desperation, she lands a job at a notorious bar, Coyote Ugly, owned by Lil (Maria Bello). Violet soon overcomes her chronic stage fright, joining other scantily clad female bartenders who spray customers with soda water, swig back Jack Daniels and gyrate on the bar. A subplot involving the requisite hunky guy (Adam Garcia) completes the full house of stereotypes for this glossy, pop-music-filled piece of fluff. It may not win any critics’ prizes, but it passes muster as a leave-your-brain-at-the-door, toe-tapping entertainment. 

While not in the same class as the Coen brothers’ previous film, Fargo, this goofy tribute to Raymond Chandler and film noir still comes gift-wrapped with enough good lines, ingenious plot twists and eccentric characters to satisfy their dedicated army of fans. There are, in fact, two Lebowskis: one is Jeff Bridges, who calls himself “the Dude”, an ageing hippy who becomes embroiled in the kidnapping of the other Lebowski’s wife, aided and abetted by tenpin bowling chum John Goodman. What follows is an insane labyrinth of plot and counterplot that encompasses the drug and porn underworlds, Busby Berkeley fantasies and bath time with a savage marmot. It’s a distinctive, crazy treat, decked out with a trademark film noir narration and marvellous performances from Bridges, the toothsome and taciturn Steve Buscemi and Coen regular Goodman, who based his Vietnam-veteran character on the bear-like writer/director John Milius.