RUDO Y CURSI - funny Mexican fable

RUDO Y CURSI is a tongue in cheek Mexican fable about being careful what you wish for and love-hate sibling relationships. Rudo (Rough) and Cursi (both "smooth" and "camp") and two step-brothers living in poverty in rural Mexico. Both have ludicrous dreams of escape - Rudo has his gambling "system" and Cursi wants to go to America and become a pop star. When fortune favours them in the form of a travelling football scout, their key mistake is their refusal to forget their childhood dreams and just be thankful for what they have.

The resulting film is very funny - physical humour, obscene jokes, and a warm-hearted mockery of village life and the naivety of poor kids who see a jacuzzi for the first time. When Rudi becomes a big-time goal-keeper he gets a hair-quiff and ray-bans; Cursi gets vulgar blonde highlights and a gold-digging girlfriend. Both make themselves ridiculous. Writer-director Carlos Cuaron has a better sense of the absurd than his brother Alfonso and has made a more playful, if more disposable, movie. I love the way he uses colour and language and frames his shots. A particularly clever device is not to actually show any soccer footage early on in the film but to show reaction shots to Cursi scoring goals.

Put simply, I had a great time watching this flick and I can't wait to see what Carlos Cuaron does next.

RUDO Y CURSI was released in Mexico last year and in Argentina, Chile, Peru, Spain, Uruguay, Panama, the USA, Canada and Israel earlier this year. It is currently on release in Portugal and the UK. It opens in a fortnight in the Netherlands. It opens in Belgium on September 30th.

HANNAH MONTANTA - THE MOVIE: way better than it ought to be

The shameful truth is that the HANNAH MONTANA movie is a perfectly watchable, highly enjoyable teen rom-com even for people like me who aren't in the target demographic. It's well made, well written, funny when it should be funny, sweet when it should be sweet, and even though it stays within the constraints of the genre, it's at the top of its league. Essentially the film is a classic double-identity comedy in the manner of SHE'S THE MAN or, for people who were the right demographic in the 80s, THE SECRET OF MY SUCCESS. Indeed, it's the same emotional core that powers superhero flicks like SPIDERMAN and SUPERMAN. Miley Cyrus plays a character based on herself - a Tennessee teen who has found fame as a pop-star called Hannah Montana. Her father (real life dad Billy-Ray Cyrus) and her family are in on the secret but back home, everyone just knows her as Miley. Drunk on success and the Hollywood lifestyle, dad takes Miley/Hannah back to Tennessee where she falls for the local farmboy (PRINCESS BRIDE fans!) and dad falls for someone too. Problem is, both relationships are compromised by the lies and craziness around protecting Hannah Montana's real identity when she comes to town to play a concert that will save some local land for evil developers. I rather like the idea that a Disney movie can confront the Hannah fans with the inherent weirdness of teen stardom and the dual (if not triple) identity on which the successful franchise rests. No surprises that the resolution is no resolution at all: home-town values may be best; honesty may be best; but the fans still need a product, and Miley still needs to sing.

HANNAH MONTANA - THE MOVIE was released in April 2009. It is currently on release in Argentina, New Zealand, Romania, Belgium, Indonesia and the Philippines. It is released on July 30th in Portugal, on August 19th in the Netherlands and on August 28th in Venezuela.

MY SISTER'S KEEPER - slippery

Not having read Jodi Picoult's book, and going purely by the trailers, I had thought that MY SISTER'S KEEPER would be a provocative courtroom drama examining the moral and legal issues around "savior siblings" - that is, children conceived in order to provide perfect match organs to their cancer-ridden siblings. But MY SISTER'S KEEPER isn't actually interested in the legal dilemma but the simpler story of a family under extraordinary emotional pressure. Yes, the other siblings may be taken for granted by their parents, but it isn't really the issue of organ-harvesting but a wider issue of just spending time with them. And the movie isn't so much about the ethics of taking organs from children who cannot consent, but about coming to terms with the fact that people die and not all battles can be won. In other words, this is a Weepie rather than an intellectual film.

To the extent that this movie wasn't a courtroom drama, I was disappointed. And I was rather annoyed at the slippery way in which this aspect of the movie was derailed. But then again, how credible was a courtroom drama really going to be given that Cameron Diaz is cast as the aggressively pro-organ donation lawyer-mother - a role beyond her ability - and Alec Baldwin (a prisoner of his 30 ROCK persona) was cast as opposing council. Only Joan Cusack, as a grieving mother and presiding Judge, adds any emotional weight and credibility to those scenes.

So how did the resulting emotional drama hold up? I didn't like a lot of the stylistic choices - particularly the voice-overs from the different characters explaining their points of view. (Although this is apparently a feature of the book). I especially didn't like the happy-family sunlit montages set to schmaltzy music. Jason Patric as the passive father looked mostly bored. Cameron Diaz as the aggressive mother looked mostly hysterical. Aunt Kelly looked entirely redundant. Ignored younger brother Jesse just looked mopey and is it me, or is Abigail Breslin just acting the same in all her films.? I feel she is over-exposed. The only thing that saved the story was the luminous lead performance from Sofia Vassilieva as the cancer-ridden teen, the touching evocation of her first and only romance with a fellow patient, and the realistic portrayal of her illness. This girl is definitely one to watch. I also applaud the writer-director for creating an ending that is, apparently, more realistic than that in the original novel.

MY SISTER'S KEEPER is on release in the UK, USA, Canada and Mexico. It opens next week in Iceland and Greece. It opens on July 30th in Australia and New Zealand; on August 6th in Slovakia; on August 13th in Russia, Ukraine and Taiwan; on August 21st in Romania, on August 27th in the Czech Republic, Germany, the Netherlands, and Bulgaria; on September 4th in Italy and Norway; on September August 9th in September; on September 17th in Portugal; on September 23rd in Belgium, Argentina, Brazil and Sweden; and on December 4th in Finland.

THE TAKING OF PELHAM 1 2 3 (2009) - full of sound and fury, signifying nothing

For all its hi-fi sets, frenetic chase scenes, shouted ultimatums and heavyweight cast, THE TAKING OF PELHAM 1 2 3 is a movie that fails to engage. It's like the TRANSFORMERS 2 of heist movies - so full of high-voltage action shots that plot, character and audience empathy are flushed down the toilet. Are we surprised? After all, the movie has been remade by the ultimate Lads Mag Director, Tony Scott, of TOP GUN fame and DOMINO and DEJA VU mediocrity. But maybe I am a bit surprised to find that this utterly predictable movie was written by the man who wrote LA CONFIDENTIAL. Essentially, the movie is about a psychopath (John Travolta chewing up the scenery) who boards a New York metro train, takes the passengers hostage and demands a bunch of money. He forms a weird relationship with a rail dispatcher with a shady past (Denzel Washington), and spurns the attentions of the cops (John Turturro) and the Mayor (James Gandolfini). The movie could've been so much better - a fracked up psychological cat-and-mouse game between hostage-taker and dispatcher - a discourse on the corruption of politicians and the police. On a technical level, it should've evoked the claustrophobia of the hijacked metro-cab and the wider menace of The City. In the end, it's all just a convenient hook to hang a chase scene on. Weak, weak, weak. Go watch INSIDE MAN instead.

THE TAKING OF PELHAM 1 2 3 is on release in the USA, Egypt, Kuwait, Lebanon, Singapore, South Korea, UAE, Canada, the Philippines, Taiwan and Argentina. It opens in the final week of July in the UK, Greece, Malaysia, Austria, Spain, Belgium, France, Morocco, Switzerland, Israel, Kazakhstan, Finland and Lithuania. It opens on August 6th in Iceland, Sweden, the Netherlands, Denmark, Norway and Romania. It opens on August 13th in the Czech Republic. It opens on September 4th in Slovakia, Brazil, Japan and Mexico. It opens on September 11th in Bulgaria; on September 17th in Cyprus, Portugal and Italy.

Justifiably overlooked DVD of the month - THICK AS THIEVES aka THE CODE

Predictable, derivative straight-to-DVD heist flick, directed by Mimi Leder (PAY IT FORWARD DEEP IMPACT) and starring a pay-check motivated Morgan Freeman and a mis-cast Antonio Banderas. Freeman plays an elderly thief "Ripley" (winks to Highsmith), who recruits the younger, inexperienced, Banderas (youth signalled by wearing a hoodie.) Meanwhile, Banderas' character is having an affair with a Russian chick (Radha Mitchell). No double-cross or double-identity is left unturned, and the ending is ludicrously schmaltzy. Ted Humphrey's script is poorly conceptualised and the dialogue is hammy. Bulgaria makes a poor stand-in for New York. Mimi Leder's shooting style is over-stylised. And the cast is uniformly too old and ill-motivated. Avoid.

THICK AS THIEVES went straight to DVD in the UK and the US earlier this year.

TRANSFORMERS - REVENGE OF THE FALLEN - Michael Bay on the illusory nature of plot

Michael Bay should be hung from crimes against cinema, so I am not planning to watch the new TRANSFORMERS flick, much less review it. That is, you see, the advantage of being a blogger rather than a respectable paid-up critic. I can bow to sheer prejudice. Clearly, I could be wrong. TRANSFORMERS 2 could be genius. If so, dear readers, do let me know. Till then, the following satire is, I am convinced, far more entertaining than watching unrelenting CGI bangs and crashes.....

Critical consensus on Transformers: Revenge Of The Fallen is overwhelmingly negative. But the critics are wrong. Michael Bay used a squillion dollars and a hundred supercomputers' worth of CG for a brilliant art movie about the illusory nature of plot......

(Thanks to Andreas von Ohlsdorf for the tip.)