October 28, 2016
        "Live By Night', "Passengers", and "Silence": What still hasn't screened this year?                Justin Timberlake to be Honored at 20th Annual Hollywood Film Awards: “CAN’T STOP THE FEELING!”                Ten Contenders will compete for Best Documentary Short Subject                "The Circle" and "The Lost City of Z": Which potential 2016 contenders got bumped to 2017?                Natalie Portman, Janelle Monáe, Matthew McConaughey, Bryce Dallas Howard, Edgar Ramirez, Stacy Keach at Hollywood Film Awards                Viola Davis will be campaigned in Best Supporting Actress for "Fences"                Mel Gibson to be Honored with the Hollywood Director Award at the 20th Annual Hollywood Film Awards                Michael Moore drops a surprise new film with "Michael Moore in TrumpLand"                Hollywood Contenders: New Oscar Predictions for October                Nicole Kidman, Hugh Grant, Naomie Harris, Lily Collins get Honors at 20th Annual Hollywood Film Awards                "Manchester by the Sea" leads the Gotham Award nominations                Tom Ford, Marc Platt and Kenneth Lonergan to be Honored at 20th Annual Hollywood Film Awards                Tom Cruise is in his action hero comfort zone with "Jack Reacher: Never Go Back"                "Moonlight" could be A24's big Oscar horse this year                Ewan McGregor steps behind the camera with "American Pastoral"        

‘The Green Hornet’ Review

By Scott Mendelson

hollywoodnews.com: There is a refreshing quaintness to Michel Gondry’s The Green Hornet. In an age where every comic book adaptation and/or superhero adventure story sets out to be the biggest, most explosive, most fx-filled, most fantastical epic ever made, this new adventure (an adaptation of a classic radio serial) keeps the proceedings down to earth. It is, at its core, a character comedy rooted in an unexpected friendship that just happens to have the occasional car chase and action set piece. It brings to mind the 1990s superhero films, in that theoretical dead zone between Batman and X-Men, when the few super hero pictures weren’t afraid to have just a little charm and a touch of knowing panache.

A token amount of plot: Scorned at an early age by the death of his mother and his father’s cold and distant relationship, Britt Reid (Seth Rogan) is the spoiled, aimless son of recently-deceased newspaper owner James Reid (Tom Wilkinson). As Britt mourns the sudden loss, he stumbles upon his father’s former mechanic, an engineering genius and martial arts whiz known only as Kato (Jay Chou). Lashing out for their own respective reasons against the late elder Reid, the two team up to use Mr. Reid’s technology to fight crime, as a way of atoning for their previously aimless existences. But knowing that advertising their super-heroic natures will only put innocents in jeopardy, they instead masquerade as costumed super-villains, bent on destroying the criminal competition. Said ‘crime spree’ quickly attracts the attention of resident crime boss Chudnofsky (Christoph Weitz), who is having a bit of a midlife crisis as he wonders if the underworld still fears him like they once did. Will Britt Reid (now calling himself the Green Hornet) and Kato succeed in their scheme to rid the city of crime by becoming criminals themselves?

To say that the film doesn’t take itself too seriously is almost a given considering the cast and general premise. But what differentiates the picture from the recent glut of comic book adventure films is the absolute lack of pretension and the emphasis on character interaction. The core of the film is the friendship between Britt Reid and Kato. Seth Rogan and Jay Chou have a relaxed and completely unforced chemistry. The film certainly goes off into a verbal tangent or two, and it gives the two stars real room to breathe, so that we actually see these unlikely allies getting to know and like each other. The fancy car and snazzy gadgets are secondary to the somewhat silly story being told. What’s most refreshing is that Kato is not forced to be a sage monk of infinite patience and wisdom. Yes, Kato is smarter and tougher than Britt, but he’s just as prone to selfish impulses and just as willing to appreciate the sheer enjoyment of fighting crime with high-tech gadgets.

The supporting cast is filled out nicely by various veterans and character actors. Cameron Diaz scores a few laughs as an assistant with an uncanny knowledge of organized crime, and it’s to the film’s credit that she doesn’t serve as a love interest for either of our heroes. A welcome, if underused, Edward James Olmos plays it straight as the current head of the Reid family newspaper, and Edward Furlong drops in for a brief appearance. The opening moments involve a genuinely hilarious cameo that I won’t spoil, except to say that can only wonder when he found the time. But most superhero films are only as strong as their villain, and Christoph Weitz delivers in spades. The evil Chudnofsky even gets a character arc of his own, as he spends much of the film figuring out how to win back the ability to terrorize that he once possessed, an ability that now resides with a masked criminal moving in on his turf. Weitz scores big laughs in every scene he is in, and he’s one of the more just-plain amusing villains of this nature since Treat Williams smart-assed his way through The Phantom.

The action scenes are nothing to write home about, although the brief glimpses of ‘Kato vision’ are slightly amusing. The car chases are a bit choppy, but I was pleased by the action finale, which is one of those seemingly never-ending set pieces that just keeps going from one location to another, while constantly finding clever beats along the way. I like that the villains don’t screw around, as Chudnofsky immediately set out to kill the Green Hornet and attempt to do so as quickly and efficiently as possible (there is very little ‘monologuing’, except when it serves character beats). I like that the film is almost obscenely violent in spots, with several shocking deaths that only escaped an R-rating due to the irreverent tone of the picture. And I appreciate how the film slyly plays with comic book conventions and exists in a world where the characters had actual knowledge of the existence of fictional masked heroes and villains. This is no Scream/Kiss Kiss Bang Bang deconstruction, but far too many superhero pictures exist in a vacuum where seemingly no one has ever heard of Batman or Spider-Man. Oh, and the 3D is invisible and useless while the IMAX screen adds little, but don’t hold that against the movie itself.


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To read more about this article go to Mendelson Memos

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