Hal Holbrook

Despite the fact that this too-soon spin-off feels like a mere cash-in on the Disney Cars/Planes marketing machine, this sequel is actually a lot more fun than expected. Not only is the animation witty and sometimes even exhilarating, but there are some solid messages in the story. On the other hand, there's also the continuing problem of making movies in which the central characters are inanimate objects with cute faces drawn on them. But never mind: see the movies, buy the toys, keep the kids happy!

After the globe-hopping race in 2013's Planes, the new champ Dusty (voiced by Dane Cook) sees his new celebrity career grounded when he develops a problem in his gearbox. He can still fly, but the torque required for racing stunts could do him in. So he decides to retrain as an aerial firefighter to help his local airfield maintain its certification in time for the annual Corn Festival. In training, he is mentored by veteran chopper Blade (Ed Harris), working alongside his starstruck fan Dipper (Julie Bowen), the noble Windlifter (Wes Studi), the sassy Dynamite (Regina King) and the genius mechanic Maru (Curtis Armstrong). But a raging wildfire is threatening the nearby Fusel Lodge, and the local park superintendent (John Michael Higgins) doesn't want to shut it down with so many stars as guests.

The best touch here is to make Dusty utterly full of himself, never listening to any advice before charging in unprepared for the next challenge. It's predictable and underdeveloped, but it makes this chirpy crop-duster far more interesting, and adds some unexpected diversions in a plot that otherwise heads exactly where it has to go. Meanwhile, the screenwriters pack the dialog with witty puns and some snappy verbal and visual gags that allow the actors to give their vehicles a bit of personality, even if some of this is merely ethnic stereotyping or simplistic hero/villain morality.

Continue reading: Planes: Fire & Rescue Review

Hydraulic fracturing might not be the most compelling subject for a movie, but it provides a topical backdrop for this engaging drama about ethics. It also lets actor-screenwriter Damon reunite with his Good Will Hunting director Van Sant for another strikingly well-made movie centring around a handful of strong characters. And while we know what the filmmakers feel about this contentious issue, at least the script isn't heavy handed about it.

The story takes place in a rural New England town, where oil company workers Steve and Sue (Damon and McDormand) are trying to secure the leases needed to drill for natural gas. The farmers badly need the cash to keep in business, but a retired science teacher (Holbrook) voices concern about the potential dangers of "fracking". He's joined by environmental activist Dustin (Krasinski) to turn the town against Steve and Sue's multinational corporation. And Dustin even starts to meddle in a budding romance between Steve and local teacher Alice (DeWitt). 

The script is cleverly constructed to make us wonder who is telling the full truth. There are obviously risks associated with fracking, but have they been exaggerated by politically motivated campaigns? Damon plays Steve as a straight-arrow, a nice guy who genuinely believes that the process is safe. Meanwhile, Krasinski is a but more slippery as the grassroots voice of caution, and the terrific McDormand gets all the best lines.

Continue reading: Promised Land Review

A historic epic from Steven Spielberg carries a lot of baggage, but he surprises us with a remarkably contained approach to an iconic figure. What's most unexpected is that this is a political drama, not a biopic. It's a long, talky movie about back-room deal-making on a very big issue: ending slavery in America. It also has one of the most intelligent, artful scripts of the past year, plus a remarkably wry central performance.

Daniel Day-Lewis constantly grounds Abraham Lincoln in his earthy humanity, good humour and tenacious desire to do the right thing, no matter what it takes. The film essentially covers just one month in which Lincoln works to outlaw slavery before ending four years of civil war. Secretary of State Seward (Strathairn) reluctantly supports this plan, enlisting three shady negotiators (Spader, Nelson and Hawkes) to convince wavering members of Congress to vote in favour of a constitutional amendment. Meanwhile at home, Lincoln is under pressure from his wife Mary (Field) to keep their oldest son Robert (Gordon-Levitt) off the battlefield.

All of this political wrangling makes the film feel like a 19th century version of The West Wing, and Kushner's script crackles with wit, nuance and passion, clearly echoing today's political debates about issues like gun control and human rights. We find ourselves wishing that our own politicians were this creative about getting the votes they need on important issues. This meaty approach gives the cast terrific dialog to bite into, although Spielberg never lets anyone run riot with scenery-chomping antics. The closest is probably Jones, as the fiery anti-slavery supporter Thaddeus Stevens. He's terrific in this role. And Field shines too in as the spiky Mary. Even if she's about a decade too old for the character, she brings intelligence and emotion to every scene.

Continue reading: Lincoln Review

I just can't seem to get enough of the thrill of the being submerged in hundreds of feet of water with the ever-present threat of drowning all around me. You know, that feeling of small animals crawling into my wetsuit or larger animals deciding to eat me whole. The intoxicating sensation of my lungs exploding from gas build-up in my lungs. How can you argue with that?

Continue reading: Men Of Honor Review

The phrase, now famous via Douglas's Oscar-winning performance, was initially uttered by Ivan Boesky, the 1980s business biggie who thrived on doing whatever it took to become rich, and paid the price as a result. Director/co-writer Stone, with Douglas at the epicenter, erects an overdone behemoth of a movie that, like Boesky himself, is an ageless -- and, at times, clichéd -- cautionary tale.

Continue reading: Wall Street Review

You know something is just not right about a movie when even the most insignificant supporting characters have more charisma and personality than the leads.

Such is the case with "The Bachelor," a comedy about an heir to a $100 million fortune who has 24 hours to get married or be cut off without a dime.

Chris O'Donnell (Robin in the recent "Batman" movies) is said heir, a commitment-o-phobe from central casting named Jimmy whose persnickety, cantankerous grandfather (Peter Ustinov) kicks the bucket and reveals in his videotaped will that -- surprise! -- he's a millionaire. But grandpa is also obsessed with begetting a family legacy and decrees that Jimmy, his soul heir, gets zip unless he's married by his 30th birthday. Unfortunately grandpa has the bad timing to die two days before the deadline.

Continue reading: The Bachelor Review