Culture

Who gave the Rock a gun?Get Smart attempts a big-screen adaptation of a small-screen show, trying hard to stay somewhat reverent to the original. The film was the brainchild of Buck Henry and Mel Brooks, (credited as consultants) but this remake somehow lost the duo's slapstick wit and brainy innuendoes. In fact, the entire movie smacks of lackluster performances and tedious plot-fillers. What was once wacky spy stuff alongside the goofiness of Mad magazine, is now an almost risk-free and gutless remake.
 
The opening music wanders in schmaltz land until the credits arrive at the credits with the familiar multiple doors closing shut to the sound of the original TV theme song. The simplistic plot is that KAOS (the evil organization) wants to wreak havoc on the planet by bombing select cities starting with Los Angeles. CONTROL (the good guys) has to stop them.
Steve Carell as Maxwell Smart, aka Agent 86, takes on the Don Adams role in a weirdly subtle performance. Carell is a really good choice, but whereas Don Adams had this kind of pestering suave bravado, Carell comes off as more of a wimp with surprises. The original 86, due to his boasting and know-it-all attitude, brought everything on himself and he got what he deserved. In 2008, we get a pathetic 86 begging you to feel sorry for him-it's just not right. On the other hand, Anne Hathaway is extremely sexy, replacing Barbara Feldon as Agent 99. And that's no small feat. Who didn't have a crush on Feldon's 99? Max's rapport with 99, however, is only sometimes bearable.

Smoking isn’t supposed to look this cool.French actress Audrey Tatou (Amelie), with a personality as effervescent as a flute of Taittinger champagne, takes us on an escapade along the French Riviera in the romantic comedy, Priceless. As Irene, she teaches a naïve bartender, as well as the audience, the finer points of seduction while digging for gold in the form of wealthy single men. She likes expensive things and knows how to get rich, older men to buy them for her; but she pays a high personal price for her hedonistic habits.
 
The film opens with a witty sequence involving a lowly hotel bartender/valet walking dogs at an elite seaside resort for wealthy patrons who speak to their dogs as if they're spoiled children. Jean (Gad Elmaleh, The Valet) serves the every whim of these mavens who, from evidence of their overly tanned skin which is as dark and wrinkled as brown paper bags, seem to have spent most of their lives basking on chaise lounges.
Fate and risk intertwine late that night in the hotel bar, allowing Jean to spend the night with-and subsequently fall for-the irresistible Irene, who has become bored with her older benefactor/boyfriend. Irene, having mistaken Jean for a potential suitor, soon discovers that he's an imposter, and even worse, a hotel employee. She sets out to teach him a lesson and, unsuccessfully, shake him off. What she thinks is most important in life is exactly what he is willing to give up. Even though we can predict the outcome with a high degree of probability, director Pierre Salvador ensures that what happens along the way surprises and entertains.

mark Wahlberg and the world’s largest bowling bag on tour. M. Night doesn't make horror movies; he makes long Twilight Zone episodes.
Shyamalan is known for his narrative twist and turns and surprise endings, but he can't conjure his way out of The Happening's poorly executed script. Most of M's tricks are here but the gimmicks are starting to resemble an aging genre hack. Even his obligatory Hitchcock-esque cameo isn't onscreen-the credits are the only place you'll find him.
Unfortunately right when the film gets eerie, it also gets stupid. Underdeveloped characters are complemented by dismal performances from the actors. The initial scene with Elliot (Mark Wahlberg) and Julian (John Leguizamo) is about as phony as movie dialogue gets. And Elliot's marriage to Alma (Zooey Deschanel) isn't remotely convincing. Soap opera dialogue runs rampant with idiotic attempts at tension-releasing comedic banter. The relationship between the two leads is so cute and demeaning that I almost left the theater. Wahlberg plays a guy who keeps it together in the face of doom, but his wimp voice and crybaby attitude dominate the entire evacuation sojourn. He more or less just walks through the role. He had a few chances to chew up the scene. Instead he's a perpetual one-note grimace. Deschanel just runs around batting her baby blues like some kind of coma victim showing us vapidity gone wild. Responding to the theory that terrorists have devised a toxin to make people kill themselves, Alma utters the ridiculous line, "Just when you think no more evil could be invented…"