Bowfinger - * * * 1/2*

Bowfinger

There’s nothing Hollywood likes better than taking a fawningly humorous look at the art of moviemaking. (Well, maybe they like making cheap sequels better, but I’m sure this comes a close second!) Bowfinger is one such comedy, following a desperate man who will do anything to get a movie made. With the comic talent of Steve Martin and Eddie Murphy involved, you should expect a film with at least a few yuks. But Bowfinger exceeds that expectation, and is a film that ranks among the best work of either comedian.

Bobby Bowfinger (Steve Martin) is a struggling small-time producer at the end of his rope. He’s desperate to have a hit picture, and will go to any lengths to get one. When his accountant, Afrim (Adam Alexi-Malle), writes an alien-invasion script, Chubby Rain, Bowfinger smells a hit. (Can any film with the line, “Gotcha, suckaz!” not succeed?)

A studio executive, Jerry Renfro (Robert Downey Jr.), grudgingly agrees to distribute Chubby Rain, provided Bowfinger can enlist hot actor Kit Ramsey (Eddie Murphy) to star (which Jerry knows is an impossibility). He thinks right, for Kit is one of the most tempramental actors in Hollywood, nay the world. With one glance at Bowfinger and the Chubby Rain script, Kit turns him down cold.

But a little problem like that won’t stop Bobby Bowfinger. He brainstorms and comes up with a brilliant idea. His ragtag film crew will follow Kit Ramsey around town, and his actors will simply walk up to Kit on the street, say their lines, and depart. With a little bit of creative editing, Kit Ramsey is in the film! It’s foolproof, isn’t it?

If only the script for Chubby Rain was as brilliant as Steve Martin’s script for Bowfinger, the crew would have nothing to worry about. This is a wickedly hilarious piece of writing, that produces a great role for Martin, and not one, but two of the best roles Eddie Murphy has had in over a decade.

While Steve Martin is the spine of this movie, Eddie Murphy gives it its energy. As Kit Ramsey, Eddie has a gleeful time playing a spoiled and paranoid actor, slowly being driven insane by the incomprehensible antics of the film crew following him. He also delivers the film’s finest role as Jiff, a sheepishly nerdy lookalike for Kit, who serves as his stand-in for the film, as well as an errand boy for the crew. Jiff allows Murphy to display a human (yet still funny) side he has only ventured near in The Nutty Professor, without that film’s crude comedy.

Both actors have the backing of a strong supportive cast. Heather Graham, as a fresh off the bus nymphet from Ohio, and Christine Baranski, as an aging second-rate diva, shine as Chubby Rain’s pathetically bad actresses. Jamie Kennedy has a few good moments as a pal of Bowfinger’s who just happens to work in a studio. But several of the film’s best moments belong to the crew (Alfred De Contreras, Ramiro Fabian, Alejandro Patino and Johnny Sanchez).

The movie rarely runs astray, however the biggest series of jokes that fizzle involve a Scientology-esque religion, Mind Head, that counts Kit Ramsey as one of its devotees. Part therapist, part agent, Terry Stricter (Terrence Stamp), the founder of Mind Head, never quite blends in with the rest of the movie. It is unclear whether the Mind Head scenes were watered down, or simply never were that strong, but they pale in comparison to the rest of the movie.

It’s easy to draw comparisons between this film and Ed Wood. Both are about low-budget movie visionaries who make up for their lack of talent with an overabundance of enthusiasm. Each features a wacky ensemble, and some really, really bad acting (intentionally). However, where Ed Wood occasionally veered into sentimentality, Bowfinger stays purely on the comedy course.

Director Frank Oz has a knack for picking and cultivating some of the best comedies of recent years. From Dirty Rotten Scoundrels to In and Out, Oz has the gift for pulling great performances out of his actors. Bowfinger is another prize he can add to his mantle.

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The Adventures of Sebastian Cole - * * 1/2*

The Adventures of Sebastian Cole

Tod Williams directs this comedy about a dysfunctional family. Adrian Grenier stars as Sebastian Cole, a high school junior whose stepfather (Clark Gregg) announces he is a transsexual. Margaret Colin plays Sebastian’s mother. Aleksa Palladino, John Shea and Marni Lustig also star. Famke Janssen has a cameo.

Capsule Review: This is an intriguing idea for what is otherwise a routine teen film. Sebastian sets out to have a series of adventures, and he has a bevy of unusual ones. Impressive debut for Adrian Grenier, and Clark Gregg gives a strong supporting performance. However, the film is still in orbit around the “teen movie” staples, and never breaks away from the genre’s crushing gravity.

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Mystery Men - * * *

Mystery Men

Do we really need a superhero spoof? The last two Batman films were comic enough, and the filmic landscape is littered with the likes of Blankman and Meteor Man. Yet, with sharp writing and a fine cast, Mystery Men confidently defies expectations and presents a truly funny comedy.

Champion City is enduring a wonderful era free from serious crime and worry. That is thanks to the truly amazing superhero, Captain Amazing (played by Greg Kinnear). He has fought and vanquished all of the cities supervillains, gaining the love of the populace, and a slew of product endorsements as a result. However, with no worthwhile opponents left, Amazing’s star is dimming. Wouldn’t luck have it…Amazing’s arch-enemy, Casanova Frankenstein (Geoffrey Rush), has just been released from the insane asylum. But when the rusty Captain Amazing falls into Casanova’s grasp, the whole of Champion City is as risk.

Luckily Captain Amazing is far from the only superhero in the city. Mystery Men introduces us to three heroes in waiting who are eager to get the spotlight. There’s The Shoveler (William H. Macy), who digs very well. The Blue Raja (Hank Azaria), is neither blue, nor a raja, but he is a master of silverware (forks and spoons only… knives are for amateurs). Rounding out the trio is Mr. Furious (Ben Stiller), who doesn’t seem to have superpowers, but can get really really mad.

But facing Casanova Frankenstein and his gang of Disco Boys are a tough opponent for three second-rate heroes. So, the trio decide to recruit fresh talent, such as The Invisible Boy (Kel Mitchell), who can only turn invisible while no one sees him. There’s The Spleen (Paul Reubens), with gastronomic powers galore, and The Bowler (Janeane Garofalo), who keeps her father’s skull in her bowling ball. Finally, there’s the mysterious Sphinx (Wes Studi), who is brimming with bon-bons of enigmatic wisdom. Together, these seven heroes race against time to rescue Captain Amazing and restore Champion City from the clutches of the evil Casanova Frankenstein.

It takes a little while for Mystery Men to find its rhythm. It starts with a ludicrous crime sequence that seems lifted straight out of the old Batman television series. However, once we are introduced to our cadre of heroes, the movie enters a very comfortable cadence. The ensemble works exceedingly well, painting a vivid (and humorous) portrait of teamwork.

The true strength of the movie is the dialogue. From Mr. Furious’ mixed metaphors to The Sphinx’s gems of pseduo-wisdom, the film is generously littered with memorable lines and funny asides. Those familiar with comic book superheroes will find plenty of delightful in-jokes, many of which are completely accessible to the comic book novice as well.

The script’s biggest flaw is in giving Mr. Furious a token romance with a local waitress (Claire Forlani). The pairing provides some mildly amusing comic scenes, but little chemistry. In fact, the interplay between Stiller and Janeane Garofalo sets off many more sparks than any of Forlani’s scenes. The waitress character adds nothing to the movie.

The film’s conclusion wraps things up a bit too neatly. Every hero gets his or her one chance to shine. It is almost as if each one has drawn a number, and gets to perform in exact order. Perhaps it would have been acceptable if the one-at-a-time sequence wasn’t so obvious.

Once the film gets warmed up, Mystery Men becomes a hilarious spoof. With a superb cast and a laugh-filled script, this is one spoof that is truly superpowered.

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The Iron Giant - * * * 1/2*

Iron Giant

Ted Hughes’ children’s book, The Iron Giant, has been adapted before (most notably as a rock album by Peter Townsend), but never as a movie. However, the universal story and themes, combined with its sci-fi subject matter, makes the Iron Giant seem like a perfect candidate for a film. Director Brad Bird (responsible for the little seen animated series, Family Dog) must have thought so as well. He adapted the book, and has created a wonderful animated film that can be enjoyed on several levels, by both children and adults.

Hogarth Hughes (Eli Marenthal) is an all-American boy in the ’50s, starry-eyed and hungry for adventure. When he hears tales of Martian invaders from a wild-eyed man at the local diner, his imagination begins to run wild. One night, after hearing noises, Hogarth decides to set off into the woods, hunting for the Martians. He’s not prepared for what he does find: a giant robot.

Several hundred feet tall and with a bump on the noggin, the giant robot (voiced by Vin Diesel) has no idea where it is from, or why it is here. However, it is kind natured, and, after a few initial (and accidental) scares, quickly befriends Hogarth.

Unsure how his mom (Jennifer Aniston) would react, Hogarth is wary to tell her about his discover. He has even less of an idea where to find enough metal to feed his hungry new pet. If that weren’t enough trouble, soon a government investigator, Chip Mansley (Christopher MacDonald), is asking questions around town, and stirring up trouble.

There are a few shortcuts here and there in the animation of The Iron Giant, and the film never approaches the level of detail we have come to expect from the latest animated films from Disney or Dreamworks. However, the characters are well conceptualized, and a few computer-aided shots are quite breathtaking.

But once the story gets rolling, the animation flaws quickly recede to the background. The mood of The Iron Giant is very reminiscent of that of E.T.: The Extra Terrestrial, with the awe and wonder of discovering a magical new friend from outer space. The film hits all of the requisite emotions, without ever feeling manipulative or overdone. Above all, it is highly entertaining, with a storyline simple enough for children, yet with enough complexities that adults can enjoy as well.

While not exactly a philosophy course for tykes, The Iron Giant does raise some interesting issues that rarely appear in children’s films. Is there such a thing as fate or destiny? What is the nature of a soul? What defines a person, who he is or what he does? What is the proper role of government in the lives of individuals? Many of these themes are subtle, but are present throughout the film.

The Iron Giant is a treat of a film. Particularly if you have children, but even if you don’t, this is a film worth seeing.

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The Sixth Sense - * *

The Sixth Sense

1999 has seen the strong return of supernatural films, and millennium fever means there are even more in the pipeline. The Sixth Sense is the latest supernatural drama, and it had good promise. Unfortunately, the atmosphere of the film can’t stay at an effective level between a strong beginning and ending. Much like the house in Poltergeist, the film simply collapses in upon itself.

Malcolm Crowe (Bruce Willis) is an award-winning child psychologist with a stellar career, and a loving wife (Olivia Williams). But all of that changes one night when he is shot by a truly disturbed former patient.

Months later, Malcolm is still trying to piece his life together. He’s barely there for his lonely wife, and his career has completely fallen apart. He sees his chance for redemption in the a young, troubled boy, Cole Sear (Haley Joel Osment). Cole somehow reminds him of the former patient who shot him…and Malcolm senses that he has been given a second chance.

Cole is haunted by terrifying images and ideas. His mother, Lynn (Toni Collette), can’t understand what is wrong with her beloved little boy. Will Malcolm be able to break through Cole’s defenses and soothe the boy’s horrific imagination, or will Cole come to a tragic end like Malcolm’s former patient.

The Sixth Sense does start off very well. The introductory scenes of Malcolm attempting to console his violently deranged former patient set an appropriately ominous tone. They are matched by our introduction to Cole and the creepy images which haunt his mind.

Somehow, though, halfway through the film, the creepy atmosphere diminishes markedly. Perhaps it is the case that the same shocks, having been used over and over again, have become commonplace (and even unintentionally humorous at times). As you can imagine, this lessens the film’s impact tremendously. And it’s a shame…the Sixth Sense is able to wrap things up with one doozy of an ending.

Bruce Willis plays his wounded therapist with a subtlety that’s absent from many of his action films. However, his character here is too subtle, lacking of much substance. He spends a large portion of the film simply gazing sagely at the young, tormented Cole. You begin to long for a John McClane to emerge and simply stir things up a little bit.

Haley Joel Osment has irritated me every previous moment I have encountered him onscreen (whether that be in the delightful Forrest Gump, or the horrid Bogus). Here, he delivers his best performance, and actually remains watchable throughout. The biggest fault I have with him in the Sixth Sense is that he delivers every single one of his lines in a portentous whisper. It’s a fault that is easily overlooked.

The Sixth Sense is an ending in search of a film. If the second two thirds lived up to the promise of the first, this would have been an amazingly powerful cinematic work. But, as it stands, The Sixth Sense can’t quite live up to itself.

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Twin Falls Idaho - * * 1/2*

Michael and Mark Polish write, direct and star in this drama about conjoined twins searching for their mother. Instead, they meet a prostitute (Michele Hicks).

Capsule Review: This rare look at a pair of conjoined twins is certainly touching, and mostly sad. The Polish brothers deliver good performances, but need to polish up their directing skills, as the film is sluggish overall.

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Runaway Bride - * * 1/2*

Runaway Bride

Although nearly ten years have passed, Runaway Bride tries to recreate the magic of Pretty Woman. Richard Gere and Julia Roberts return, along with a sizable portion of the earlier film’s cast. The director, Garry Marshall, is back as well. It’s too bad the story seems to be an afterthought.

Ike Graham (Richard Gere), a mysogynistic columnist for USA Today, has written his latest diatribe about a small town woman named Maggie Carpenter (Julia Roberts). Maggie has been led to the altar three times, and thrice has bolted at the last second. Ike characterizes her as a maneater, and when Maggie fires off a letter to the editor, Ike is fired.

Determined to prove himself right, Ike travels to the small town of Hale, Maryland. There he follows Maggie around, interviewing her friends and neighbors, trying to see what makes her tick. Maggie is scheduled to have her fourth wedding (to P.E. Coach Bob (Christopher Meloni)) in a few short days, and Ike is certain that she will bolt once again.

But, as can be expected (this is a romantic comedy, after all), Ike soon falls for Maggie’s rustic charms, and Maggie is secretly smitten by Ike’s big city ways. Can the two solve their differences and admit their love? Will Maggie run again? Oh, the suspense…The Suspense!!!

Whereas Pretty Woman was a modern fairy tale, Runaway Bride is just modern high concept. The characters are patched together and awkward. It’s hard to think that another romantic comedy would make Pretty Woman seem downright realistic, but here it is.

But the saving grace here is the chemistry of the stars. Gere and Roberts continue to play well off one another. As characters go, Julia has the better role here. Gere, on the other hand, slides by sheerly on the strength of his personality.

Runaway Bride boasts a strong supporting cast, including several familiar faces from, you guessed it, Pretty Woman (such as Larry Miller and Hector Elizondo). New additions Joan Cusack, Rita Wilson and Laurie Metcalf also give notable performances. But, as with the leads, the actors outshine the material.

Though the characters are a bit contrived, the script does contain a few good snippets of dialogue. The film could have easily done without the numerous Pretty Woman allusions (such as the “Julia-is-not-allowed-to-shop” scene). There are enough comparisons in this movie without having to make them overt.

Runaway Bride is a slight, but enjoyable romantic comedy, coasting along on the strength of its stars rather than an inner merit. Julia Roberts may be, but Runaway Bride is no Pretty Woman.

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Deep Blue Sea - * * 1/2*

Deep Blue Sea

One of the oldest adages in the monster movie is, Don’t fool with Mother Nature. A slightly newer adage in Hollywood might be, Don’t fool with Steven Spielberg. Deep Blue Sea flaunts both of those rules. And, despite a boatload of flaws, this ridiculous and derivative super-shark movie is downright fun.

Saffron Burrows stars as scientist Susan McAlester, a medical researcher who has discovered a potential cure for Alzheimer’s in an extract from shark brains. Rather than take the time to hunt down enough sharks to provide ample brain material, she takes a shortcut. Using genetic engineering, she simply increases the size of the standard shark brain. While this does provide more serum, it has a side effect that even the most novice moviegoer can spot from miles ashore: smarter sharks.

Of course, these smart sharks wait until just the right moment to strike. McAlester’s funding is in danger, and she has one final weekend to prove her findings. A company executive, Russell Franklin (Samuel L. Jackson), accompanies her to her floating aquatic lab, where a ragtag skeleton crew is waiting to become shark food…I mean, waiting to demonstrate their theories. Oh yes, did I mention that a hurricane was also headed this way?

Needless to say, the sharks start swimming amok, and, through a contrived sequence of events, begin flooding the facility. Who will die? And in what grisly manner? Will it be the rugged shark wrangler, Carter Blake (Thomas Jane)? The wily engineer, Tom Scoggins (Michael Rapaport)? The quirky cook, “Preacher” Dudley (LL Cool J)? What about the token scientists (Stellan Skarsgard and Jacqueline McKenzie)? Anyone and everyone can feed the fish.

There is no rational reason anyone with any sense whatsoever would find enjoyment from this film. That said, Deep Blue Sea was surprisingly fun. Sure, there are plot holes large enough for a five-ton shark to swim through, and the dialogue is bad enough to make you root for the sharks, who happen to be the most multi-dimensional characters, anyway. But all those trifles just don’t seem to matter as your heart races in anticipation of the next attack. Afterwards you may wonder, “What was I thinking?”, but while the sharks are on the loose, the tides of the movie will sweep you away.

The shark movie, nay, the entire monster movie genre hasn’t been the same since Steven Spielberg’s Jaws. The genre movies that have worked the best in the intervening years have steered clear of the fins to minimize unflattering comparisons. Deep Blue Sea brazenly flouts tradition by bringing back the sharks. This is no Jaws 2, Jaws 3-D, or even (shudder) Jaws 4: The Revenge. There’s actually a sense of danger and excitement in Deep Blue Sea. While it comes nowhere close in comparison to the granddaddy of all shark films, it has its fair share of thrills.

Nitpickers will have a field day with Deep Blue Sea. How, for example, does the enlargement of shark brains somehow give them the biologically inexplicable ability to swim backwards? How can the sharks recognize the uses of objects, such as guns? How do they know the layout (and metallic composition) of the previously dry areas of the aquatic lab? If the new sharks supposedly hunt in packs, why do we only get to see one at a time? As expected, all these questions remain unanswered.

Its many flaws aside, Deep Blue Sea still has the scares, and they’re enough to float this movie. The shark special effects are very good, and shockingly realistic. There are three super-sharks, and it would have been nice to be able to tell them apart in some way. But, really, the sharks are just a menacing force to provide some impetus to the action; excess personality would have been wasted.

Unlike Jaws, this one will never be looked upon as a classic. However, like its predecessor, Deep Blue Sea will scare aplenty. Afterwards, you may shake your head in disbelief, but while the teeth are chomping up the screen, the film is a hoot.

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The Thomas Crown Affair - * 1/2*

The Thomas Crown Affair

Following on the heels of Entrapment, The Thomas Crown Affair is another love-and-crime story, though one with a slightly different tack. A remake of the 1968 Steve McQueen-Faye Dunaway caper flick, this new Thomas Crown Affair tones down the crime and turns up the love, but falls well short of igniting any flames.

Thomas Crown (Pierce Brosnan) is a tycoon who has everything a man could ever want. Well, maybe not everything. You see, the Metropolitan Museum of Art has been showcasing a $100 million Monet painting that would look perfect in Crown’s drawing room. So, like all gazillionaires with too much time on their hands, Crown masterminds a brilliant little robbery, and soon the most expensive painting in the world is his.

Investigating the crime is NY cop Michael McCann (Denis Leary). He is joined in his efforts by a wily insurance investigator, Catherine Banning (Rene Russo), who immediately suspects Crown as the culprit.

Banning’s methods of investigation are unorthodox, to say the least. She lures Crown with unadulterated sex appeal. Both she and Crown know the other’s game, yet each views this affair as yet another challenge to overcome. Who will break first? Or who will fall in love?

When The Thomas Crown Affair eschews its crime scenes in favor of more romantic fare, a problem emerges. As a pure romance, the film is about as hot and exciting as an amateur chess match. Both Brosnan and Russo are very icy and cool in their roles, and the air between them is just too cold for sparks. What little actual passion there is turns out rather chilly and distant.

The capers in The Thomas Crown Affair are few and far between. If you’ve seen the trailer for the film, you’ve seen them all. This film is purely a love story, with a few token crime scenes sprinkled on for spice (albeit a mild one).

Director John McTiernan has specialized in action fare before, and it shows. The romantic scenes in the film are as lurid and subtle as an exploding plane. The crime scenes are framed nicely, but they’re practically an afterthought of the movie.

The Thomas Crown Affair is a disappointment. Trying to combine two genres, the film will please fans of neither.

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Inspector Gadget - *

Inspector Gadget

It’s no secret that Disney movies have become increasingly formulaic over the years. It is a trend that worked (mostly) well with their animation division, because…well, their animated films were good to begin with. However, their live-action fare hasn’t fared as well. On rare occasions, we get a solid film of the likes of George of the Jungle or The Parent Trap, but mostly we are treated to tepid rehashes like That Darn Cat. And thus in the mold of, Flubber, and My Favorite Martian, we now have Inspector Gadger. Sort of a hybrid of the Six Million Dollar Man and The Mask, Inspector Gadget is based upon the mid-80s cartoon series about a robotically enhanced bumbling detective. But this special-effects laden disaster is yet another example of what happens when bad formulas go bad.

John Brown (Matthew Broderick) starts out his career as a unintimidating laboratory security guard, but with hopes of one day becoming a policeman. He sees his chance when the evil billionaire industrialist Scolex (Rupert Everett) attempts a robbery at the lab. However, his rescue effort is botched in an accident which leaves John seriously injured and Scolex missing his left hand. (Don’t worry, the injuries aren’t too graphic.)

Luckily for John, he is selected as a prototype candidate for the Gadget program, an attempt to create the policeman of the future. After hours of bionic surgery, John Brown has become Inspector Gadget, the human Swiss army knife. With gadgets and gizmos galore, Inspector Gadget sets out to fight crime…even though he hasn’t worked out all the bugs in his system quite yet.

Scolex, meanwhile, has his missing hand fitted for a harsh steel robotic claw (from which he gets his new nickname: “Claw! One word…like Madonna!” The villainous Claw then sets upon his fiendish plan to create chaos. He creates an evil Robo-Gadget to wreak havoc upon the city, and ruin Inspector Gadgets reputation at the same time.

Fans of the TV show will recognize the various gadgets, but little else. Matthew Broderick is seemingly the anti-Don Adams (who provided the voice and inspiration for the cartoon Gadget), and Rupert Everett, while smarmy, is hardly menacing as Claw. Gadget’s niece, Penny (Michelle Trachtenberg), and dog Brain (a voiceless beagle) appear, but are given rather understated roles (compared to the TV show). In fact about the only casting coup the film version of Inspector Gadget makes is by assigning Dabney Coleman to the role of Police Chief Quimby.

Filling the unnecessary role of way-too-annoying comic relief this time out is the Gadgetmobile, Inspector Gadget’s talking car with attitude. Actually comic relief is a very misleading term to use. The Gadgetmobile is rarely comic, and is at no time a relief from anything. On the contrary, the irritating car actually raises stress while it is onscreen. Besides, since when does a comedy need comic relief?

But the Gadgetmobile serves to fill another checkbox in the ill-conceived Disney Live Action Film Formula. Let’s see, that’s the Annoying Sidekick. You’ve got the “Tragic Loss” scene, check. The “Let’s Milk the Tears from the Kiddies by Pretending the Hero is Dead” scene, check. The “Countless References to Other Disney Films–Available at a Disney Store Near You” scenes, check. The “Painfully Contrived Product Plugs”, check. Oh, and let’s not forget the all important “Poorly Written Script”, check. Someone needs to tell the folks at Disney that when a formula doesn’t work…STOP USING IT!

One good thing about Inspector Gadget is that it is painlessly brief, clocking in at a shorter running time than many of Disney’s animated features. Surprisingly (or not so surprisingly for a Disney film), a few of the saucier moments that were prominently featured in the previews for the film failed to make it into the final cut. An additional few scenes barely squeaked by as brief flashes in “thought bubbles” Inspector Gadget periodically has. Why they were edited out remains a mystery…one that will hopefully remain so. The world is not ready for an Inspector Gadget director’s cut.

There are a few mildly humorous movie references in the film, but not enough to entertain any adult in the audience. Kids will be slightly amused…but they’d get just as much entertainment from watching the cartoon reruns on cable. Go-Go-Gadget out of the theater.

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