FILM REVIEW OF "CONTAGION" (2011)

Marion Cotillard, Matt Damon, Laurence Fishburne, Jude Law, Kate Winslet, Elliot Gould, Sanaa Lathan, and Jennifer Ehle all contend with a mysterious global virus in "Traffic" director Steven Soderbergh's nimble global disease thriller "Contagion" (*** out of ****) that Gwyneth Paltrow precipitates. Mind you, "Contagion" is nothing like director Wolfgang Petersen's germ warfare thriller "Outbreak"(1995) with Dustin Hoffman. Soderbergh and "Bourne Ultimatum" scribe Scott Z. Brown maintain an impersonal rather than a glamorous tone as this international medical procedural maps the spread of a pandemic which can kill an individual in three days. Researchers christen the virus, MEV-1, and stare in horror as the virus wraps its lethal tentacles around the globe, killing one in every four people and terrifying everybody else. Not long after the viral outbreak, people become leery of mingling in public. The policemen and hospital workers strike. Society and the rules which govern it collapse, and pandemonium engulfs everyone. Indeed, Soderbergh has assembled an impressive celebrity cast, but limits their presence throughout the matter-of-fact 105 minutes so nobody stands out like in his "Ocean's" franchise. The characters belong to one of three groups: first, the field agents who encounter the disease first hand; second, those behind the scenes who struggle to develop a vaccine; and the administrators who must control the hysteria. Unfortunately, despite his admiral efforts to give "Contagion” a documentary flavor like the classic 1965 "Battle of Algiers," Soderbergh sacrifices the usual Hollywood heroics which would make the action appear charismatic. Doctors and researchers disobey their superiors and take chances that they are ordered not to take. Predictably, mankind survives but the pandemic takes the world to the brink. Watching "Contagion" is like watching the anatomy of a disaster on Public Television. You will exit “Contagion” knowing that you touch your face 2-thousand times a day. When you aren’t touching your face, you are touching something else or somebody else who may be infected with germs. Inevitably, as liberal-minded as Soderbergh is, "Contagion" boils down to a cautionary yarn about tampering with Mother Nature. While the Asians play a major role in the virus, the virus come about as the result of an American corporation that destroys the wilderness with no thought about the consequences. You might not want to dine out at an Asian restaurant after you watch this atmospheric thriller.

“Contagion” opens during the second day that the pandemic has spread. Traveling business executive Beth Emhoff (Gwyneth Paltrow of “Country Strong”) has attended a groundbreaking for a new factory in Hong Kong. Afterward, she celebrates with several colleagues at a casino in Macau. What poor Beth has no way of knowing is that she has become infected with a virus that came about as a result of the construction of a new factory. The company bulldozers drove huge bats out of their nesting area, and the bats relocated to a swine farm where they infect the pigs with their guano. Beth flies back to the U.S. and squeezes in enough time for an extra-marital fling in Chicago before she goes home to her dutiful husband Mitch (Matt Damon of “Hereafter”) in Minneapolis, Minnesota. Meanwhile, other people that Beth came into contact with in Hong Kong are dropping like flies. A waiter collapses, and one of Beth’s colleagues dies aboard a commuter train in Japan. Initially, when Beth left the casino bar, she forgot her drink. A Ukrainian woman hands Beth her cell phone that Beth had forgotten. The woman is found dead in her motel room later by motel authorities. Eventually, the Centers for Disease Control and Prevention in Atlanta, Georgia, investigate and suspect that Beth is patient zero for the epidemic. Meantime, things worsen for Mitch when his elementary school age son Clark (newcomer Griffin Kane) dies from the virus, too. Incredibly, Mitch learns that he is immune from the disease and he takes his daughter Joy (first-time actress Anna Jacoby-Heron) out of school and refuses to let her boyfriend visit her for fear that he may contaminate her.

In Atlanta, Dr. Ellis Cheever (Laurence Fishburne of “The Matrix”) sends Dr. Erin Mears (Kate Winslet of “Titanic”), an Epidemic Intelligence Service officer, to fly to Minneapolis to supervise the investigation. Meantime, the World Health Organization in Geneva dispatches its top epidemiologist Dr. Leonora Orantes (Marion Cotillard of “Inception”) to China to search for the origins of the disease. Not long afterward Mears comes down with the virus via infected motel workers. A brilliant civilian scientist, Professor Ian Sussman (Elliott Gould of “Ocean’s Eleven”), at Stanford becomes the first to create the virus in his laboratory, while one of Cheever’s own CDC staff physicians Dr. Ally Hextall (two-time Tony-winner Jennifer Ehle of “The Adjustment Bureau”), concocts a vaccine by experimenting on herself rather than waiting. Ironically, both Sussman and Hextall achieve their discoveries because they violate CDC policy. They discover that the disease contains genetic elements from bat and swine viruses. At this point, virtually everybody around the world is wearing a mask for safety’s sake. Cheever confides in his wife that she must leave Chicago and come to Washington. Thieves break into Cheever’s home and threaten his wife Aubrey Cheever (Sanaa Latham of “Love and Basketball”) while they ransack the premises vainly for the vaccine. The CDC establishes a lottery to determine who gets the first vaccine shots. Throughout this global crisis, a lone-wolf journalist, Alan Krumwiede (Jude Law of “Cold Mountain”) who believes in criminal conspiracies has been blogging about the disease. He claims that he came down with it and used another prescription drug to cure himself. Homeland Security officials eventually arrest him for spreading rumors.

Although Soderbergh and Burns do an exemplary job of covering all the points on the compass of the global pandemic, they end up giving their one-dimensional characters the short shrift, especially the WHO epidemiologist in China. We never get to know any of the characters beyond the glimpses that we are given. Laurence Fishburne, Kate Winslet, and Matt Damon fare better than Jude Law, Elliot Gould, and Marion Cotillard. Indeed, Soderbergh shows us the frightening logistics that complicate finding a cure for an unknown virus, but “Contagion” never generates any charisma.

"SHARK NIGHT 3-D" (2011)

"Shark Night 3-D" (* out of ****) bites!

Unfortunately, "Snakes on a Plane" director David R. Ellis plays everything straight in "Shark Night 3-D." Meaning, you had better prepare yourself for clichés galore without a smirk in sight. This derivative, PG-13 rated, 91-minute, yarn concerns three stereotypical, mean-spirited rednecks who drool at the chance to feed stuck-up college kids to ravenous sharks of all sizes. Of course, most of the ocean's deadly predators prefer to prowl the briny blue, but these three rednecks own a stunning device that enables them to paralyze these predators, attach mini-cams to them, relocate them to a Louisiana salt-lake, and wait for them to start chomping. Furthermore, they plan to make big bucks by selling their shark snuff videos to die-hard “Shark Week” addicts after the real thing. Think of "Shark Night 3-D" as "Jaws" trying to meet “8MM." Everybody sports serious expressions because everything is serious. Nevertheless, everybody behaves like idiots, too. A one-armed college jock with a spear wades into a shark-infested lake with revenge in his heart. Hammerheads, threshers, cookie cutters and bull sharks assemble to make munch-meat of him. Sadly, not only are these sharks either digitally concocted or animatronic, but they also act like SyFy Channel sharks. These synthetic sharks swim with such speed that our heroes, when the latter have either a boat with an outboard motor or water bike at their disposal, cannot out leave them in their wake!

An academically challenged Tulane University athlete, Malik (Sinqa Walls of “Choose Connor”), makes a B+ on a test and no longer fears flunking out of college. Malik rewards his dutiful tutor, Nick (Dustin Milligan of “Final Destination 3”), along with Nick’s nerdy roommate Gordon (Joel David Moore of “Avatar”) to join his friends for a good time at a remote lakeside estate. The wealthy parents of Sara (Sara Paxton of “Superhero Movie”) own a beautiful cottage secluded on an island which a sprawling salt-water lake surrounds. Naturally, nobody with a cell phone can raise a signal at Lake Crosby. Furthermore, the nearest hospital lies about two hours away. Little do our recreationally minded heroes know the ill-fate which awaits them. Meantime, Malik tries to play Cupid and get Nick and Sara together. As Malik tells Nick, Sara has not been on a date in three years. Later we learn why. Anyway, Nick and Sara grow chummy and Nick winds up steering Sara’s launch. While Nick is playing admiral, he has show-off Malik at the end of a tether skiing around the lake on a board. Malik impresses everything with his incredible gymnastic feats. He loves to perform flips. Suddenly, Malik feels something ram his board, and he takes a tumble. A shark attacks Malik and tears off his right arm at the bicep. Our heroes bandage Malik and rush him to the hospital. Malik’s blood drips into the lake and another shark slams into the launch so that Malik’s soon-to-be wife, Maya (Alyssa Diaz of TV’s “Southland”), topples into the water and gets gobbled up. Later, Malik storms into the lake with a spear and accomplishes nothing, except dying. The two river rednecks, Sara's ex-boyfriend, Dennis (Chris Carmack of “Into the Blue 2: The Reef), and his sidekick, Red (Joshua Leonard of “Hatchet”), offer to help Sara and her friends. Beth is so sickened by the tragic turn of events that she wants to ride with Dennis and Red back to the mainland. Gordon refuses to let Beth travel alone with them. Before it is all over with heroic Nick has to tangle with Sara’s ex-boyfriend and a shark.

Basically, "Shark Night 3-D" amounts to a complicated but predictable revenge thriller with nothing to recommend it either as top-notch entertainment or so bad it’s good. Freshmen scenarists Will Hayes and Jesse Studenberg neither do Ellis nor the audience any favors with their shallow screenplay that borrows extensively from other shark movies. Their dialogue is flat without any flair. The characters emerge as one-dimensional nitwits waiting for their moment to be eaten. Ellis deserves credit for keeping the action moving at a brisk pace. Nevertheless, he fails to generate any sympathy for our clueless heroes. The villains could be cousins of the rednecks in “Deliverance.” All of the ersatz shark attacks have been lensed before with greater realism in better movies. The 3-D delivers in only two scenes. The first involves an exploding boat flinging shrapnel, and the second shows a shark as its gory innards are blasted out of it. Considering the $28-million budget, you’d think they could have made more than one shark appear convincing. A bull shark does look supremely menacing in a scene straight out of the James Bond feature "License to Kill," but the rest look simulated and swim like torpedoes. Two sharks literally defy gravity by leaping out of the lake to chomp. A first girl caught alone in the lake is straight out of the original "Jaws" as well as the attack on a hapless skier is straight out of the "Jaws 2." If you want to watch a good shark thriller, and you cannot find "Jaws," then you might try "Deep Blue Sea" (1999), or the straight-to-video, outlandish "Shark Attack 3: Megalodon" (2002) and "Shark Swarm" (2008). The PG-13 rating rules out any chance of nudity, and the ability of sharks that can race through the water after speedboats eliminates any sense of credibility. Ellis generates a modicum of suspense when swimmers struggle to out-swim the sharks, but not enough to scare the daylights out of you.

"Shark Night 3-D" is munch-ado-about-gnaw-thing!

FILM REVIEW OF ''COLOMBIANA" (2011)

French writer, producer, and director Luc Besson reinvented the killer chick flick genre back in 1990 with his stylist shoot’em up “La Femme Nikita.” Before “La Femme Nikita” illuminated screens, the best killer chick flicks came from a variety of directors, actresses, and genres. Low-budget, indie director Ted V. Mikels helmed “The Doll Squad” (1973) and “Ten Violent Women” (1982). African-American actress Pam Grier empowered women in such B-movie classics as “Big Doll House” (1971), “Coffy” (1973), “Foxy Brown” (1974), and “Friday Foster” (1975). In 1973, future Nancy Reagan astrologer Joyce Jillson starred in “Super Chick” as an airline attendant named Tara B. True who held a black belt in karate and thwarted a jet hijacking. Another African-American actress Tamara Dobson headlined “Cleopatra Jones” (1973) and Cleopatra Jones and the Casino of Gold” (1975). Most of these movies drew their inspiration from Asian actioneers where women wielded lethal weapons without a qualm, like “Female Demon Ohyaku” (1968), “Okatsu the Fugitive” (1969), “Quick-draw Okatsu” (1969), “Blind Woman's Curse” (1970) and “Lady Snowblood” (1971). At the same time, the Japanese produced the “Zero Woman” cycle of shoot’em ups in the Pinky Violence Collection featuring: “Delinquent Girl Boss: Worthless To Confess” (1971) “Girl Boss Guerilla” (1972) , “Criminal Woman: Killing Melody” (1973), and "Terrifying Girls' High School: Lynch Law Classroom" (1973). Before these Asian costume thrillers and the occasional American crime melodrama, like "The Violent Years," only denim-clad dames in horse opera such as “Johnny Guitar” (1954), “Two-Gun Lady” (1955), “Gunslinger” (1956), and “Forty Guns” (1957) were allowed to shoot and kill if the occasion required.

“La Femme Nikita” propelled the genre into the 1990s, but focused primarily on contemporary professional women armed to the hilt with modern firepower. Not-surprisingly, clones proliferated: “Tank Girl” (1995), “Cherry” (2000), “The Silencer” (2000), and “Thelma and Louise (1991). In “La Femme Nikita,” the eponymous anti-heroine was a convicted dame slated for execution who received a second chance at life if she performed executions for the government. Besson’s charismatic thriller starred newcomer Anne Parillaud and spawned a Hollywood remake, “Point of No Return” with Bridget Fonda as well as a Hong Kong version in director Stephen Shin's “Black Cat” (1991) and its sequel "Black Cat 2" (1997) with Jade Leung. Later, Besson made “The Professional” (1994) where an expert hit man, Jean Reno, taught a young girl, Natalie Portman, to how to kill the dastards who had murdered her parents. A cable television series “La Femme Nikita” with Peta Wilson followed; it aired from 1997 to 2001. In 2010, another version of “La Femme Nikita” hit the small screen with Maggie Q cast in “Nikita.”

Cleverly, Besson has recycled some of the best scenes from both “La Femme Nikita” and “The Professional” to make “Colombiana” (***1/2 out of ****), starring Zoe Saldana of "Avatar" as a sympathetic but indestructible female assassin. As one thug warns his companions, when Colombiana materializes, it is too late to take action and survive. Make no mistake; the filmmakers treat the theme of female empowerment in this seasoned but Spartan saga with few surprises but a surplus of sizzle. If you’ve seen either “La Femme Nikita” and/or “The Professional,” you can spot the inspiration for “Colombiana.” An early scene in “La Femme Nikita” depicts the heroine plunging a pencil into a policeman’s hand. Similarly, an early scene in “Colombiana” shows our young heroine stabbing a scumbag villain and pinning his hand to a table while she makes good her escape. No matter how derivative this suspenseful, high-octane, white-knuckled epic is, “Transporter 3” director Olivier Megaton compensates with picturesque staging, a cast with provocative faces, and atmospheric locales. "Colombiana" is grueling, gritty, with a lot of get-up-and-go.

Initially, “Colombiana” opens in Bogotá, Columbia, 1992. Ten-year old Cataleya Restrepo (newcomer Amanda Stenberg) watches as the henchmen of a Colombian crime cartel murder her mother and father. It seems that her father tries to retire from the syndicate. Treacherous Don Luis (Beto Benites of "Hermano") allows him to leave his heavily-guarded premises before he issues a contract. Luis’ right-hand man, Marco (Jordi Molla of “Blow”), tries to capture Cataleya because she possesses a microchip crammed with incriminating evidence that her father gave her as a bargaining chip for a passport. Cataleya's father tells her that the microchip is her passport to America. The agile girl leads the slimy Marco and his machine-gun toting mob on an adrenaline-laced foot chase through Bogotá. When she isn't scaling buildings, Cataleya crashes through flimsy roof-tops and recovers in the nick of time. Ultimately, she scrambles away from Marco and his army by diving into an underground sewer. The elusive Cataleya enters the United States, cuts a deal with the U.S. authorities, and hands them all the information on the Luis’ gang. Not long afterward, she escapes from U.S. authorities and catches a bus for Chicago, Illinois, to see her Uncle Emilio (Cliff Curtis of “Training Day”) explore revenge as an option. When she meets Emilio, Cataleya confides in him that she once wanted to be a warrior princess like the TV heroine Xena. Now, she wants only to be a killer.

A criminal himself, Emilio lets the young girl sleep in his late son’s room. He trains her to be a contract assassin. In one great scene, Emilio explains that even contract assassins—if they plan to survive more than five years—must attend public school. Emilio assures her that he can make a top-notch assassin out of her, but she has got to have the intelligence level of a high school graduate. Besson and "Transporter" co-scripter Robert Mark Kamen fast-forward the plot 15 years later. Cataleya has become a svelte killing machine who loves to dress in skimpy clothing. She has discovered to her chagrin that the CIA has taken Don Luis into protective custody. Besson and Kamen make sure that nobody is too easy for their heroine. Nevertheless, the Central Intelligence Agency allows Luis to continue his business as usual. Neither the CIA nor the FBI, however, can thwart Cataleya when she goes into action against them.

This PG-13 rated, 108-minute epic boils down to a episodic narrative with Cataleya icing one individual at a time until she works her way down to Marco. After she kills a victim, our heroine uses lipstick to sketch a native South American orchid called 'cattleya' on the corpse's chest to remind Don Luis that he is her prime target. Actually, Cataleya was named after this flower. The elaborate hit that our heroine carries out in a high security jail resembles the kind of far-fetched antics that occur in Tom Cruise's "Mission: Impossible" franchise. The way that Cataleya lands behind bar to terminate her prey is blunt and to the point. When Cataleya isn’t dodging Don Luis’ trigger-happy henchmen, she must keep a step ahead of a tenacious FBI agent, Ross (Lennie James of “The Next Three Days”) who believes that a man is responsible for the murder rampage. Cataleya lets her romantic relationship with an artist, Danny (Michael Vartan of “Alias”), interfere with her plans. Danny has no clue about her line of work, until he exposes her quite by accident to the villains. The scene where the FBI and a SWAT team surround Cataleya’s safe house generates considerable tension.

“Colombiana” qualifies as an outlandish, audacious exercise in suspense and tension that benefits from Zoe Saldana’s gravity-defying performance and helmer Olivier Megaton’s slam-bang action scenes.

FILM REVIEW OF ''FIGHT CLUB'' (1999)

"Fight Club" (**** out of ****) is a knock-out!

Brad Pitt and Edward Norton co-star and spar in this bizarre but insightful bare-knuckled, no-holds-barred, pugilistic parable. "Fight Club" takes some mighty savage but satirical swings at consumerism, anarchy, and male impotence. "Se7en" & Alien 3" director David Fincher delivers another of his kinetically super-charged, darkly lensed, adrenaline-laced epics about guys gelded by a gilded society who come to life when they stain their fists with blood. At one point, Brad Pitt tells Edward Norton: Penned by "Jumper" scenarist Jim Uhls from Chuck Palahniuk's first novel, "Fight Club" appears to glorify violence, promote fascism, and degrade women. Instead, "Fight Club" denigrates the first, shows contempt for the second, and give Helen Bonham Carter her juiciest role in years.

"Fight Club" spins a yarn every bit as audacious, manipulative and exhilarating as Fincher's earlier opus "The Game." Edward Norton of "Rounders" serves as our narrator for this 140-minute marathon that goes the distance. Caged in a dead-end job, Norton files reams of car accident statistics for a major automaker. Essentially, he must calculate when the best interests of the company are served by paying off car crash survivors rather than demanding a recall. As the narrator states: "A new car built by my company leaves somewhere traveling at 60 mph. The rear differential locks up. The car crashes and burns with everyone trapped inside. Now, should we initiate a recall? Take the number of vehicles in the field, A, multiply by the probable rate of failure, B, multiply by the average out-of-court settlement, C. A times B times C equals X. If X is less than the cost of a recall, we don't do one." Anyway, the narrator flies everywhere to inspect these wrecks and begins to suffer from more than occupational jet lag.

Inevitably, our anonymous narrator turns into a depressed white-collar insomniac. Lack of sleep drives him to the hospital. Incredibly, his doctor refuses to give him any drugs. He suggests instead that our narrator attend a support group for survivors of testicular cancer so that he can appreciate what constitutes real pain. Surprisingly, Norton discovers that he can purge himself emotionally without fear of humiliation. Afterward, his burden sloughed off, he goes home to his luxuriously appointed condo, hits the sack and sleeps like a baby. Franz Kafka couldn't have captured the malaise of modern society as crisply as Jim Uhls has in "Fight Club." Soon our unnamed narrator begins to gleefully orchestrate his life around these 12-step meetings and support groups for habits and diseases that he doesn't have. He is hooked and happy about until Marla Singer (Helen Bonham Carter of "Hamlet") spoils these gatherings. He knows that she is a fraud and fears she will expose him. They snarl at each other but call a truce and form an uneasy alliance. They will alternate nights at different groups so they won't collide with each other.

Marla poses few problems compared with Tyler Durden (Brad Pitt of "The Score"), a mysterious maverick of a man encountered by our hero during a bumpy plane ride. Durden epitomizes cool; he has everything our narrator lacks. Self-assured, scruffily clad, with all the hypnotic charm of a snake, Durden lurks around the narrator. When they form Fight Club, Tyler lists the rules: "The first rule of Fight Club is: you do not talk about Fight Club. The second rule of Fight Club is: you DO NOT talk about Fight Club! Third rule of Fight Club: someone yells "stop!", goes limp, taps out, the fight is over. Fourth rule: only two guys to a fight. Fifth rule: one fight at a time, fellas. Sixth rule: No shirts, no shoes. Seventh rule: fights will go on as long as they have to. And the eighth and final rule: if this is your first time at Fight Club, you have to fight." Tyler attracts followers like a magnet. After an unknown arsonist destroys our narrator's condo, he hooks up with Tyler. They create "Fight Club," a form of underground tough man boxing.

Remember "Every Which Way But Loose," with Clint Eastwood or Charles Bronson in "Hard Times?" They fight in dark, dank basements. Fincher pulls no punches when the combatants start swinging at each other. Quite simply, these fights are brutal, especially when a pretty boy (Jared Leto of "Urban Legend") is battered to a pulp until he resembles the elephant kid. Only the knuckle-headed will exit "Fight Club" looking for an excuse to scrap. The friendship between Tyler and our hero takes some wildly out-of-control turns. Tyler takes "Fight Club" to other cities, and then movies to the next level with "Project Mayhem," a demolitionist's fantasy that involves destroying credit card corporations. Our hero balks at Tyler's outlandish aims and the mindless, skin-headed idiots that he recruits for his cause. But it isn't until the third act, so to speak, when "Fight Club" decks you with a shocking revelation: Tyler Durden may not be who we think he is.

"Fight Club" will send some audiences reeling in disgust at its sicko shenanigans—like when Durden urinates in the soap at an expensive restaurant where he waits tables. Don't ask what he puts in the clam chowder. When Tyler works as a projectionist at a movie theatre, he splices frames of male genitalia into family movies! If you cannot handle a film poling fun at you, you probably won't appreciate some of the subversive humor. Twentieth Century Fox appears to have gone out of its way to sanitize "Fight Club," but Fincher is such a good director that his visuals contain more bite than his narrative. Like in "The Game," where Michael Douglas' snotty rich guy had to run a grueling gauntlet—a present of sorts for the man who has everything—"Fight Club" lowers the boom on hypocrisy. The Uhls script brims with several snappy and quotable one-liners.

"Fight Club" will strike some people as pretty strange, too. Any movie that never reveals its hero's name, especially when he provides the narration, is probably too pretentious for its own good. Nevertheless, the performances are flawless, particularly the two leads as well as Meatloaf as Robert 'Bob' Paulson. Meatloaf plays the most outlandish character and milks the role for everything that it is worth. As Marla Singer, Helena Bonham Carter is equally as funny and brilliant as both Pitt and Norton. "Fight Club" emerges as an abrasive movie, and Fincher digs his satirical claws in deep. We live in a media jungle, and "Fight Club" smirks at the notion that we would want to destroy it to return to lives of quiet destitution. With "Fight Club," Fincher matches anything that Stanley Kubrick helmed in his prime and shows Terry Gilliam a trick or two.

"Fight Club" ranks as the main event of the millennium.

FILM REVIEW OF ''CAPTAIN AMERICA" (2011)

“Rocketeer” director Joe Johnston’s “Captain America” (**** OUT OF ****) amounts to a timeless David versus Goliath tale set in the Marvel Comics’ universe where good always trumps evil. Unlike “Thor” and “Green Lantern,” “Captain America” ranks as a thoroughly spectacular but larger-than-life extravaganza with a genuinely charismatic hero struggling against a marvelously malignant villain. Chris Evans’ engaging performance as the ‘First Avenger’ is something else, too! If you recall, Evans had the time of his life several years ago playing egotistical Johnny Storm, aka ‘the Human Torch,’ in the two “Fantastic Four” flicks. Make no mistake; Evans is nothing like he was in those two super heroic sagas. Indeed, “Captain America” boasts some amazing special effects, but its best special effect is the sincerity that Evans brings to the role of Steve Rogers. Whether he plays Rogers as either a scrawny, 98-pound zero or a brawny, fleet-footed hero, Evans imparts heart to this $140-million thriller. During the first half of “Captain America,” Johnston gradually builds the momentum to let us grow accustomed to Evans as a scrappy little fellow who suffers the wrath of bullies. This pathetic weakling refuses to let anybody keep him down, and it’s fun because Evans makes it look so authentic despite the obvious CGI effects. Hugo Weaving registers as the ideal villain who holds the upper hand throughout most of the supercharged shenanigans. Tommy Lee Jones and Hayley Atwell co-star respectively as Captain America’s superior and his love interest.

“Captain America” opens in the present before it reverts to the past. Typically, movies with contemporary openings and endings sacrifice any sense of suspense. After all, you know if the characters thrive in the present that they must not have suffered in the past. Basically, this constitutes nothing more than a narrative cinematic convention. The chief difference here is that we’re only given a glimpse of Captain America’s legendary star-spangled shield instead of the eponymous protagonist himself. Anyway, the film unfolds in the frozen wasteland of the Arctic Circle as a Russian oil expedition stumbles onto something buried in the ice. They contact the Americans who slice into the ice with a laser, find a commodious craft of unknown origin, and uncover a circular red, white, and blue shield with a star. The scene shifts to March 1942 as despicable Nazi officer Johann Schmidt (Hugo Weaving of “The Matrix”) and his men storm into Tønsberg, Norway, and confiscate an enigmatic tesseract. Essentially, this is a magical cube boasting incalculable power. Supposedly, the tesseract was a fabulous jeweled artifact that belonged to the legendary Norse god Odin. Once anybody lays their eyes on it, they are no longer the same.

Meanwhile, in New York City, the U.S. military brands Steve Rogers (Chris Evans) unfit for duty owing to a myriad of health problems. The resilient Rogers tries to enlist again when his buddy James Buchanan ‘Bucky’ Barnes (Sebastian Stan of “Black Swan”) takes him to a showcase of futuristic technologies. Dr. Abraham Erskine (Stanley Tucci of “Easy A”) eavesdrops on Rogers' conversation with Barnes about his desperate need to get into combat. Suitably impressed by Rogers’ attitude, Erskine allows him to enlist. Moreover, Erskine recruits Rogers as part of a "super-soldier" experiment under the aegis of Colonel Chester Phillips (Tommy Lee Jones of “Coal Miner's Daughter”) and Peggy Carter (Hayley Atwell of “The Duchess”). Phillips displays considerable skepticism about Erskine's contention that Rogers qualifies as the ideal candidate for the procedure. One day during a training exercise, Phillips lobs a grenade among the recruits. Everybody but Rogers scrambles for cover, while he smothers the grenade with his frail body. Predictably, the grenade is a dummy, but Rogers’ act of self-sacrificing bravery convinces the colonel that he is the appropriate choice.

No sooner has Rogers emerged from the procedure as an entirely new man with a buffed up body than a Nazi saboteur steps in and kills Erskine. As it turns out, Erskine keep no notes except those in his head. After Erskine dies, Rogers experiences his new-found strength and captures the saboteur. The saboteur lives long enough to warn Rogers that he has to face more of his kind before he crunches on a cyanide capsule and croaks. Roger wins fame and acclaim across the country, but he suffers a setback because he is the first and only of his kind. Colonel Phillips reassigns him and Roger ends up at War Bond rallies where he acts like a cheerleader surrounded by dancing girls. Eventually, when our hero learns that his best friend has been caught, he disobeys orders and leads an inspirational rescue behind enemy lines. Now that Rogers has proven himself, he must face the Red Skull. The Red Skull is Nazi officer Johann Schmidt and he is so ambitious that he not only wants to crush America but also Adolf Hitler. Talk about a villain to end all villains!

Anybody who has read the reprints of the World War 2 era “Captain America” comic book should be thrilled with the way that “The Chronicles of Narnia” scenarists Christopher Markus and Stephen McFeely have handled the original material by Joe Simon and Jack Kirby. Of course, Johnston and his scribes have ratcheted up the hardware for the big transformation scene that turns Steve Rodgers into Captain America. In the original comic, instead of being injected with several drugs and sprawling in a large contraption, Rogers was given a vial of chemicals that he drank before he turned into the eponymous hero. Altogether, “Captain America” is a predictable but entertaining comic book movie with sensational special effects and a sympathetic hero. If you are a Marvel Comic fan, you should stick around after the lengthy end credits for a glimpse of the forthcoming “Avengers” film due for release in May 2012.

FILM REVIEW OF "COCAINE FIENDS" (1935)

Compared to “Reefer Madness,” “Cocaine Fiends” (** out of ****) treats its subject matter with more gravity. Mind you, this constitutes a left-handed compliment for “Primrose Path” director William A. O’Connor. Interestingly, the original theatrical title was “The Pace That Kills.” Moreover, this sound-era version is a remake of the 1928 silent original that O’Connor co-helmed with Norton S. Parker. Considering its subject matter, this black & white film never depicts the addicts using narcotics. Once scene occurs in an Asian opium den, and the addict urges an Asian woman to accelerate the process. Prostitution is suggested rather than shown as is the abuse of cocaine. Despite its occasional lapses in coherence, “Cocaine Fiends” is considerably more realistic about its subject matter, and the punishment that the junkies and the dope peddlers receive is not prescribed by judges or courtroom prosecutors.

“Cocaine Fiends” opens with a pretentious prologue. Not only does this prologue serve to establish the tragedy that lurks in this sad crime saga, but it also doubles as a call to action for people to thwart this illicit pastime. “Among the many evils against which our society struggles, one of the most vicious is the traffic in dope. In every community where the menace develops all the force which society can mobilize, including social agencies, doctors, law enforcement officials and government band together to stamp it out. Without such activity, the dope evil would run rampant. Yet it has long been recognized that one other powerful forces is necessary before the struggle can be completely successful. That force is an aroused and educated public awareness. It is the hope of aiding in developing such awareness that this picture has been produced. What happens to Jane Bradford may happen to anyone. There will always be “Jane Bradfords” until you Mr. Citizen, cooperate with the forces now fighting the dope evil to forever stamp it out of our land. The Management.”

In the first scene, Nick the Pusher (Noel Madison of "Missing Girls") and his partner are planning to expand their operation into new territory. Not only does Nick deliver the dope, but he also makes the collections. The local authorities are pursuing them at the outset. Nick gives them the slip and takes refuge at a roadside diner. He poses as “a collector for an oil company.” He assures the restaurant attendant, Jane Bradford (Lois January of “Border Caballero”), that racketeers have been chasing him. Meanwhile, the authorities pull over Nick’s associate and search his car without finding any contraband. Afterward, the cops drive over to the diner. Jane hides Nick in the back while the cops drink beer and discuss the case. Initially, Jane suspects these racketeers may not be criminals, but Nick convinces her otherwise.

Nick suggests Jane come to the city where she can earn more money. Jane explains that her mother and she are paying to put her brother through school. When Jane complains about all the excitement, Nick offers her “the grandest headache medicine in the world” which relieves all of Jane’s pain. Eventually, Jane follows Nick to the city but consents to board with his so-called friends until they wed. Little does poor Jane know that she is being kept in custody. Later, Jane learns from the woman that runs the house where Nick left her that she has been snorting “cocaine.” This revelation occurs less than 10 minutes into the action. Thereafter, Jane changes her name to Lil’ and begins a new chapter in her life.

Jane’s handsome brother Eddie (Dean Benton of “Life Returns”) goes to the city about fourteen months after his sister disappears. When he isn’t searching for Jane, Eddie works as a car hop at the Twin Barrels, a drive-in restaurant, where he meets Fanny. One of his favorite customers is Dorothy Farley (Lois Lindsay of “Gold Diggers in Paris”) who loves to ogle him. Meanwhile, Fanny (Sheila Bromley of “Desert Phantom”) buys some cocaine from Nick and introduces Eddie to it when he complains about fatigue. Later, the boss fires Eddie and Fanny because of their immoral behavior. Eddie suffers from cocaine withdrawal, and Fanny provides him with money for the drug. Initially, Eddie has no idea that he is a hop-head, until their land-lady makes the observation that he looks like "a hop-head." Dorothy shows interest in Nick, but her boyfriend Dan (Charles Delaney of "The Brass Legend"), warns her that Nick belongs to the mob. The biggest surprise in "Cocaine Fiends" is that Dorothy's boyfriend is an undercover cop. Eventually, Nick takes Dorothy hostage. Dorothy offers Jane a $1000 to help her escape. After she watches Eddie die from the narcotic abuse, Jane guns down the treacherous Nick.

“Cocaine Fiends” isn’t as hilarious as “Reefer Madness.” In the most atmospheric scene, O’Connor stages a suicide. Unfortunately, this is a depressing little drugsploitation film. The chief reason for its notoriety today is the use of cocaine as its subject matter. The interesting thing here is that the law never intervenes. Characters administer justice without the intervention of the courts. The evil gangsters die at the hands of the very people that they turned into junkies.

FILM REVIEW OF ''ZOOKEEPER" (2011)

Incongruity is the basis for the best comedy. Consider any clown. A clown has big ears, an enormous nose, voluminous pants, and elongated feet. Clowns exaggerate their physical appearance for laughs. Not only may the star in a comedy be a clown with outlandish features, like either Buster Keaton or Charles Chaplin, but the narrative in a comedy may also provide an element of incongruity. For example, the fish-out-of-water comedy contains characters struggling to fit into the puzzle of an unknown environment. They may be working at a new job. They may have to deal with unfamiliar people. These new friends may use another language and cherish strange customs with which our hero lacks familiarity. Consequently, the hero ends up behaving like a buffoon because he is out-of-place.

"Waterboy" director Frank Coraci's new featherweight comic misfire "Zookeeper" (** out of ****) relies on incongruity for its few funniest moments. More often than not, the slapstick takes a backseat to a saga which swirls bromance with romance. When he isn't bonding with a depressed male gorilla, Kevin James cavorts with two attractive heart-breakers: Rosario Dawson and Lesley Bibb. One gal is right for him, but the other is dead wrong. The trouble is that our hero wouldn't recognize the right woman even if he were looking her in the face so he becomes infatuated with the wrong one. Imagine what would happen if you combined "Night at the Museum" with "Dr. Doolittle" and you'll have a good idea what to expect from "Zookeeper." The big surprise—the only surprise--is that the animals break their vow of silence and speak their piece when our hero thinks about quitting his zoo job. Several major stars, including Adam Sandler, Sylvester Stallone, Cher, Jon Favreau, Nick Nolte, and Faizon Love, furnish the voices for these real-life animals.

Unfortunately, these animals generate little charisma, and they aren't very interesting as characters. They constitute stereotypes on parade with nothing to distinguish them aside from the celebrity's voice-over. Nevertheless, they do provide a support group for our loser hero so he can discover his one true love. Remember incongruity? A comedy with animals advising a human how to conduct a romantic relationship encapsulates incongruity. Some of those comedic incongruities and our hero's idiocy may make you question the film's PG rating. Otherwise, "Zookeeper" qualifies as an affable but anemic Kevin James comedy about one of his typical nice-guy protagonists who finds himself romantically challenged at the game of love. Neither the former "King of Queens" TV star nor his female co-stars conjure up any chemistry. As one of the producers, James makes moments for his own brand of dumb physical slapstick shenanigans. No, "Zookeeper" isn't nearly as hilarious as "Paul Blart, Mall Cop." You can count the laughs on one hand and have fingers left over, unless you are between ages five and eight.

Our sympathetic hero works at Boston's Franklin Park Zoo. The animals adore him. He adores the animals. Trouble is that our big lug of a hero has become infatuated with a gorgeous gal who works as a fashion model. Stephanie (Leslie Bibb of "Law Abiding Citizen") likes Griffin Constantine Keyes (Kevin James of "Grown-Ups"), but the shallow supermodel doesn't love the big lug. The apple of our hero's eye is seeking status conferral for the sake of status conferral. "Zookeeper" opens promisingly as Griffin and Stephanie are riding together on one horse along a deserted stretch of beach. When they spot a bottle in the sand, they dismount to check it out. Stephanie removes the note which turns out to be Griffin's proposal, and he presents her with a ring. Stephanie turns Griffin down because he is a lowly zookeeper. As the two are riding away, a Mariachi band appears and serenades them. Moments later, fireworks erupt and scintillate the sky. Griffin feels like an idiot, and Stephanie is just plain embarrassed.

Five years elapse, and Griffin's brother is about to tie the knot with his own marriage when Stephanie appears and shows an interest in Griffin. When Griffin considers quitting his job at the zoo to sell cars for his brother, the animals speak out and coach him in the art of seduction. The loquacious capuchin monkey voiced by Adam Sandler suggests that our hero throw his poop at his favorite girl. The lion voiced by Sylvester Stallone recommends that he cut his girl out of the herd. stresses the importance of urinating as a part of the courtship. You can see where this is going. Eventually, the animals suggest that he take a date of his own to intrigue Stephanie. Who could be more ideal as a date than his co-worker, Kate (Rosario Dawson of "Kids"), goes out with him and it doesn't take long for our hero to realize that he has been chasing the wrong lady. Moreover, despite the hike in pay, Griffin realizes that he cannot change himself, especially what he likes doing at the zoo.

The filmmakers do an adequate job of making the animals look as realistic as possible even when they are conversing with each other. Of course, nobody but Griffin knows that this menagerie can squawk and squabble. The animal that comes closest to making an impression is a brooding gorilla (voiced by Nick Nolte) named Bernie who has been unjustly framed for attacking another zookeeper. Shane (Donnie Wahlberg of "Saw 2") made up the incident with malice aforethought. As a result, Bernie has been ostracized to a pit and doesn't enjoy the view that he had in his previous enclosure. Eventually, Griffin takes Shane to task for this perfidy. What should have been the best scene occurs when Griffin takes Bernie to T.G.I. Friday's Restaurant. He convinces Bernie to act like they have attended a costume party. Nothing really hilarious happens. Later, James's best moment comes when he upstages Stephanie and her abrasive boyfriend (Joe Rogan of "The Fear Factor") at the wedding with an airborne dance number with Rosario Dawson that suddenly takes a turn for the worst.

Altogether, "Zookeeper" is no keeper.