LaurenLondon Tagged Articles at Cinematical

How do you transform a very funny book into a dreadfully boring movie? I laughed more from reading the first five pages of Larry Doyle's novel than I did during the entirety of Chris Columbus' film version of I Love You, Beth Cooper, despite the fact that Doyle wrote the screenplay. Much of the dialogue is lifted directly from the book, but when spoken on screen, the lines fall painfully flat. That leaves the attempts at physical humor, which are constant, and will tickle to death only those who love to see pratfalls: "Look, Mommy, man fall down and cry out in agony! Ha, ha!"

Leaving aside the source material and the film's relative faithfulness to it, I Love You, Beth Cooper might have worked as either a joyful, gleefully mischievous, yet ultimately conservative rebel yell (a la Ferris Bueller's Day Off) or as a funny yet thought-provoking tale of teenagers finally growing up (a la Dazed and Confused). Like those two infinitely superior movies, I Love You, Beth Cooper takes place over the course of one eventful day in the life of its teen-aged subjects, but Columbus can't decide whether the movie should be an uncomfortable comedy of embarrassment and humiliation or a sweet, sentimental romance. The tone wavers uncertainly throughout -- often within individual scenes -- and the film's general inertia quickly becomes wearisome.

Hayden Panettiere makes for an unlikely Beth Cooper. She's meant to be a high school dream girl, a fantasy figure concocted by the awkward, hapless Denis Cooverman (Paul Rust) through all the years that he's sat behind her in class and stared at her picture on his bedroom ceiling.

Maybe it's because I just sat through the lazy, depressing Fred Claus. Maybe it's because I was expecting Tyler Perry in drag. Maybe it's because my holiday spirit is at an all-time low. Whatever the reason, This Christmas came as a complete surprise. I kinda loved the thing.

Loretta Devine plays Ma Dear, the matriarch of a sprawling Los Angeles-based family with a whole lot of secrets. A whole lot. There's Quentin (Idris Elba, Stringer Bell on The Wire -- the best show on television), a musician who owes big money to some bookies. There's Lisa (Regina King), trapped in an emotionally abusive marriage with the hissable Malcome (Laz Alonso). There's Kelli (Sharon Leal), a sexually frustrated businesswoman. There's Claude (Columbus Short), in love with a woman (Jessica Stroup) he's scared to introduce to his family. Ma Dear has a secret of her own regarding Joe (Delroy Lindo), something of a surrogate father to the Whitfield clan. Oh, and Baby (R&B sensation Chris Brown)? He wants to sing, damn it!

That's a lot of stories to keep afloat, and writer/director Preston A. Whitmore II handles that list and many more mini-dramas with ease. It's quite the balancing act. Whitmore has written and/or directed several smaller projects since 1995's Vietnam drama The Walking Dead, but Christmas will put him on the map in a big way.

There is a wonderful, unexpected charm to ATL, a charm that belies its unoriginal story and cliched characters. In the hands of video director Chris Robinson, the film’s well-worn tale of growing up poor and black is given new life through a refreshing youth and an almost irrepressible joy that make the film a pleasure to watch.

ATL is primarily the story of Rashad (played with effortless charisma by Atlanta rapper Tip “T.I.” Harris), a high school senior whose parents were killed in a car accident three years before. Since then, along with his little brother Ant (the impressive Evan Ross), Rashad has lived with his janitor uncle (Mykelti Williamson) and quietly saved money in the hope that, though he expects to work alongside his uncle for the rest of his life, he’ll be able to help Ant get out of Atlanta, and live a better life. Despite his fierce exterior, there’s something fanciful to Rashad, from his meticulous cartoons to his reoccurring fantasies about being alone and free, with no problems and no responsibilities.