On a Wing and a Prayer.

Also in this weekend’s trailer bin: Hillary Swank channels famed aviatrix Amelia Earhart in our first look at Mira Nair’s Amelia biopic, also starring Richard Gere, Ewan MacGregor, and Christopher Eccleston. And vampire-of-the-future Ethan Hawke tries to find alternatives to a rapidly dwindling blood supply in the trailer for the Spierig brothers’ B-movieish Daybreakers, also with Willem DaFoe and Isabel Lucas. They had me at Sam Neill.

Update: In a world based on the whole truth and nothing but, Ricky Gervais develops an exceedingly useful skill in the new trailer for The Invention of Lying, also with Jennifer Garner, Tina Fey, Rob Lowe, Louis C.K., Patrick Stewart, Jason Bateman, Jonah Hill, John Hodgman, Christopher Guest, Jeffrey Tambor, Nate Corddry, and, of course, Stephen Merchant. (And, if you stick around, you’ll get one I missed earlier: John Cusack and child running away from scary pixels in Roland Emmerich’s The Day After The Day After Tomorrow, a.k.a. 2012.)

Murders Most Foul.

Some new trailers for films I likely won’t see: Orlando Bloom, Bill Paxton, and Bobby Cannavale face trouble in paradise in the new trailer for Haven, Brian De Palma and James Ellroy return to their respective wheelhouses with Josh Hartnett, Scarlett Johansson, Aaron Eckhart, and Hillary Swank in the true-crime thriller The Black Dahlia (not to be confused with Hollywoodland), Buffy faces the Case of the Haunted House in this look at The Return, and Napoleon Dynamite takes on Billy Bob Thornton (with Todd Louiso, Horatio Sanz, Michael Clarke Duncan, and Ben Stiller in tow) in the new frat pack venture, School for Scoundrels. Ok, I might catch Dahlia for the Ellroy/Eckhart factor, although I’ve been burned by too many bad De Palma flicks of late. Snake Eyes, Mission to Mars and Femme Fatale, anyone?

Inflated Currency.

Hmmm. A million dollars sure doesn’t go as far as used to. (And you’d think with that kinda cash Clint could have invested in a few more lights around the set.) At any rate, I’m willing to bet I might have thought more of Million Dollar Baby if I had seen it before the hype machine kicked in (and before I knew the twist, since I kept waiting for the other shoe to drop.) But, well, MDB was a harmless helping of manipulative schlock, I guess. But even if I hadn’t seen Aliens of the Deep just beforehand, this film would have come off as a woefully two-dimensional enterprise.

At this late date, you probably know the story. Grizzled archetypal trainer Clint Eastwood and his grizzled archetypal sidekick Morgan Freeman run a dark and dilapidated boxing facility, without benefit of loyal title contenders or fluorescent lighting. Into this duo’s endless Who’s More Grizzled repartee steps Hillary Swank, a plucky, gosh-darned-don’t-that-girl-have-heart boxer-wannabe from the wrong side of the tracks, who’s burdened with the scariest, goofiest redneck family this side of The Texas Chainsaw Massacre. (And don’t even get me started on Cletus, or Forrest, or Danger, or whatever that gimpy kid’s name was.) Soon enough, plucky Swank has even managed to thaw the heart of frosty ole Clint, and together they make that long-awaited title run, until…ack!

Like I said, MDB was ok enough as a hammy diversion, but I’d say its emotional resonance wasn’t too far removed from the Touched By an Angel melodrama of last week’s The Jacket. It’s a by-the-numbers boxing movie that turns into a by-the numbers Lifetime movie-of-the-week. Sure, the acting is polished across the board, but I thought the characters were for the most part shallow and cartoonish. (In fact, Morgan Freeman is barely even playing a character — he’s a Shawshank voiceover tinged with a touch of Bagger Vance.) And the plot barely holds together — I’m sorry, but, Evander Holyfield’s ear notwithstanding, you’re just not going to get away with that many sucker punches in a title fight.

I’m probably being a bit too hard on this flick — it made for a reasonably engaging two hours, sure. Perhaps it even works as an homage to the Hollywood of yore — at times this felt like a Karl Malden vehicle from 50 years ago. But, simply put, this was in no way the best film of last year — I’ll take Eternal Sunshine, The Aviator, Sideways, The Incredibles and a host of others over MDB any day of the week and twice on Sunday. This isn’t even the best Clint film in recent years – Mystic River was much more well-realized, and obviously Unforgiven is head-and-shoulders above this drek. How MDB won the Oscar bout is beyond me…Call McCain — the fix was in.

Oscar 2005.

Hmmm…strange how the T2 score became the new Oscar theme. At any rate, Jamie Foxx and Cate Blanchett notwithstanding, it looks to have been a Million Dollar evening…and Marty went home Oscarless again. (Pickwise, I did rather poorly.) Ah well, at least Chris Rock was funny and Charlie Kaufman won for Eternal Sunshine. In my own personal Oscars, it racked up.

Blockbuster Friday.

So this Friday, I finally caught up with a number of films I’ve been meaning to see, among them:

The Ring (US): A very scary premise, and after the teenage sleepover setpiece I thought this might be one for the ages. But, although the ending somewhat redeems it, this film feels like a missed opportunity. I haven’t yet seen Ringu, so I don’t know how it measures up, but turning the bulk of the film into a Nancy Drew mystery was a straight-up horrible call. After a truly frightening intro, the movie then spends most of its running time lining up all the images on the tape with the ghost story at hand, with all-too-frequent flashbacks in case you’re a short-term amnesiac or something. What everybody involved seems to have missed is that the movie would’ve been much scarier, at least to my mind, if some portions of the tape had just been left unexplained. Instead, the powers-that-be left unexplained key plot elements in the story, such as how little boy Watts sees dead people. I think in another director’s hands – a director unafraid to take risks and one who has a little more faith in her audience to put two and two together – this could’ve been very, very scary. (Although it’s not as bad a swing-and-a-miss as the US version of the The Vanishing.) So, with that in mind, I’m looking forward to seeing Ringu.

Igby Goes Down: I’m really not a big fan of the “unrealistically erudite young NY sophisticate” genre – I liked Rushmore a lot less than most people I know and I find Whit Stillman films to be absolutely insufferable. So when Igby suggests his brother’s a pedantic bore for liking Rilke and later wryly namedrops “The Island of Lost Toys,” I visibly shuddered. But, all in all, Kieran Culkin is rather appealing in the title role, and – with solid support from Susan Sarandon, Jeff Goldblum, Amanda Peet, Bill Pullman, and Jared Harris – this one turned out to be more enjoyable than I had earlier feared. Claire Danes seems miscast, and I just don’t get what it is about the one-note “clipped and distant” monotone of Ryan Phillipe’s delivery in every film that anyone finds appealing (he’s got less range than Keanu), but, in the end, this one made for a decent rental.

Far From Heaven: I’m hit-and-miss with Todd Haynes films – I thought Safe was splendid and bizarre, but didn’t vibe into the puzzling Velvet Goldmine at all (I am looking forward to his Dylan biopic project.) And, to be honest, this one suffered a bit from being the middle child in my Friday triple feature – I found my attention flagging quite a bit in the early going. Which is a shame, because in the end this turned out to be quite a good film, if a little on the slow side. I thought the retro look and feel started out rather gimmicky (for example, in the lime green police station where Julianne Moore picks up her husband), but settled down as the story took over. And I think I probably would have liked it more if (a) I hadn’t just sat through Igby and (b) if I were more well-versed in the films of Douglas Sirk. But, worth seeing, and Dennis Quaid and Patricia Clarkson were particularly good.

The Core: Without a doubt a poor, poor film, and yet I enjoyed myself much more than at the drab and slow-moving Dreamcatcher. It helped that this film is stocked with actors I generally root for – Aaron Eckhart, Bruce Greenwood, Delroy Lindo, and Stanley Tucci. (As for Hilary Swank…well, I haven’t yet seen Boys Don’t Cry, but I gotta believe she’s much better in that than she was in this, although Halle Berry won recently too and – frankly – she’s rarely any good either.) To be sure, the special effects are well on this side of lame – for example, when the crew get stopped somewhere in the center of the Earth and find themselves inexplicably on the Star Trek: TNG Away Team set…I half-expected Morlocks or Cave Trolls or something to show up. And the story makes very limited sense (as a friend of mine pointed out, how does gravity work on this ship? Everybody’s standing around normally while this bird is digging straight down.) But, as a popcorn film, The Core was reasonably entertaining for two hours, even though I really can’t recommend it.

Next up, I’d like to catch The Good Thief and Ghosts of the Abyss before the fanboy films start flying fast and furious on May 2, with the so-far-well-received X2.