Likable Willis keeps viewers ‘Hostage’

JIM ERWIN

How far will a man go to protect his family? Will he disregard law

and order and play by his own rules?

Yes, “Hostage” is a very silly movie, but Bruce Willis has enough

charisma to make a stinker like this fun to watch.

This movie is based on a novel by Robert Crais, but don’t expect

“Hostage” to be nominated for best-adapted screenplay. It’s basically

a hybrid of “Die Hard” and “Home Alone.” Another alternate working

title might have been, “The Passion of Bruce Willis.” The story is

convoluted and the plot has more holes than Albert Hall, even when

judged solely by action movie standards.

Jeff Talley (Willis) is a SWAT negotiator who literally has blood

on his hands when he fails. After the stress of the job becomes too

much, he leaves the Los Angeles Police Department and takes a job as

the chief of police in a small town in Ventura County.

Unfortunately, things don’t stay quiet in the city of Bristo

Camino. A trio of incompetent crooks bungles a home burglary and the

situation quickly spirals out of control. Talley once again finds

himself facing a hostage situation.

The twist is that the homeowner is a crooked accountant who is

employed by some very powerful shadowy figures. These unknown men of

power kidnap Talley’s family and hold them hostage to make sure that

Talley allows them to protect their financial interests inside the

home.

I was able to suspend disbelief and play along with this subplot

up to a certain point, but “Hostage” becomes a laugher during the

final act. Director Florent Emilio Siri’s use of religious imagery

and symbolism is what really makes “Hostage,” into a movie that

you’ll love because it’s so awful. Despite all of this, I had fun

watching “Hostage.” While this isn’t one of Willis’s better movies,

he’s always likable. We always pull for him, no matter how ridiculous

things become.

If you’re a Willis fan, you’ll enjoy it. The only caveat is that

“Hostage” is probably best as a left as rental.

* JIM ERWIN, 40, is a technical writer and computer trainer.

‘Robots’ is a portal to a different world

As I sit through some of the truly amazing computer-generated

animation that is available in our theaters today, I often think of

just how jaded we’ve become, that we no longer marvel at these

creations.

The latest such offering is “Robots,” co-directed by Chris Wedge

and Carlos Saldanha, the same partnership that created the hugely

successful “Ice Age” in 2002.

“Robots” is really much more than simply another quickly forgotten

chapter in the still-evolving world of computer-generated animation.

Rather, the film acts as a portal to a fully realized universe where

nothing resembling the natural world exists. The film is somewhat

schizophrenic as it portrays a future where no human, or indeed

anything biological, exists while also displaying an art deco look

reminiscent of 1930’s comic books and pulp novels.

Since “Robots” is set in the two fictitious venues of Rivet City

and Robot City, virtually every surface appears to be made of metal

and the palette of vivid colors has the luster and depth of baked-on

porcelain.

“Robots” relates the story of Rodney Copperbottom (voice of Ewan

McGregor). Rodney is a fledging inventor living in the small town of

Rivet City, who dreams of making it big in the metropolis of Robot

City. Rodney’s father (Stanley Tucci) is a dishwasher (literally, as

the appliance forms the bulk of his torso) and once dreamed of being

a musician.

Robot City’s most famous citizen is a tycoon named Big Weld (Mel

Brooks) who broadcasts a TV show extolling the virtues of his

inventions and company. Rodney sets out to Robot City to show Big

Weld one of his inventions.

Upon arriving, Rodney meets Fender (Robin Williams at his most

manic). Fender is a con artist of sorts who, after unsuccessfully

trying to sell snapshots to the newly arrived Rodney, agrees to show

him how to get to Big Weld’s headquarters via Robot City’s public

transportation. This segment is wildly imaginative as the transit

system incorporates aspects of pinball machines, roulette wheels and

gyroscopes in bouncing Rodney and Fender toward their ultimate

destination.

What follows is a wild ride through the Robot City with elements

borrowed from such disparate sources as “Les Miserables,” “The Wizard

of Oz,” “Star Wars” and even a Britney Spears’ video. The action is

nonstop and there are plenty of funny lines to go around. “Robots”

does manage to maintain its detail and focus throughout, despite the

frantic pace.

“Robots” is a remarkable achievement in its own right. If you

enjoyed “Ice Age” and the numerous Pixar efforts, “Robots” will not

disappoint.

* VAN NOVACK, 50, is the director of institutional research at Cal

State Long Beach and lives in Huntington Beach with his wife

Elizabeth.