‘The Butler’

Forest Whitaker stars as Cecil Gaines in “The Butler”. (photo courtesy of p the Weinstein Company)

I imagine in the early stages of development, executive producer Oprah and studio heads saw “The Butler” — the story of longtime White House butler, Cecil Gaines (Forest Whitaker) — as an awards contender: Whitaker for best actor once more, Oprah for best supporting actress, and maybe a few others. Alas, a film like this doesn’t premiere at the end of summer with any delusions of grandeur. Enjoyable yes, but it crumbles under the weight of a screenplay that wants to be “Forrest Gump” in its movement through history, but it mutates into something far less lasting –– fragmented scenes of worth being thrown together in an uneven biopic.

Not even an “Expandables” film has this many shameless cameos and bit parts. First, meet your White House residents: Dwight D. Eisenhower (Robin Williams), Richard Nixon (John Cusack), John F. Kennedy (James Marsden), Jackie Kennedy (Minka Kelly), Lyndon B. Johnson (Liev Schreiber), Ronald Reagon (Alan Rickman) and Nancy Reagan (Jane Fonda). Next, even Martin Luther King, Jr. (Nelsan Ellis) cameos, along with Mariah Carrey as our butler’s physically abused mother, Hattie. Then there’s the supporting cast: the womanizing friend, Howard (Terrance Howard); fellow White House staffers and close friends, Carter (Cuba Gooding, Jr.) and James (Lenny Kravitz); and finally the distraught wife, Gloria (Oprah Winfrey).

Rather than rely on “Blindside-style” sentimentality, “The Butler” problematizes the glory of the White House. However, by the end, Cecil is supposed to be honored for years of service — as the melodramatic score implies — but he spends most of the film yelling at his son, Louis (David Oyelowo), for joining the Freedom Bus, MLK’s marches and the Black Panther Party. This isn’t the inspiring story of a remarkable man. I’m not sure what it is. At least it knows how to pull on those heart strings.

I realize this is based on the life of White House butler Eugene Allen, but what appears on screen seems like obligation –– obligation to the entirety of civil rights history (a lofty goal to accomplish in a little over two hours), obligation to Allen’s memory (if ever so loosely) and obligation to depict public figures both supportive and resistant to social change. Sadly, there’s little obligation to construct a lasting film.

‘Kick-Ass 2’

Aaron Taylor-Johnson stars as a young masked hero, Kick-Ass, and Chloë Grace Moretz appears as the blade-wielding, Hit Girl, in “Kick-Ass 2”, the follow-up to 2010’s irreverent hit film. (photo courtesy of Universal Pictures)

Mark Millar’s dark comedy, superhero comic book series returns to the big screen. But while the comic book might don the subtitle “Balls to the Wall”, “Kick-Ass 2” tragically omits it both in title and tone. Director Matthew Vaughn created a potential game changer in 2010, but “Never Back Down” director Jess Wadlow isn’t up for the task in this convoluted sequel. It’s a mess, but at least it’s an entertaining and mostly fun mess.

While Kick-Ass (Aaron Taylor-Johnson) — Dave Lizewski by day — hung up his green wet suit, many everyday citizens followed his lead, like Colonel Stars and Stripes (Jim Carrey), Night Bitch (Lindy Booth) and Doctor Gravity (Donald Faison). Dave might just be a sexually charged, angst-ridden high schooler, but when the mean streets call, he answers –– especially when former villain Red Mist (Chris D’Amico), now under a new supervillain name I won’t say here.

To take on his nemesis and an army of supervillains, Dave calls upon Hit-Girl/Mindy (Chloë Grace Moretz) for help. Remember this 11-year-old demon spawn? Her pops did some serious emotional damage when he turned her into an unstoppable vigilante. Now in high school, she doesn’t know what she wants in life. Even when auditioning for cheerleading, she has to visualize ninjas attacking to get the job done.

“Kick-Ass” was a brilliant film: intensely gory, irreverent humor and inventive fight sequences. Its less mature sequel has moments of inspiration, but lacks the courage to follow through. At times, the “Kick-Ass” we knew emerges, but a stock superhero tone immediately follows with cliché justice-for-all dialogue and combat sequences easily found in the average action film. Where’s the blood? The decapitations? Where’s Kick-Ass living up to that on-the-nose name? And why was Hit-Girl more foul mouthed just north of 10 than as a 15 year old? It is still rated R, so why not earn that rating.

Yes, “Kick-Ass 2” is far from terrible. It’s actually quite re-watchable. But it could have been one of the best films of the year with a different director and clearer vision.