Due Date

Starring: Robert Downey Jr., Zach Galifianakis, Michelle Monaghan
Directed by: Todd Phillips (“The Hangover”)
Written by: Alan R. Cohen (TV’s “King of the Hill”), Alan Freedland (TV’s “King of the Hill”), Adam Sztykiel (“Made of Honor”), Todd Phillips (“Old School”)

We’ll give overrated director Todd Phillips (“The Hangover,” “School for Scoundrels”) the benefit of the doubt and say his new comedy “Due Date” is a homage to 1987’s John Hughes classic “Planes, Trains and Automobiles” and not just a raunchy rip-off. With that said, “Due Date” isn’t a lot of other things as well, primarily funny.

Yes, there are amusing moments in “Due Date.” It would be impossible to go through an entire feature film without laughing at something “Hangover” scene-stealer Zach Galifianakis does or without enjoying the darker comic situations conveyed through yet another of Robert Downey Jr.’s cynical characters.

But overall, the odd pairing of Downey Jr. and Galifianakis is far from enough. “Due Date” is nothing more than a barrel-full of cheap and obvious jokes that will hit with mainstream audiences who think the bearded one can do no wrong.

In “Due Date,” Peter Highman (Downey Jr.) is forced to travel cross country with aspiring actor Ethan Tremblay (Galifianakis) when the two are somehow put on the no-fly list after a ridiculous scenario at the airport with Homeland Security.

Although he is worried he won’t make it from Atlanta to L.A. to witness the birth of his first child, high-strung Peter takes his chances with Ethan, a slouchy guy with “90 friends on Facebook…12 of them are pending” and a dream to star on a sitcom as beloved as “Two and a Half Men.”

What follows is a dim-witted road trip fastened together by scenes of Galifianakis acting as quirky as he can without the slightest bit of common sense. This might work in a movie like “Dumb and Dumber,” but not in a comedy that wants to be both stupid and sincere all in the same breath.

Downey Jr. and Galifianakis have some chemistry that keeps “Due Date” from ending up a lost cause, but without a script that really drives the story forward all that’ s left are gags featuring masturbating mammals and a joke where Galifianakis’ character mistakes a sign that says “Mexico” with “Texaco.” Could the screenwriter really not get any clever than that?

Iron Man 2

Starring: Robert Downey Jr., Mickey Rourke, Sam Rockwell
Directed by: Jon Favreau (“Iron Man”)
Written by: Justin Theroux (“Tropic Thunder”)

If personality makes up the majority of a superhero’s likability, Iron Man should be considered the Marvel comic book character you’d love to hate.

That’s not to say two-time Academy Award-nominated actor Robert Downey Jr. has lost all the charisma that made the 2008 original blockbuster film so downright entertaining and original. Even when Downey Jr. isn’t donning the maroon and gold mechanical suit that transforms him into a weapon of mass destruction, he has another captivating persona he can fall back on.

Meet Tony Stark. While you might know him from the first “Iron Man,” the sequel, aptly called “Iron Man 2,” allows us to meet the man inside the machine on a more personal level. In the film, Tony seems to be running on fumes. As Iron Man, he can still hold his own against anyone that comes his way, but as a mortal, the genius billionaire industrialist has a serious problem.

The power source embedded in his chest, which is keeping him alive, is also slowly poisoning him. Along with his health issues, Tony is butting heads with the U.S. Senate, who wants him to turn over his Iron Man machinery. The Senate says his invention is a threat to national security especially if a country decides to copy the technology and use it against the U.S.

Tony refuses to relinquish his work stating that it would take years for someone to duplicate what he has done. He is oblivious to the fact that Russian physicist Ivan Vanko (Mickey Rourke) has already engineered his own version of the suit and fastened it to himself to transform into the electromagnetic super villain known as Whiplash. When he teams up with Tony’s major weapons competitor Justin Hammer (Sam Rockwell), the two set out to develop an army of drones that would take the arms race by storm.

Replacing Terrance Howard from the original, Don Cheadle plays Lt. Col. James Rhodes, who later attempts to put a stop to Tony’s destructive ways caused by his alcohol problem. Although he manages to spiral downward fairly quickly, love interest Pepper Potts (Gwyneth Paltrow) doesn’t give up on him that easy. Neither does S.H.I.E.L.D. front man Nick Fury (Samuel L.  Jackson) who makes sure Tony’s talents aren’t wasted. His stubbornness to join the secret agency known as the Avengers will be short-lived since all these Marvel movies are linking together for one giant superhero reunion in the next few years.

No matter what is being planned for the future, “Iron Man 2” is able to stand on its own. It works well with enough action sequences, fight scenes and some interesting characters, none of which match the humor and charm of Downey Jr. who again makes the movie his own personal and egotistical show.

Sherlock Holmes

Starring: Robert Downey Jr., Jude Law, Rachel McAdams
Directed by: Guy Ritchie (“RocknRolla”)
Written by: Anthony Peckham (“Invictus”), Simon Kinberg (“Jumper”), Michael Robert Johnson (debut)

It’s really not necessary to walk into the hip new version of “Sherlock Holmes” knowing anything about the legendary 19th century detective stories written by Sir Arthur Conan Doyle. Actually, it might benefit moviegoers to forget anything about the English gumshoe they might have learned in prep school.

While there are some glimpses of Doyle’s source material, director Guy Ritchie (“RocknRolla,” “Snatch”) attempts to amp up this Holmes tale for the next generation, but fashions it around a mass-appealing storyline that becomes more soupy that scholarly.

That shouldn’t take anything away from two-time Oscar nominee Robert Downey Jr.’s stylish portrayal of the title character. As Holmes, Downey Jr. commands the screen as the world’s most famous, fist-fighting detective. Here, he is matched up nicely with actor Jude Law, who is a solid casting choice for Holmes’ sidekick, Dr. Watson. Despite the impressive paring and chemistry, screenwriters Anthony Peckham (“Invictus”), Simon Kinberg (“Jumper”), and newcomer Michael Robert Johnson can’t match the magnetism of Downey Jr. or the menacing art direction that turns London into a tarnished locale.

In the film, Holmes and Watson are on the heels of Lord Blackwood (Mark Strong), a serial killer involved in black magic who apparently rises from the dead after the duo watch him hang for the murders he committed. From there, the film falls into a tale of world domination that is hardly unique on any level. Blackwood wants to bring down Parliament with a chemical weapon. Holmes must find him before he does. Where’s Guy Fawkes when you need him?

An under-used Rachel McAdams (“The Notebook”) plays Irene Adler, a secondary character only mentioned in one of Doyle’s numerous writings but is undoubtedly high on the Holmes hierarchy. The always-reliable Eddie Marsan plays Scotland Yard’s Inspector Lestrade with his usual bitter approach to his characters.

Set pieces aside, “Sherlock Holmes” goes as far as the supernatural-themed narrative allows it. There are some highlights in the film including the rousing action sequences Ritchie is known for, which work well for a while before we’re reminded that all the loose ends and twists still have to be revealed before the bloated story pops. Then, there’s the fantastic score by Hans Zimmer that is far removed from his usual extravagant musical offerings. The funky piano playing throughout reminds us that not every period blockbuster needs a swelling orchestra to be effective.

But when a film feels like all it’s doing in the final act is setting up for a sequel, something is wrong with its cinematic logic. There’s far more story to tell in the mystery series, but it’s insane for “Holmes” to stop short without a concrete promise of a follow-up or without earning the right to dole out cliffhangers. It really acts more self-important than it should. Just be thankful Holmes never utters the word “elementary” or things could have gotten really ugly on Baker Street.

The Soloist

Starring: Jaime Foxx, Robert Downey Jr., Catherine Keener
Directed by: Joe Wright (“Atonement”)
Written by: Susannah Grant (“Erin Brockovich”)

Based on a series of articles by Los Angeles Times writer Steve Lopez, the story of a Julliard- music-virtuoso-turned-street-vagabond is simply fascinating on so many levels. There are, however, limitations as to how deep a story like this can run before its momentum staggers into a standard biopic. In the case of “The Soloist,” the narrative should have stayed inside its original newspaper columns.

Leading the way in this inspirational story is Academy Award-winning actor Jamie Foxx (“Ray”) as Nathaniel Ayers, the aforementioned homeless musician, whose mental illness forces him to quit his dream to play the cello and leads him to a life of meager means.

With no family to turn to, Nathaniel finds friendship and emotional comfort from reporter Steve Lopez (Downey Jr.), who becomes intrigued with his latest subject after watching him perform on a two-stringed violin under a statue of Beethoven in L.A.’s Pershing Square. While Steve plays the observer for their first meetings for his piece, he soon becomes much more to Nathaniel as the everyday challenges he faces as a homeless schizophrenic become more and more life threatening.

While screenwriter Susannah Grant (“Erin Brockovich”) has some great material about the passion for music one individual feels, most of that sentiment comes from Foxx himself as he falls into a tranquil daze every time a bow hits a stringed instrument. While this aspect of Nathaniel’s life is essential in completing his character arch, Grant fails to complete her end of the bargain when intertwining a message of mental illness and homelessness. Both topics are placed on the same pedestal as Nathaniel’s natural music ability, which poses a problem.

By the film’s third act Nathaniel doesn’t seem like a musician without a home who has mental issues. Instead, he is projected as a crazy homeless guy who knows a thing or two about classical music. More time needed to be devoted to the musical side of the story although in Lopez’s written word the other issues are just as significant. In “The Soloist,” however, they’re stylized more than they need to be and ultimately skimmed over. The way these views are presented also clash with the idea that Nathanial has been blessed with an effortless gift.

While Foxx does his best to keep Nathaniel from becoming a caricature, Downey Jr. has more of a challenge when he attempts mold his character into someone other than a crutch. It’s a very one-dimensional take that doesn’t quite lift off past his newsroom desk. Even when Grant introduces more for Downey Jr. to grasp (Catherine Keener is sort of in the background as his ex-wife), the story line goes dissonant and nothing else is said about Steve’s own parallels to the film’s focus.

Director Joe Wright (“Atonement”) doesn’t seem to get his mind around the noteworthiness of the story. “The Soloist” might be soothing at times, but that’s what also makes it all the more aggravating once the music dies.

Tropic Thunder

Starring: Ben Stiller, Jack Black, Robert Downey  Jr.
Directed by: Ben Stiller (“Reality Bites”)
Written by: Ben Stiller (“Zoolander”), Justin Theroux (debut), and Etan Cohen (TV’s “King of the Hill”)

If you know who director/screenwriter Aaron Seltzer is, then you probably know that his contributions to movie spoofs in the past 12 years have been some of the lamest attempts in the comedy genre. From the superfluous “Scary Movie” sequels to bombs like “Date Movie” and “Epic Movie,” Seltzer has in someway been involved in a major portion of Hollywood’s parody awfulness.

So, when a movie like “Tropic Thunder” comes along and proves that satirical jokes can have a bit more snarky bite behind them, you have to scoop it up and consider it a nice surprise at the end of the summer movie season.

As a director, actor Ben Stiller doesn’t have much proof that he can carry a film like this. Although “Zoolander” had its moments, his only other outings as a filmmaker were with 1996’s “The Cable Guy” and 1994′s “Reality Bites.” Those films, however, didn’t have what Stiller is working with here, namely Robert Downey Jr. Yes, Downey Jr., like he does in his summer blockbuster “Iron Man,” steals the show.

In “Tropic Thunder,” Downey Jr. plays Kirk Lazarus, a multi-Academy Award-winning actor, who undergoes a controversial procedure to darken his skin for a role in a Vietnam War movie. The movie within the movie, “Tropic Thunder,” is having major production problems starting with its novice and frustrated director Damien Cockburn (Steve Coogan) and its pre-Madonna cast.

Along with Kirk, the role players on the set are Jeff Portnoy (Jack Black), a drugged-out comedian who relies on his half-wit humor in Hollywood to earn him a paycheck (hope you’re watching Eddie Murphy), and Tugg Speedman (Stiller), an action movie star whose latest role as a mentally retarded man earns him career-damaging criticism.

When Damien is confronted by Four Leaf Tayback (Nick Nolte), the real life war hero portrayed in his film, he decides that the only way he is going to get true performances out of his cast is if he shoots the movie deep in the jungles of southeast Asia, which are overflowing with dangerous drug lords. He’s also getting pressure from film producer Les Grossman (Tom Cruise, who shows his critics that he doesn’t always have to be stone-cold serious; remember “Goldmember?”), who’s demanding the crew finish the big-budget war epic without bankrupting the studio.

When Downey Jr., who is downright entertaining, is on screen, is when “Tropic Thunder” is its best. As a mixed bag of exaggerated comedy and action, I’d recommend “Pineapple Express” before this. Still, everyone involved in “Tropic Thunder” is never afraid to poke fun at all things taboo in Hollywood, and sometimes being that ballsy goes a long way.

Iron Man

Starring: Robert Downey Jr., Gwyneth Paltrow, Terrance Howard
Directed by: Jon Favreau (“Elf”)
Written by: Mark Fergus (“Children of Men”), Hawk Ostby (“Children of Men”), Art Marcum (“Shadow of Fear”), Matt Holloway (debut)

Flamboyancy goes a long way when it comes to superhero attractiveness, and in “Iron Man,” actor Robert Downey Jr. delivers the character’s unique mythology with enough exuberance you almost forget about letdowns like “Spider-Man 3.” It seems like someone has finally found his niche in the mainstream.

In Marvel’s “Iron Man,” based on the comic book by Stan Lee and crew, Downey Jr. plays billionaire weapons manufacturer Tony Stark. Call him a genius. Call him a lady’s man. Call him a war profiteer. If Tony is anything, it’s confident in his ability to provide the U.S. military with the most sophisticated weaponry ever created by man or machine.

Completely satisfied with his self-indulgent life of fast cars, loose women, and high-powered technology, Tony’s attitude toward his profession changes drastically when his convoy is attacked and he is kidnapped by insurgents in the Middle East. He is there to demonstrate to the U.S. Air Force the destructive power of his latest missile, the Jericho.

The tables are turned when Tony, while imprisoned in a cave somewhere in Afghanistan, is forced to build a Jericho missile for the enemy by using other Stark Industry weapons the insurgents have somehow gotten their hands on.

Believing they will most likely kill him whether or not he complies with their request, Tony, who has been injured and must now wear a magnetic device on his chest to keep the shrapnel from entering his heart, decides to instead use the scrap metal provided for him to build a full-body armor, which can be controlled from within like a robot.

Thus, the prototypical Iron Man is born and later enhanced once Tony gets back home and begins working on a model as sleek as his personality. There to keep all his day-to-day responsibilities in check is Pepper Potts (Gwyneth Paltrow), a loyal assistant who will most likely become a more integral part in Tony’s life in a future sequel.

Yes, sequels are in this franchise’s future, which means, unlike one-hit flicks like “Daredevil,” there’s actually some gusto behind the directorial style of Jon Favreau and a solid start for “Children of Men” screenwriters Mark Fergus and Hawk Ostby and their team of comic book adaptors.

Despite some hollow characters played by Paltrow, Terrance Howard, and Jeff Bridges (Iron Monger just isn’t that interesting), it’s Downey Jr. who takes control of this entire prelude from start to finish. The others, however, are just making their debuts (Howard gives us a clue that he could be donning his own metallic suit in a future film), so it will be fascinating to see where the story can take us from here.

Don’t call Favreau Christopher Nolan just yet. Place him somewhere around the vicinity of Sam Raimi (“Spider-Man”) and thank whoever needs to be thanked for casting Downey Jr. and passing on names like Nicholas Cage and Ashton Kutcher.

Charlie Bartlett

Starring: Anton Yelchin, Robert Downey Jr., Hope Davis
Directed by: Jon Poll (debut)
Written by: Gustin Nash (debut)

If anyone is trying to remember where they’ve seen actor Anton Yelchin, chances are you first spotted him in the 2006 teenage crime drama “Alpha Dog” as a kid who is kidnapped for a debt owned by his older brother. Although the film unsuccessfully tries to balance itself between hard-hitting biopic and care-free street speech, much of the well-acted true-life story comes in part from the young actors who give the movie its spotty emotional spark. If anyone does it the best, it’s Yelchin.

Here, the kid plays the titular character in “Charlie Bartlett.”  Yelchin is a classic-looking talent reminiscent of Anthony Michael Hall in “The Breakfast Club” and Matthew Broderick in “Ferris Bueller’s Day Off,” which is why he works so well as the extremely likable lead character. Problem is that “Barlett’ isn’t a John Hughes film and it’s evident Yelchin is starring in a first-time film for both the director (Jon Poll) and writer (Gustin Nash).

It’s not to say that “Bartlett” isn’t a worthy attempt. The story revolves around a prep high school student who finds his true calling in life when he appoints himself as a psychiatrist and prescription drug dealer at his new school.

When Charlie is expelled from his “nth” private institution for selling fake IDs to his classmates, his mother, Marilyn (Davis), who has some issues of her own, decides public education is her son’s final chance to clean up his act. Charlie isn’t a troublesome kid at all. Actually, he is respectful, friendly and an overall nice guy. But with some concerns in his home life (his father is incarcerated), he has no other choice than to express himself and draw attention in any way he can.

Peddling pills, which he has received from his shrink, from the boys bathroom quickly makes Charlie a popular person to know at his suburbia high school. Where he once was the dweeby new guy who wore a crested sports coat and was picked on by the rebellious bully, Charlie reaches iconic status on campus and has everyone’s head turning, especially alcoholic Principal Gardner (Downey Jr.), whose daughter Susan (Kat Dennings) he has started to date.

Although it manages to stay away from more of the obvious and shallow stereotypes that plague teenage comedies today, “Bartlett” really can’t decide what type of film it wants to be. As a quirky indie flick, it’s no “Rushmore.” As a laborious drama, the script doesn’t support its full intentions and leaves its characters scraping to project their personalities in the waning moments. Sadly, it doesn’t occur soon enough.

Who is Charlie Bartnett anyway? Yelchin might have his Natalie-Portman-by-way-of-“Garden State” moments, but there’s only so much a few eccentricities can uncover about our leading man.