2012 movie review guardian

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D isaster-blaster Roland Emmerich serves us up another of the globally apocalyptic extravaganzas he has made his own, applying his trademark CGI wrecking ball to various iconic buildings. The statue of Christ the Redeemer in Rio takes a tumble and an awful crack appears in the Sistine Chapel ceiling, running directly between the fingers of God and Man. Oh lordy. As ever in Hollywood pictures with urgent "international" settings, the opening scene is set somewhere in Notamericaistan, where the first signs of trouble are detected.

Then we whisk to the real action: the West Wing. A copper mine is overheating somewhere in a far-off country. Chiwetel Ejiofor plays an earnest government scientist who realises that the earth's core temperature is overheating, as apparently smugly predicted by the ancient Mayans. It has incidentally zilch-all to do with global warming. Anyway, the world is going to end – in 2012! Thus substantially buggering up the London Olympics and all our medal-table hopes! This grave implication is sadly given scant mention here, but law and order breaks down all over the world as the earth's crust starts to bulge and crack, and for the anarchy in London, Emmerich appears to reuse old footage of the 1990 poll tax riots.

The star is John Cusack, playing a divorced novelist and author of some whinging yet inspiringly influential work about humanity and peace. Downbeat performers like him are important to counterweight the grandiloquent action with sympathetic quirkiness and ordinariness. For Cusack, the catastrophe is a valuable way of reuniting his family and moreover effecting a guilt-free removal of his ex-wife's new husband. Danny Glover is the US president who elects to stay with his doomed people on earth, rather than get on board the exit "ark" – like a captain going down with the ship. The only other world leader who takes this noble course is, I am sorry to say, the Italian prime minister. Somehow I can't imagine Silvio Berlusconi being quite so noble. The British prime minister has no qualms about scrambling aboard the rescue ship and the same goes for our queen. Her mother's famous Blitz spirit of not leaving London in a crisis seems not to have been inherited.

Yet when the catastrophe hits, when the buildings crash, and the seas engulf high mountains, one aspect of normal life still continues. Characters are still making contact via their mobile phones! Now, whatever network these people are with – I want to join. Are they on a contract or pay-as-you-go? How marvellous that with the earth literally falling apart, this mobile phone company is still providing a service.

This is a wildly over the top anthology of disaster pictures old and new, and Emmerich isn't above recycling other people's ideas. But it's enjoyable and the opening CGI thrill-ride through the collapsing streets of Los Angeles is undeniably good.

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‘2012’: film review.

If you rolled every disaster movie into one spectacular package, you would wind up with something close to "2012," Roland Emmerich's latest apocalyptic fantasy.

By Stephen Farber

Stephen Farber

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If you rolled every disaster movie into one spectacular package, you would wind up with something close to “ 2012 ,” Roland Emmerich’s latest apocalyptic fantasy.

This time Emmerich and co-writer Harald Kloser use the Mayan calendar and other end-of-days prophecies for their doomsday scenario, which imagines the world coming to an end in 2012. Eye-popping special effects ensure that this movie will be a smash hit, and while it’s entertaining for most of its excessive running time, the cheesy script fails to live up to the grandeur of the physical production.

Stitching together highlights from “Earthquake,” “The Poseidon Adventure,” “Volcano,” and even “Titanic,” the movie follows the fate of a dozen characters as they fall victim to a series of calamities brought on by some kind of solar meltdown. The issue is not so much what caused the cataclysm but how humanity will respond to the crisis. A venal presidential adviser (Oliver Platt) has the task of handpicking the people who will be allowed to board the atomic-age equivalent of Noah’s ark. So the film aims to ask profound questions about how we choose the people worth saving. But profundity is not the director’s strong suit.

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Luckily, Emmerich’s movies — which include the disaster flicks “Independence Day” and “The Day After Tomorrow” — never take themselves too seriously, so it’s easy to enjoy the often laughable dialogue without balking. Credibility takes a flyer near the start, when an amateur pilot (Tom McCarthy) is able to steer a small plane through all kinds of fireballs and find his way to a tiny landing strip in Yellowstone National Park. You know the major characters aboard the airplane (John Cusack and Amanda Peet) aren’t going to meet a fiery death this early in the movie, so you tolerate the ludicrous plot device.

Every disaster movie derives its suspense from trying to guess which of the characters will survive and which will expire. One of the disappointments of “2012” is how predictable the crash-and-burn list turns out to be. As in many of these epics, the characters who have committed some kind of extramarital transgression are the ones marked for death. Cecil B. DeMille would have been pleased.

Technically, Emmerich and his crew bring off a series of wonders. The movie hits its peak early on, when Cusack drives a limo through the streets of Los Angeles as freeways and skyscrapers crumble all around him from the shock of a 10.5 earthquake. The preposterous flying sequence is equally thrilling. The climax occurs aboard the giant ark, when an equipment malfunction almost threatens the entire mission. Unfortunately, this crucial sequence is not filmed or edited with the requisite clarity. Say what you will about “Titanic,” but James Cameron did a brilliant job of photographing the spectacular shipwreck so that the logistics were always crystal clear. In “2012,” by contrast, Emmerich leaves us befuddled as to exactly what is happening to whom.

On the other hand, Emmerich deserves credit for offbeat casting. Cusack supplies his trademark hangdog charm, and McCarthy (recently better known as the director of “The Station Agent” and “The Visitor”) has perhaps his best role ever as Peet’s cocky but likable boyfriend. Danny Glover lends dignity to the role of the tormented president. (The role originally was written for a woman, until Hillary Clinton’s star began to fade during the 2008 primaries.) Chiwetel Ejiofor, as the chief scientist advising the world leaders, brings a moving sense of anguish to a stock role. Platt has fun playing the villain of the piece, and Woody Harrelson also chews the scenery as a bug-eyed radio prophet trying to warn his listeners about Armageddon. Peet’s role as Cusack’s ex-wife is drab, and Thandie Newton as the president’s daughter has to struggle with some ponderous dialogue. But then disaster movies never have been kind to their female characters.

Cinematography, production design and visual effects are awards-worthy. Music also propels the movie, with “American Idol” runner-up Adam Lambert providing a rousing anthem over the end credits.

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Rise of the Guardians

When the evil spirit Pitch launches an assault on Earth, the Immortal Guardians team up to protect the innocence of children all around the world. When the evil spirit Pitch launches an assault on Earth, the Immortal Guardians team up to protect the innocence of children all around the world. When the evil spirit Pitch launches an assault on Earth, the Immortal Guardians team up to protect the innocence of children all around the world.

• Peter Ramsey
• David Lindsay-Abaire
• William Joyce
• Hugh Jackman
• Alec Baldwin
• Isla Fisher
• 267 User reviews
• 271 Critic reviews
• 58 Metascore
• 14 wins & 32 nominations

• Jamie Bennett

• Sophie Bennett
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• Trivia Bunny mentions that Jack Frost caused a blizzard on Easter Sunday of 1968, a reference to an actual event.
• Goofs Every tooth collected by the Tooth Fairy has roots, like a pulled adult tooth, but most of the teeth are supposed to be baby teeth, those that have wiggled loose after being displaced by permanent ones. They should be hollow shells without roots.

Jamie Bennett : You're leaving? But what if Pitch comes back? What if we stop believing again? If I can't see you...

Jack Frost : Hey, slow down, slow down! Are you telling me you stop believing in the moon when the sun comes up?

Jamie Bennett : No.

Jack Frost : Okay. Well, do you stop believing in the sun when clouds block it out?

Jack Frost : We'll always be there, Jamie. And now, we'll always be here.

[points to Jamie's heart]

Jack Frost : Which kind of makes you a Guardian too.

• Crazy credits During the end credits, there are several scenes showing how the children are put back to bed before morning.
• Connections Featured in The Big Review: Fall Trailer Park (2012)
• Soundtracks Kemp's Jig Arranged and Performed by John Bullard Courtesy of Bunyan Bullard Music

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• Nov 22, 2012
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• November 21, 2012 (United States)
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• DreamWorks Animation
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• $145,000,000 (estimated)
• $103,412,758
• $23,773,465
• Nov 25, 2012
• $306,941,670

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• Runtime 1 hour 37 minutes
• Dolby Digital
• Dolby Atmos
• Dolby Surround 7.1

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Movie Review: Rise of the Guardians (2012)

• Greg Eichelberger
• Movie Reviews
• 10 responses
• --> November 25, 2012

Discussing strategy?

Dreamworks, which scored last year with “ Kung Fu Panda 2 ” and earlier in 2012 with “ Madagascar 3: Europe’s Most Wanted ,” brings another ambitious animated film to the screen with the telling of William Joyce’s book, Rise of the Guardians . And while not as colorful or giddy as the above-mentioned pictures, this combination of “ The Polar Express ,” “ Hop ” and “ The Nightmare Before Christmas ” certainly rates high enough on the creative meter to receive decent marks.

Directed by Peter Ramsey (whose only other such gig was the TV movie, “ Monsters vs Aliens: Mutant Pumpkins from Outer Space ,” but a storyboard artist on such productions as “ Men in Black ” and “ Fight Club “) from a script by David Lindsay-Abaire (“ Robots ,” and the Pulitzer Prize-winning play, “Rabbithole”), film tells the tale of how beloved characters like Jack Frost, St. Nicholas, the Sand Man, Easter Bunny and Tooth Fairy team up to try and stop the Boogie Man from stealing the dreams of children throughout the world.

On its face, Rise of the Guardians can be a cluttered, unorganized mess, but Ramsey does just enough to keep things in some kind of order. And despite a bit of a drag (even in a 97-minute running time), there is enough coherence and lucidity to keep the young ones fairly entertained while throwing mom and dad a funny one-liner or pop cultural reference or two every now and then.

The picture opens with a young man rising from the murky waters and conversing with the Man in the Moon, who duly informs him he is Jack Frost (voice of Chris Pine, “ Unstoppable “). We then move to the North Pole, where Santa Claus (called “North” here for some reason, and voiced by Alec Baldwin with an accent seemingly stolen from Triumph the Insult Comic Dog) is given information that evil things are afoot. He gathers Bunny (Hugh Jackman doing his best Steve Irwin), Fairy (Isla Fisher, “ Rango “) and Sandy (who does not speak) and finds out that the Moon (who also does not have any lines) has chosen the irresponsible and lackluster Frost to join the Immortal Guardians.

“On, Donner and Blitzen . . .”

This mythical Justice League discovers that the kids’ happy nocturnal thoughts are being replaced by fear-fueled nightmares provided by the Boogie Man, or “Pitch” (look up “ The Devil and Daniel Webster ” to understand the meaning of this). Voiced by an appropriately sinister Jude Law, he knows that he can steal the little ones’ memories if he snatches their newly-fallen teeth, so he and his dark horse-like minions begin wholesale grand larceny of molars, incisors and bicuspids.

The plan succeeds so well, that just one child, Jamie (Dakota Goyo, “ Thor ” and “ Real Steel “) is left to believe in the Immortals (of course this faith is supported by the fact that he also SAW them one night in his bedroom). Trying to rally against the consummate evil, as well as discover the secrets of his own past and become an actual tangible entity, Jack undergoes the typical movie hero transformation and learns that his actions have an affect on the children, especially Jamie.

Intense, dreary, gloomy and morose in many parts (perhaps too much so for those under nine), Rise of the Guardians will likely not become a particularly memorable Holiday classic, but it is certainly a noble effort of the genre. Those wishing to see the 3D version are not likely to enjoy the lighter pocketbook associated with such ventures, but the technology does acquit itself on several occasions, notably the battle scenes in which the good guys try to overcome Pitch’s forces of darkness.

Tagged: Boogieman , novel adaptation , Santa

I have been a movie fan for most of my life and a film critic since 1986 (my first published review was for "Platoon"). Since that time I have written for several news and entertainment publications in California, Utah and Idaho. Big fan of the Academy Awards - but wish it would go back to the five-minute dinner it was in May, 1929. A former member of the San Diego Film Critics Society and current co-host of "The Movie Guys," each Sunday afternoon on KOGO AM 600 in San Diego with Kevin Finnerty.

Movie Review: Despicable Me 3 (2017) Movie Review: Transformers: The Last Knight (2017) Movie Review: All Eyez On Me (2017) Movie Review: The Mummy (2017) Movie Review: Baywatch (2017) Movie Review: King Arthur: Legend of the Sword (2017) Movie Review: The Promise (2016)

'Movie Review: Rise of the Guardians (2012)' have 10 comments

November 25, 2012 @ 10:55 am Emerson

Sometimes movies just have to be enjoyed with a child by your side.

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November 25, 2012 @ 11:32 am Sgt.Pepper

Personally it was the ‘gloomier’ atmosphere that was so appealing. Had it been cheery like every other holiday movie, you’d would have shredded it because it was ‘more of the same’.

November 25, 2012 @ 1:08 pm Dusco

I was cought off guard by the sad explanation of how Jack became Jack Frost. Its one of the better handled touching moments I’ve seen in a childrens animated movie.

November 25, 2012 @ 6:06 pm Melissa

There was an audible gasp in the theater when it was revealed. It was so sad.

November 25, 2012 @ 1:42 pm Alyssa

In the Dreamworks stable, this ranks comfortably between KungFu Panda and Madagascar in terms of story and rewatchability.

November 25, 2012 @ 3:39 pm Jenna

I felt it was a great holiday movie. It has the right amount of emotion and lighthearted fun for the whole family to enjoy.

November 25, 2012 @ 5:11 pm steve

i’m inclined to buy the books for more.

November 25, 2012 @ 9:41 pm Coorfields

3/5? The movie is deserving of more than that (you gave Wreck-it Ralph 4/5). It is well animated, has good pacing, strong voice talent, and an especially heartfelt message.

February 10, 2013 @ 11:04 am Greg Eichelberger

The rating system of this site is a bit different. I gave “Guardians” a decent recommendation, but I still liked “Wreck-It-Ralph” a bit more. A 3/5 is actually a higher rating on this website than a 4/5. And to Emerson, I ALWAYS see animated films with my children by my side. Many of my critiques of such pictures are based on their reactions to the movie.

December 7, 2012 @ 10:39 am hopelesslydeb

Fresh change-up from convention.

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‘Rise of the Guardians’ (2012) Movie Review

By Brad Brevet

For all that it is, I enjoyed Rise of the Guardians as a film that offers a twist to the iconic holiday and mythological characters adults tell their children about, and does so in a way that doesn’t taint what attracts us to these characters in the first place. This isn’t to say you should expect anything too far outside the norm from a storytelling perspective, but the fact it’s based on the book by William Joyce , whose magical animated short film The Fantastic Flying Books of Mr. Morris Lessmore won the Oscar last year, should give some allusion to the imagination that inspired it into being.

Adapted by David Lindsay-Abaire , whose genre reach spreads from Inkheart to Rabbit Hole as well as a hand in scripting an upcoming Poltergeist remake, Rise of the Guardians begins by introducing us to the titular Guardians — Santa Claus (voiced by Alec Baldwin ), the Tooth Fairy (voiced by Isla Fisher ), the Easter Bunny (voiced by Hugh Jackman ) and the Sandman (he doesn’t talk). These are four characters whose talents and abilities we’ve known for our entire lives, but those talents for bringing joy and happiness to children are more important in our world than we may know.

For children to believe in these four is for them to have hopes, beliefs and imagination in their heart, but when that belief is threatened by the evil Pitch Black (voiced by Jude Law ) the Guardians must add one more to their fold.

Enter Jack Frost (voiced by Chris Pine ), a mythical character with a mysterious past. He finds joy in having fun, entertaining children by instigating snowball fights and white-out conditions that force Snow Days at school. But the Guardians come calling on him for help against Pitch, whose found a way to turn the Sandman’s pleasant dreams into nightmares, disrupted the Tooth Fairy’s obligations, threatening Easter and the children’s belief is fading fast.

With the plot description out of the way and the dire picture I’ve painted it all comes down to this… From a plot perspective, Rise of the Guardians isn’t breaking new ground. A group of protagonists are threatened by an antagonist and must band together to restore order. There are things that make each character who they are, something special inside, funny one-liners will be found and like Despicable Me , Santa too has his “Minions” though here they are separated into an army of good-for-nothing elves and furry Yetis, the latter of which, we learn, do all the work in Santa’s workshop.

The charm I found in this film lay wholly with its conceit, which is that of Santa, the Easter Bunny, Jack Frost, et. al coming together to introduce a “behind-the-scenes” mythology that adds to our current understanding of what each of these characters do.

I found the animation to be excellent and far better when in motion compared to the still images released by the studio. There is a wonderful amount of detail in each frame, perhaps almost too much at times as Santa tracks all the children of the world on a massive globe inside his workshop that is so intricately designed you could probably study a still frame for 5 minutes and still miss a detail the production threw in there. The Tooth Fairy’s world is similarly intricate as is the Easter Bunny’s Aztec-inspired realm. I’ve no idea if these characters originated from such roots, but the fact the filmmakers relied on something more than what is generally known to most of us is an example of the higher level of character background they attempted to achieve.

Therein lies the rub, the characters are well-developed, but the story is rather vanilla. I won’t begrudge anyone that finds the film lacking in original story arcs. I’ll agree it largely follows a course set by most films before it and even I had to shrug my shoulders just before the third act. But amid all the common story tropes there was enough imagination to capture my attention, though if I was ten-years-old or younger I probably would have absolutely loved it.

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Movie Review: Rise of the Guardians Matches Childhood Wonder With Dazzling High-Tech Eye Candy

Haven’t we run out of iconic beings to cluster in po-mo kids’ movies yet? The Shrek films clustered together characters such as Pinocchio, the Gingerbread Man, Rumpelstiltskin, and Puss ‘n Boots, and more recently, Hotel Transylvania gave us a zippy comic adventure involving Dracula, Frankenstein, the Mummy, and the gang. So, on cue, here’s Rise of the Guardians , an animated film that brings together Santa Claus, the Easter Bunny, the Tooth Fairy, and the Sandman in an unlikely alliance to protect childhood innocence from evil and fear, like a fairy-tale variation on The Avengers . And as much as its premise may sound like the start of a bad joke, Peter Ramsey’s movie preserves just enough genuine childhood wonder in its whooshing, high-tech theatrics to make it a delight.

The conceit here is that the Guardians are about to gain a new member: Jack Frost (voiced by Chris Pine), a young and brash kid who can turn anything into ice and doesn’t seem to quite adhere to the age-old, noble, self-giving codes of this magical collective. (The Easter Bunny, charmingly voiced by Hugh Jackman in a full-on Australian accent, certainly doesn’t think much of the guy.) It’s all part of a renewed effort to fight a gathering evil: Pitch Black (Jude Law), a.k.a. the Bogeyman, is marshaling his forces in an effort to destroy childhood dreams and replace them with nightmares and darkness. So basically everybody’s screwed if the Guardians don’t get the job done.

The story is based on a series of books written by children’s author William Joyce, and at times it displays a patience with character and plot that feels downright quaint nowadays. (The script was written by Pulitzer Prize–winning playwright David Lindsay-Abaire.) The opening scene shows us Jack Frost discovering his powers, in a scene that’s somehow both joyous and melancholy: He marvels at his newfound abilities, and yet is horrified at the fact that he’s invisible to the rest of the world, because nobody really believes in him. The story mines a surprising amount of pathos from Jack’s predicament; your heart goes out to the guy every time a kid passes through his spectral frame without noting his existence. There’s a structural elegance to it, too, as it turns out that this is part of Pitch’s Evil Plan. He can defeat all of the Guardians if he can stop the world’s children from believing in them. Indeed, one of the best things about the film is that it gives us a villain who is scary in both conception and execution. Half-shrouded in perpetual darkness, Pitch is followed around by black granite clouds wherever he goes; when he strikes, they turn into tentacles that suck all life and color out of everything they touch. Whoever designed him appears to have tapped into the same raw fear of grim, angular menace that the animators of Disney’s classic Sleeping Beauty did when they dreamed up Maleficent.

This is 2012, however, and traditional childhood heroes and resonant, creepy villains won’t be enough to keep the kids’ (or the adults’) attention, so there’s also plenty of whooshing and swooping and dazzling 3-D eye candy to spare. Santa Claus (here called North, and voiced by Alec Baldwin with a Russian accent) can’t just have any ordinary sled; he’s got a giant Millennium Falcon–esque contraption that roller-coasters around at warp speed and terrifies newbie passengers. (He’s also got a Yeti honor guard, which is pretty funny.) Not unlike Wreck-It Ralph , with its retro video-game aesthetic wedded to eye-popping action sequences, part of the kick here is seeing familiar, old-fashioned figures in hypermodern situations. And, to its credit, the whole thing looks amazing — Roger Deakins and Guillermo del Toro served as technical guides, so that’s perhaps to be expected. The result is an effective combination of the new and old. It’s both hip and gooey enough to make me look forward to the inevitable sequel.

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‘The Bad Guardian’ draws inspiration from many cases relating to the conservatorship system. While real-world examples of guardians misusing their power can be unearthed, there are none in the public eye that can be considered close to as severe as in the story of ‘The Bad Guardian,’ which is penned by Ashley Gable. In recent years, two cases have drawn public attention to the possible need for a review of the conservatorship system. The first was Britney Spears’ highly publicized alleged mistreatment under guardianship, and the second was Lifetime’s docu-series on Wendy Williams’s time under conservatorship.

The conservatorship system is a legal arrangement designed to protect individuals who are deemed unable to manage their own affairs due to physical or mental limitations. A conservator, appointed by a court, is granted authority to make decisions on behalf of the incapacitated person, managing their finances, healthcare, and other aspects of their life. Epistemologically, conservatorship pertains to overseeing the financial affairs of someone who isn’t capable of doing so themselves, while guardianship relates more to managing medical and physical care. However, the terms are often used interchangeably, and in many states’ regulations, the duties of conservatorship cover those of guardianship.

One of the most high-profile cases that has cast doubt on the conservatorship system is that of Britney Spears. Britney Spears, the pop icon, was under conservatorship since 2008 following highly publicized personal struggles. Under this arrangement, her father, Jamie Spears, had controlled her finances and major life decisions for over a decade, along with a lawyer and financial advisors. The #FreeBritney movement, fueled by concerns from fans and supporters, brought widespread attention to the restrictions placed on Spears and raised questions about the legality and ethics of her conservatorship. In 2021, Spears’ conservatorship ended after she challenged it in court.

Lifetime’s ‘Where Is Wendy Williams?’ became the center of controversy when its release was challenged by Williams’ court-appointed guardian, Sabrina Morrissey. The documentary recounted how the television star had faced struggles with alcoholism and health issues and required external support. At this point, her financial managers at Wells Fargo froze her accounts in 2022, and after a few months, a court-appointed her a legal guardian. However, the guardian was not a member of her family, as in the case of Spears, but an unknown professional.

The documentary series found deficiencies in the care provided to Williams by her guardian, who allegedly restricted her family members from calling her. “How did she go from this aunt or sister that we love and is healthy one minute to this person who’s in and out of the hospital?” asked Williams’ sister Wanda Finnie. “How is that system better than the system the family could put in place? I don’t know. I do know that this system is broken. I hope that at some point, Wendy becomes strong enough where she can speak on her own behalf.”

The cases of Britney Spears and Wendy Williams have prompted a broader conversation about the conservatorship system. Critics argue that these arrangements can be susceptible to abuse, as seen in Spears’ case, where she has expressed a desire to regain control over her life but faced legal obstacles in doing so. Concerns have been raised about the lack of transparency and accountability in the process of appointing and overseeing conservators, as well as the potential for conflicts of interest.

One of the most outspoken critics of the system is journalist and author Diane Dimond, who advocates for a complete overhaul. “More than some 2 million Americans are currently living under a guardian or conservatorship. It’s estimated that state courts confiscate over $50 billion from their wards,” said Dimond. “There’s no trial, there’s no right to present opposing witnesses. Usually, the judge will just take the petition, rubber stamp it, appoint the guardian or conservator.” This is because the guardianship proceedings take place in a court of equity and not in a criminal or civil court. She also noted a worrying trend of courts appointing professional guardians over family members or close friends.

As shown in ‘The Bad Guardian,’ once under guardianship, the individual cannot make decisions for themselves, making it extremely difficult to challenge the guardianship in court if ill-treatment is suffered. While the conservatorship system has its flaws, it has also helped individuals maintain their financials and health. Lifetime’s documentary on Wendy Williams noted that in her case, the conservatorship can be considered a net positive. ‘The Bad Guardian’ is a fictional movie that is inspired by real-life cases criticizing the conservatorship system, and paints possibly the worst-case scenario through them.

Read More:  Lifetime’s Alone in the Dark: True Story or Fictional?

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Film Review: ‘Guardians of the Galaxy Vol. 2’

What do you do for an encore to the best comic-book movie in years? James Gunn's sequel is a witty and extravagant followup, but it works harder for less fun.

By Owen Gleiberman

Owen Gleiberman

Chief Film Critic

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The word “Marvel,” as in comic books or movie studios, has become a foundational term of our culture. Yet you could sit through almost every one of today’s comic-book movies and not find a whole lot to marvel at. That’s where “Guardians of the Galaxy” came in. In an era of overstuffed, taped-together blockbusters, it was supremely funny, exciting, and well-made — a rock ‘n’ roll space opera, spectacular yet lithe, without a stray shot or sequence out of place, and with a wildly caustic yet devotional interplay among its motley crew of renegades that recalled the original 1977 “Star Wars” (obviously its chief influence). The film wielded the machinery of big-budget franchise filmmaking and trumped it at the same time. So the question of what “ Guardians of the Galaxy Vol. 2 ” can do for an encore isn’t really, “Can it top the first film?” It’s more like, “Can it be as good?”

Shot for shot, line for line, it’s an extravagant and witty follow-up, made with the same friendly virtuosic dazzle. Yet this time you can sense just how hard the series’ wizard of a director, James Gunn (now taking off from a script he wrote solo), is working to entertain you. Maybe a little too hard. “Guardians of the Galaxy Vol. 2” is an adventure worth taking, and the number of moviegoers around the planet who will want to take it should prove awe-inspiring. But it doesn’t so much deepen the first “Guardians” as offer a more strenuous dose of fun to achieve a lesser high.

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The film opens with the unintentionally disquieting image of Kurt Russell, digitally enhanced to resemble his much younger self, wooing the Missouri lass who will be Peter Quill’s mother to the 1972 strains of “Brandy (You’re a Fine Girl).” Instantly, this cues us to two things: Peter’s memento cassette tape entitled Awesome Mix Vol. 2, at least compared to Vol. 1, is going to be more kitschy than tasty; and the movie is going to be all about his daddy issues. The exhilarating credits sequence then shows us the Guardians in action: They’re out to slaughter an oversize tentacled monster that has four sets of angler-fish jaws, but the battle gets shoved into the background — in the foreground is the giant walking tree Groot, now Baby Groot (about a foot tall, still growing back from a lone twig), as he bops and dances to the sublime pop camp of ELO’s “Mr. Blue Sky,” letting us know that this is a movie with its background/foreground priorities in the right place.

The first film was all about how the Guardians met and teamed up, and part of the beauty of it was that you could feel just how much Chris Pratt ’s trouble-shooting, ’70s-dancing thief Peter, Zoe Saldana ’s green-faced alien princess Gamora, Dave Bautista ’s splendidly dour tell-it-like-it-is tattoo-carved muscleman Drax, and Bradley Cooper ’s Brooklynese raccoon scavenger Rocket really disliked each other. The quips and the acid retorts were the opposite of forced; they were part of the enthrallment of seeing this team come together out of brutal (and plausible) necessity. All of which made “Guardians” feel like something more than an origin story. “Vol. 2,” on the other hand, is an origin story. The Guardians are now a seasoned team, but the movie is all about how Peter got to be who he is.

Early on, there’s a stand-off between the Guardians and Ayesha (Elizabeth Debicki), the Golden High Priestess of the genetically perfect people of the Sovereign (who have yet to discover sex). The Guardians enrage her by stealing a handful of precious batteries, and she comes after them with an army of remote-controlled golden attack pods. Yet she figures into the film only peripherally — it’s all just a setup for the next sequel. Ditto for Sylvester Stallone, altering his look and acting style not one slurry iota, as Stakar, a Ravager leader who turned against Michael Rooker’s blue-skinned bandit Yondu when he learned that Yondu was selling child slaves on the black market.

Yondu’s got problems of his own — his men, who think he’s gone soft, launch a mutiny — but the film really gets underway when Russell lands in his ’60s Pan Am flying saucer to inform Peter that he’s his dad. (No, that’s not a spoiler; it’s the basic premise of the movie.) Peter was always a bit like Han Solo and Luke Skywalker in one body, and “Guardians Vol. 2” would like to stand in relation to the first “Guardians” as “The Empire Strikes Back” was to “Star Wars.” It’s yet another tale of an overgrown space kid finding his father, and his legacy.

Peter takes his comrades over to his dad’s planet, and once they arrive, there is much back-slapping Kurt Russell bonhomie, but there are also cues that something isn’t right. The name of Russell’s character is Ego. His planet, which he literally created, looks like a series of medieval French landscapes posing as Led Zeppelin album covers. He acts out his past to Peter with mannequins made of porcelain. Did I mention that he’s a self-proclaimed god who wants Peter to step up and rule the universe with him? You do the math.

Pratt, through it all, keeps his badass-lite swagger irreverent and commanding. In the right role (like this one), he knows how to express disdain and exuberance in equal measure — in other words, how to play an a—hole you can’t help but like. Yet it’s easy to feel that the conflicts in “Vol. 2” are a bit rote, whether it’s Peter upping the ante on his feisty flirtation with Gamora (he explains that their unspoken bond makes them just like Sam and Diane on “Cheers”) or Gamora duking it out with her seething bionic adoptive sister Nebula (Karen Gillan). It’s all impeccably staged, yet stuff happens because the movie needs stuff to keep happening. One is grateful for the comic relief, especially from Bautista, who makes Drax so literal-minded — and so up front about his imperious male gaze — that his every judgmental utterance feels spontaneous. As for Rocket, Cooper burrows ever more hilariously into his babbly hostility (“Hope daddy isn’t as big a dick as you, orphan boy!”) and the ratty self-hatred beneath it.

The gods of sci-fi spectacle must, of course, be served, and the climax of “Vol. 2” is exorbitant, rousing, touching, and just obligatory enough to be too much of a good thing. (That isn’t even counting the half-dozen post-credit teaser scenes, which make the film feel like…TV.) Baby Groot, as cuddly as Poppin’ Fresh, gets to scurry and plant a time bomb, Gamora gets to wield a machine gun the size of a refrigerator, and Yondu gets to do ever more dizzying flights of damage with his loop-the-loop arrow of death. The person who turns out to be the film’s lord of darkness morphs into all sorts of liquid digital forms, and there’s an in-the-middle-of-space farewell between Peter and someone close to him that’s beautiful and moving. If only the film could have left it at that! The fallen character winds up being given a light-show funeral worthy of a Communist head of state. The difference between the first “Guardians” and “Guardians of the Galaxy Vol. 2” is that the new movie is flush with what a big deal it is. Ironically, that makes it a smaller deal.

Reviewed at AMC Empire, New York, April 17, 2017. MPAA Rating: PG-13. Running time: 135 MIN.

• Production: A Walt Disney Studios release of a Marvel Studios production. Producer: Kevin Feige. Executive producers: Victoria Alonso, Louis D’Esposito, Nikolas Korda, Stan Lee.
• Crew: Director, writer: James Gunn. Camera (color, widescreen): Henry Braham. Editors: Fred Raskin, Craig Wood.
• With: Chris Pratt, Zoe Saldana, Bradley Cooper, Dave Bautista, Vin Diesel, Michael Rooker, Glenn Close, Karen Gillan, Sylvester Stallone, Pom Klementieff, Kurt Russell, Elizabeth Debicki, Nathan Fillion, Tommy Flanagan.

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The guardian, common sense media reviewers.

Waterlogged rescue flick is too intense for kids.

A Lot or a Little?

What you will—and won't—find in this movie.

An arrogant young swimmer learns to support his te

Several violent storms at sea; flashbacks show the

A fairly young couple engages in sexual activity,

One "f--k" several other profanities (&q

Wild Turkey liquor bottle is visible.

Characters drink in bars to get drunk; some vomiti

Parents need to know that this action drama includes several harrowing scenes of storms and sinking boats at sea. Rescue swimmers valiantly try to save victims, but some deaths occur on screen (not bloody, but sad and -- in one case -- quite disturbing). Kids with fears about water should probably see something else…

Positive Messages

An arrogant young swimmer learns to support his team and make hard choices in rescue situations; a lonely veteran swimmer trains youngsters to take up his heroic legacy.

Violence & Scariness

Several violent storms at sea; flashbacks show the dangers of Coast Guard rescue-swimming; a rescuer has to punch a hysterical victim; a couple of rescuers die; a helicopter crashes and explodes; a trainer is punched in the nose and bleeds; a couple of barfights with Navy sailors leave Jake (and then Ben) bloodied and bruised; training is hard (in freezing water, holding breath, swimming to the point of exhaustion).

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

A fairly young couple engages in sexual activity, including passionate kisses and some playful rolling in bed, wearing underwear and mostly under the covers.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

One "f--k" several other profanities ("damn," "s--t," "a--hole," etc.).

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Drinking, drugs & smoking.

Characters drink in bars to get drunk; some vomiting; Ben chews Vicodins to kill physical and emotional pain; some cigarette smoking.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that this action drama includes several harrowing scenes of storms and sinking boats at sea. Rescue swimmers valiantly try to save victims, but some deaths occur on screen (not bloody, but sad and -- in one case -- quite disturbing). Kids with fears about water should probably see something else. Sailors and swimmers argue and draw blood in fistfights. A couple falls in love and is shown kissing and in bed (no explicit sex, but tumbling under blankets and some underwear shots). Protagonists drink, take painkillers, and use occasional profanity. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Community Reviews

• Parents say (2)
• Kids say (7)

Based on 2 parent reviews

Its okay to let other people in

Another great movie, what's the story.

Kevin Costner stars as Ben Randall, a veteran Coast Guard rescue swimmer who turns to teaching after a traumatic event leaves him unable to carry on as usual. Ben needs to recover his nerve, while cocky student Jake ( Ashton Kutcher ) learn to play nicely with others, including his girlfriend, Emily (Melissa Sagemiller). Both teacher and student have suffered; the revelations of that suffering lead each to his own sort of manly re-commitment. At the rescue-swimming training facility, Ben's red-lit nightmares are compounded by the fact that his long-suffering wife, Helen (Sela Ward), has left him. He self-medicates and grumps at the recruits, and for 18 weeks, drills his trainees hard. Ben's methods occasionally alarm and annoy his fellow instructors, including resentful second-in-command Jack (Neal McDonough) and skeptical presiding officer Larson (John Heard). During his down time, Ben calls Helen to beg forgiveness and helps Jake avenge a beating he received from disdainful Navy sailors. Though the trainees' ranks do include a woman, the focus here is on boys learning to be men. Ben and Jake see themselves in each other, pretty much to the exclusion of anyone else. When Emily suggests to Jake that Ben may be "trying to push you to be better," Jake sets her straight: "He knows I'm better than he is!"

Is It Any Good?

With a retread plot, plenty of boy-bonding action, and a shirtless Ashton Kutcher, this is a by-the-numbers crowd pleaser that's about as dull as a heroic redemption story could be.

Per formula, parallel redemption stories grant "emotional" moments to both Ben and Kutcher's Jake. By the time Jake has his big breakdown scene (he cries, though he doesn't actually say, "I got nowhere else to go!"), it's clear that, for all their earnest, actorly efforts, neither man has a chance against Ron L. Brinkerhoff's hackneyed script.

Talk to Your Kids About ...

Families can talk about ways to deal with trauma. How does the movie make the case that focusing on the future (in the form of students to be taught and lives to be saved) helps Ben overcome his guilt, anger, and frustration? What are other ways -- both successful and unsuccessful -- that people deal with traumatic events? How do Ben and Jake's similarities (ambition, competitiveness, tragic pasts) make them ideal partners? What other movies have used a similar structure (tough veteran mentors young hot shot)? Families can also discuss the work of the Coast Guard, including the unit's heroic rescues on the Gulf Coast following Hurricane Katrina.

Movie Details

• In theaters : September 28, 2006
• On DVD or streaming : January 23, 2007
• Cast : Ashton Kutcher , Kevin Costner , Melissa Sagemiller
• Director : Andrew Davis
• Studio : Buena Vista
• Genre : Action/Adventure
• Run time : 136 minutes
• MPAA rating : PG-13
• MPAA explanation : for intense sequences of action/peril, brief strong language and some sensuality.
• Last updated : November 16, 2023

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Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Best Movies Off the Radar 2012

The Avengers . The Dark Knight Rises . Skyfall . There were plenty of highly-anticipated, critically acclaimed films that wowed moviegoers this year. But you know all about that stuff already, so we at RT decided to give some love to a few of the overlooked, underappreciated, and, in some cases, critically dismissed movies that made an impression on us. Read on for a rundown of lesser-known gems from 2012 that we think deserve another look.

End of Watch

Matt Atchity – Editor in Chief

This was one of my favorite movies of the year (along with The Grey ), but it really struggled to find an audience. So I was glad to see if get a recent re-release nationwide, and I really recommend seeing it if you have the chance. This story about two cops in South Central LA is sometimes funny, sometimes terrifying, and sometimes heartbreaking, and this movie caught me completely off-guard. I’m not sure what I’d been expecting, maybe another forgettable cop drama. What I got instead was a riveting ride-along with two cops (played by Jake Gyllenhaal and Michael Pena) that I really believed had been partners for years. They had an easy familiarity that looked like a couple of guys that had gone beyond being partners or friends, and into real brotherhood. You laugh with them when they laugh at each other, and you worry about them when they’re on their own. Anna Kendrick, America Ferrera and David Harbour all put in strong supporting turns, Kendrick as Gyllenhaal’s new girlfriend, and Ferrera and Harbour as fellow cops. As I said before, I strongly recommend this movie, and I’d really like to see some of this cast (especially Pena) get some notice as the awards season heats up.

The Turin Horse

Tim Ryan – Senior Editor

Nobody makes films like Hungarian director Bela Tarr. His spare, eerie meditations on morality and mortality occupy a bleak, mystical plane that seems to exist outside of time (or any notions of contemporary cinematic influence). The plot of The Turin Horse is simple — a man and his daughter tend to their farm while waiting for an apocalyptic storm to hit — and it’s told with an absolute minimum of artifice: the camera barely moves as our protagonists eat, work, and go about their daily business in near silence. I’m not even going to try to sell you on The Turin Horse ; it’s the type of movie experience that will strike some as poetic and evocative, and others as a nifty cure for insomnia. But it casts a hypnotic spell, one that I’ve been unable to shake since seeing it. If you choose to watch it, I’ll give you one piece of advice: wear a sweater, because you can practically feel a wintery chill from the screen.

The Pirates! Band of Misfits

Grae Drake – Senior Editor

Since I am terrible at remembering actual historical events, I love movies with revisionist history–especially when they involve pirates and claymation. Aardman Studios enlisted the help of Hugh Grant, Imelda Staunton, David Tennant, Jeremy Piven, Salma Hayek, and Martin Freeman to tell the tale of the Pirate Captain, who really isn’t a great leader, and his quest to impress a girl (Queen Victoria). Along the way, he meets Charles Darwin, enters a science contest, tries to win Pirate of the Year, and learns what friendship is really all about. This film is nothing less than what I have come to expect from the Wallace and Gromit folks– it’s hysterical from start to finish, has staggering amounts of charm, and provides phenomenal detail even within the foam on beer. Every time I watch it, I want to give this movie a hug.

The Queen of Versailles

Ryan Fujitani – Editor

This critically acclaimed but largely underseen documentary surprised me not so much because it was good, but because I enjoyed it for very different reasons than I expected. Lauren Greenfield’s The Queen of Versailles begins with a portrait of a wealthy family living in excess: time-share mogul David Siegel and his wife Jackie are in the process of building their dream house, a 90,000 sq. ft. mansion modeled after the Palace of Versailles. But then, the 2008 economic crisis hits them hard, and Siegel is forced to make vast cutbacks, both in his corporate empire and within the Siegel home itself; construction on the mansion is halted. At this point, one might expect to be overcome by a sudden rush of gleeful schadenfreude – and certainly, I felt some of this as I watched the beleaguered patriarch agonize over his expenses – but the film begins to reveal the layers behind the glitz and glamour, and this shift is what took me by surprise. Jackie’s been warped by her wealth, sure, but she’s well-meaning, she’s loving, she’s supportive, and she wants so badly for her family to feel like a family; I have to admit, I was kind of touched. The Queen of Versailles is an absolutely fascinating glimpse at the lives of the super rich, but its power is in its portrayal of the Siegels who, at the end of the day, are just another family trying to adapt to changes they’re wholly unprepared for. Never before have I experienced such a mix between my sympathy for and smug satisfaction with the misfortune of others.

Luke Goodsell – International Editor

What can I say, I love movies about messed-up, unpleasant people — and the more messed-up and unpleasant the better, as far as I’m concerned. Tim Heidecker and Eric Wareheim have been testing the dynamics of audience discomfort for years with their brilliant Awesome Show , and that laugh-or-cringe sensibility manifests in a complex, dramatic way in Heidecker’s character here. Giving easily one of my favorite performances of the year, Heidecker plays a kind of repulsive trust-fund monster whose money allows him to do literally nothing with his life — nothing, that is, apart from drift from situation to situation antagonizing people; as though some kind of slovenly Andy Kaufman had been resurrected for a Noah Baumbach movie. He’s hideous but he’s also hilarious, and The Comedy moves more like a drama — you’re just never sure whether you should be in howls of pain or hysterics. The most impressive thing about both Alverson’s direction and Heidecker’s genius underplaying is not just the truth they locate in this husk of a man-boy, it’s that they nearly make you care about his sad predicament by the movie’s end. It’s the kind of character and film that splits critics down the middle, as well it should — with 40% on the Tomatometer, there’s love and loathing aplenty. The Comedy had a miniature theatrical run, but it’s widely available on VOD. Watch it, and either thank me or despise me afterwards.

Jeff, Who Lives at Home

Alex Vo – Editor

Of the 6,000 films Jay and Mark Duplass were involved with this year, Jeff, Who Lives at Home stands out. Not that I have any personal identification with a slacker who lives in his mom’s basement and believes he’s getting signs from the universe to do something meaningful, Jeff who (probably) eats too much cereal and (probably) is still hung-up on his ex. No identification at all. Instead, I connected with the movie’s charm and simplicity, from the title all the way down to its surprisingly generous spirit. Jeff (Jason Segel, essentially updating his Freaks and Geeks character for the information age) is presented as a lovable oaf, who could be a real underdog if it weren’t so inconvenient to getting high. And there is exciting depth to his friends and family, which includes people played by Susan Sarandon, Judy Greer, and Ed Helms, all of whom get a few great scenes. Jeff’s adventure is madcap and full of digressions, easing its way into an affecting finale against the backdrop of a setting sun. Mumblecore, aka hipster Dogme, may be fleeting but in considering Jeff’s little heartfelt accomplishment, we can see the signs of life.

Kerr Lordygan – Review Aggregator

Tossing around in my head films such as Smashed (possible Oscar buzz on this anyway) and Bait (2012, funny, silly, exciting with quite creative gore), I ended up opting for El Dedo (“The Finger”). A selection of the Global Film Initiative, the film handles a slightly grotesque premise with lightheartedness and charm. The results are sometimes comical and always endearing. The plot is just ridiculous enough to be true. Based on real events, a few of the real-life subjects co-star, breaking the fourth wall to bring us closer. A beloved townsmen running for mayor in a town’s first election is murdered and his finger is saved for sentimental purposes. The town looks to the severed index finger for guidance, but will it still win the mayoral election? The characters are so likeable, the plot is almost surreal, this one is a winner, even for those who might not ordinarily watch foreign films.

People Like Us

Catherine Pricci – Review Aggregator

This Chris Pine and Elizabeth Banks drama may not necessarily be off the radar, but overall it was poorly received. And that’s unfortunate since this underappreciated film had fantastic performances by its two leads. A lot of critics felt this film lacked depth and was melodramatic, but most agreed that Pine and Banks put in standout performances. And audiences should keep an eye on newcomer Michael Hall D’Addario, who played Banks’s son; he stole most of the scenes he was in and is definitely someone to look out for in the future. If you like films with great performances, and don’t mind a tear or two, this one is worth another look.

This Means War

Beki Lane – Production Assistant

I’m here to recommend a flick that got crushed on the Tomatometer, but is still tasty if you can handle a little pulp. This Means War is formulaic, but I believe that plot formulas exist because, just often enough, they work. This one really surprised me. If you don’t make the mistake of going in expecting something more than what it is, this film offers a lot of laughs and a really good time. Reese Witherspoon, Chris Pine and Tom Hardy are really funny, and keep it stylish to boot. This film doesn’t fall into the chick flick category, nor does it cater exclusively to the bros. Rather it has great balance, and can be appreciated by all. In the civil unrest that can arise during the debate of what DVD to select for a stay-in date night, This Means War can bring both sides to a suitable accord.

Julio de Oliveira – Project Manager

Dredd is not one of those movies that you never heard about, but it’s probably one you didn’t care to watch when it hit the theaters earlier this year. Let’s face it, its box office was far from great, but – as a comic book fan – I decided to give it a shot, and I’m really glad I got to watch it in all its 3D glory. The guys behind Dredd did a pretty good job giving life to Mega City One, a post-apocalyptic metropolis dominated by crime, where cops enforce the law onto its citizens as judges, jury and executioners. The city looks so overpopulated, chaotic and hopeless that it convinces the audience that the unorthodox methods applied by the judges are the only way to go. Instead of spending a long time introducing this dystopic reality, director Pete Travis let you learn as you go. He basically shows a day in the life of the always-frowning Judge Dredd (Karl Urban) and rookie psychic partner Anderson (Olivia Thirlby), who get trapped in a gigantic residential complex called Peach Tree – more like a vertical concrete slum, dominated by drug lord Ma-Ma (Lena Headey). The movie is packed with action, God-they-are-not-gonna-make-it moments, and loads of gory violence. I also really like its beautiful, dark cinematography and the visual impact of the well-applied slow-motion technology and bullet-time effects. It’s a visual masterpiece. Dredd is still not available on home entertainment, but it will hit 3D Blu-ray, Blu-ray, DVD and digital download on January 8, 2013.

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Published 2022-04-21T03:47:33.569Z Updated 2022-06-02T02:03:56.141Z

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The Guardian Five Star Reviews (Updated Weekly)

This list consolidates all The Guardian Five-Star Reviews since 2014, the list is updated as new 5-star reviews are added.

It includes all reviews PUBLISHED after 2014, not necessarily when the movies were released.

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'The Bad Guardian' Review: Melissa Joan Hart delivers fierce performance in Lifetime's thriller drama movie

Contains spoilers for Lifetime's 'The Bad Guardian'

WEST VIRGINIA, USA: Lifetime's latest heart-pounding thriller, ' The Bad Guardian', tackles the complex and timely issue of guardianship abuse. Premiered on May 18, the film stars Melissa Joan Hart and La La Anthony in a gripping narrative that will leave you glued to the screen.

Hart portrays a determined daughter locked in a desperate battle to save her father from the clutches of a corrupt court-appointed guardian, played by Anthony. 'The Bad Guardian' promises to be a suspenseful exploration of power, manipulation, and the lengths we go to protect those we love.

But is the film just another run-of-the-mill Lifetime movie, or does it offer a deeper commentary on the vulnerabilities within the legal system? Let's examine its plot, performances, and its potential to spark conversations about a critical real-world issue.

A gripping fight for justice in Lifetime's 'The Bad Guardian' 

'The Bad Guardian' packs the emotional punch and suspense and, it tackles a relevant and unsettling issue: guardian abuse. Melissa Joan Hart shines as Leigh, a daughter fiercely determined to protect her father, Jason (Eric Pierpoint), from the manipulative clutches of court-appointed guardian, Janet (La La Anthony).

The film starts strong, establishing a loving parent-child bond between Leigh and Jason. Janet's initial charm quickly dissolves as her true motives - greed and power - come to light. We witness the devastating consequences of her actions, from stripping Jason of his possessions to denying him crucial medical care.

Hart delivers a powerful performance, portraying a daughter pushed to the brink. We see her transform from helpless to determined as she fights a corrupt system that seems stacked against her. Anthony is equally captivating as the chillingly cold and calculating Janet. The supporting cast adds depth, with characters who become unwilling pawns in Janet's game.

'The Bad Guardian' doesn't shy away from the darkness of its subject matter. Yet, it also celebrates unwavering familial love and the power of resilience. While the film might veer towards the dramatic at times, it succeeds in raising awareness about a critical issue and offers a satisfying conclusion where good prevails over evil.

Melissa Joan Hart wins heart with her fierce performance in 'The Bad Guardian' 

Melissa Joan Hart sheds her lighter comedic persona in Lifetime's 'The Bad Guardian', taking on a powerful and emotional role as Leigh. This is a far cry from her Nickelodeon days, showcasing her impressive dramatic range.

Hart embodies the fierce protectiveness of a daughter determined to save her father from a dangerous situation. We see her journey from initial confusion to full-blown mama bear mode as she uncovers the sinister intentions of the court-appointed guardian. Her emotional vulnerability shines through when faced with her father's decline, but her determination to fight for him is unwavering.

Hart's performance is a compelling blend of strength and vulnerability. She conveys Leigh's desperation and growing fear with a rawness that pulls viewers into the heart of the story. This is a far cry from the lighthearted characters she's known for, but it's a testament to her talent as an actress.

In 'The Bad Guardian', Melissa Joan Hart proves she can command the screen in a dramatic role just as effectively as she can in a comedic one.

'The Bad Guardian' is available for streaming on Lifetime.

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, is he (bleeping) dumb or (bleeping) smart.

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As an actor, Brendan Gleeson is a fact of life. Tall, shaggy, not thin, he demonstrates that it takes a heap o' living to make a body a character. Cast him in a role, and the plot and dialogue become adornments. In "The Guard," he is paired with the equally effective actor Don Cheadle , who could not be more different, and that is the point.

To begin, we should observe that "guarda" is the Gaelic word for policeman, and in that sense this Irish movie is titled "The Cop." Gleeson plays Sgt. Gerry Boyle, who tells us what we need to know when he witnesses a high-speed crash on a coastal road and quickly searches the victim's clothes for drugs that he can transfer to his own pockets.

Gleeson is not an evil cop, just a bad one. He loves his mother. That's a good sign. Eileen Boyle ( Fionnula Flanagan ) is dying in a retirement home, but perks up during Gerry's visits. He settles his great bulk next to her frail frame and they cheerfully share the f-word as if it's a punctuation mark.

On the job, Boyle drinks, has warm friendships with hookers and takes it easy. His life takes an inconvenient turn when McBride ( Rory Keenan ), a straight-arrow guarda from Dublin, is transferred to Galway and becomes Boyle's partner. The last thing Boyle wants is a partner. The last place he wants him to come from is Dublin, which is regarded in Galway with all the affection some Downstaters reserve for Chicago.

A big drug deal is coming down. It may involve half a million dollars, or pounds, or something — everyone seems vague. After a killing associated with the coastal road death, the FBI sends Agent Everett (Don Cheadle) to Ireland. He is the very last thing Boyle desires in a partner. Boyle is not a racist, but he is naive about black people and singularly lacking in tact. He seems to regard Everett almost as an expert on the ghetto lives he's seen portrayed on TV cop shows.

Gleeson has a way in this movie of making outrageous statements with such openness that we can't be sure if he means them- — or what he means by them. He makes a lot of comments about blacks that exist in a twilight zone between ignorance and guile. Is he trying to offend Everett or is he simply clueless? Is there a method to his cluelessness? It isn't limited to race-related subjects; one of the film's pleasures is the way Gleeson's dialogue obliquely suggests a great deal of intelligence and wit. The agent tells him: "I can't tell if you're really [bleeping] dumb or really [bleeping] smart."

The movie has been written and directed by John Michael McDonagh , whose brother Martin McDonagh made such good use of Gleeson in " In Bruges " (2008). His fundamentals are formulas: good cop/bad cop, fish out of water, odd couple. He leavens these familiar forms with an enchanting Irishness in which visitors at times suspect they are the butt of an unexpressed joke. As my friend McHugh explained to me as I entered my first pub in Sligo: "When they're not looking at you, they're studying you out of the corners of their eyes. And when they're not listening to you, they're not missing a word."

McDonagh makes little mystery of the identity of the big-time drug dealers. His dialogue, sly and delightful, allows the guarda and the FBI agent to begin to trust each other while evading cloying cliches. The local color is flawless; I especially liked the curious boy on the bicycle who seems to be ubiquitous and who is treated by Gleeson not as a lost child but as a useful informer.

All builds up to a shoot-out on a boat docked at an obscure pier. The framing and cinematography here are unobtrusive but efficient. The drama builds remorselessly. Much is at stake. I am exhausted by shootouts in which countless rounds are exchanged in displays of special effects. But a scene like this, which depends on topography, characters and logistics, can be a gift of the cinema. "The Guard" is a pleasure. I can't tell if it's really (bleeping) dumb or really (bleeping) smart, but it's pretty (bleeping) good.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

The Guard (2011)

Rated R for pervasive language, violence, drug references and sexual content

Don Cheadle as FBI agent Everett

Liam Cunningham as Francis Sheehy

Fionnula Flanagan as Eileen Boyle

Brendan Gleeson as Gerry Boyle

Mark Strong as Clive Cornell

David Wilmot as Liam O'Leary

Rory Keenan as Aidan McBride

Written and directed by

• John Michael McDonagh

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