When it was first announced the internet fanboys went balistic that McG was directing a film in this beloved series. With everybody getting a chance to see Terminator Salvation today, I believe that everybody will be singing McG's praises tomorrow. He got written off early because of his goofy name and the cheesiness of his first film Charlie's Angels. But I'd like to be on the record to say that I've been down with the man since day one. I saw the potential in him as a director with Charlie's Angels and I've got the review to prove it. Here's my original review from 2000:

A producer's recipe for a Big Dumb Hollywood movie: Start by coating the pan liberally with a stale TV show. Drop in 1 over-written screenplay, add 3 parts sex-appeal, 2 parts of-the-moment trend, 1 part platinum selling soundtrack and 1 part top-notch special effects, then mix together with the latest video music / commercial director, and bake at 400 for 98 minutes. Finish it off with a nice glaze of high budget ad campaign. End product should yield an average opening gross of 25 million dollars. (Results may vary on subsequent weekends.)

A funny thing happened on the way to the box office for Charlie's Angels, this recipe for usually bland entertainment, turned out to be a delectable treat. Thank you's belong to director McG (short for Joseph McGinty Nichol), who actually knew exactly what kind of movie he was making. McG knew that he wasn't working on the next "Citizen Kane", that he was in-fact making a high budget remake of a cheesy 70's TV show. The movie equally spoofs and celebrates the show it was based on.

Charlie's Angels opens like a new age Scorsese film, with a tracking shot through the Colombia logo, into a jet, up and back down the aisles, then staying with a conversation for a moment, before finally jumping out of the plane with the talkers. Although broken up with camera tricks, it creates quite an impressive opening scene. McG manages to keep up this pace for most of the film. Each scene is a completely different world, we may be in a 50's musical or a back alley kung-fu fight, but we're almost guaranteed to be shown a good time. McG knows the rules of each of these genre's and shoots them accordingly. Unlike so many of the new wave of directors, he knows when to use funky camera angles and slow-motion shots, he doesn't abuse these tricks of the trade.

We're introduced to the Angels via a fun split-screen montage. Natalie (Cameron Diaz) is the fun, girl-next-door type, who kicks butt in an athletic manner. Alex (Lucy Liu) is the refined one, with an elegant fighting style. Dylan (Drew Barymore) is the smokin' in the bathroom, street fightin' babe. Every single scene they are in different clothes or costume. Each girl has their own scenes to shine in; Natalie on stage at Soul Train, Alex as a dominatrix / office efficiency expert, Dylan fights five guys with her hands tied behind her back, the film just goes on like this.

Another major bonus this movie has going for it, is that the important supporting roles are filled by great actors. Bill Murray, who has gone from leading man to character actor in the past few years, turns in a great comedic performance as Bosley, the middle-man between Charlie and the Angels. Alex Knox, the Angels' client is played by Sam Rockwell ("The Green Mile"), he's another character actor who has turned into a scene stealer, with great charisma that jumps off the screen. And without even saying a word Crispin Glover is the creepiest villain of the year, as "The Thin Man".

Story? What story? This film is an excuse to showcase the over-the-top action sequences with the gorgeous girls in their pretty clothes. Haven't you gotten that yet? If you haven't, then you probably won't enjoy this movie.

I was one of the few people that defended McG's direction of Charlie's Angels, I thought it was spot-on for that particular film. The sequel, I wasn't as fond of, but it had a stupid, goofy charm that made it enjoyable. So I was interested in seeing what he could do with a film beyond that world, but was surprised when he signed on to do We Are Marshall. I wasn't sure if he could do drama, if he could calm his camera and editing down to a reasonable pace. After finally getting around to seeing it, he proves that he's got some adult in him as well.

Now, I wouldn't call Marshall, a great or even a very good film, but it's passable; good enough to keep you interested in the story. He gets some fine performances out of some good actors, I particularly liked David Strathairn as the school's Dean and Ian McShane as a grieving father. Matthew Fox has got the quiet, pensive act down pat. Matthew McConaughey is trying too hard not to play himself, he's got a weird accent, that must be some attempt at trying to sound like the real guy, but it came off as distracting; I thought he should have been reigned in a little more.

I was born after the Marshall University plane crash tragedy, thousands of miles away, so I didn't know anything about it's history. There's no way I can attest to the accuracy of the film's portrayal, it feels real enough, but there are scenes that are definitely built for emotional impact. At least they don't have the football team coming back to win the National Championship, they're content with having a moral victory. I thought that the football scenes were overly dramatic, turning routine plays into something way beyond that; and everything was shot too close, so it's hard to tell what's really going on. But I appreciated the passion that surrounded the games, I liked the journey the team, coaches and town takes getting back to the field. From what I've read those touched by the tragedy, were happy with the film, and since it's their story, that's what's most important.

If I didn't know, I would never have been able to tell this film had the same director as Angels; it lacks that visual panache, but it's a story that didn't need it, an over-active camera would have felt out of place. What most felt like his touch was in the soundtrack, he has a penchant for Top 40 hits used in the most obvious ways; and you'll recognize every song as a classic rock staple. I think that McG has a decent career ahead of him, he'll turn out to be a competent studio director, that's comfortable in multiple genres. And maybe just every once and a while he'll knock one out of the park. We Are Marshall, is a fairly nice sports drama, it won't become a classic, but it goes down smoothly without a bad aftertaste. - Grade: B-