The Associated Press is reporting that James Rebhorn, the prolific character actor whose credits included “Homeland,” ”Scent of a Woman” and “My Cousin Vinny,” has sadly died. He was 65.
Rebhorn’s agent, Dianne Busch, said Sunday that the actor died Friday at his home in South Orange, N.J, after a long battle with skin cancer. Busch said Rebhorn was diagnosed with melanoma in 1992 but managed to work until the last month.
In five decades of television and film work, Rebhorn amassed more than 100 credits, ranging from a shipping magnate in “The Talented Mr. Ripley” to the prosecutor in the series finale of “Seinfeld,” in which he famously sent the group to jail.
The lanky but piercing Rebhorn, raised a Lutheran in Indiana, often played astringent authorities, like the headmaster in “Scent of a Woman” or the Secretary of Defense in “Independence Day.”
On “Homeland,” he played the father of Claire Danes’ CIA officer Carrie Mathison. He also had a recurring role on the USA Network series “White Collar” playing the FBI head of a white-collar crime unit.
Other credits of the Philadelphia-born Rebhorn, who received his masters in acting from Columbia University, include “The Game,” ”Real Steel,” ”Law & Order,” ”Carlito’s Way” and “Meet the Parents.”
Rebhorn also frequently worked in theater, starring on Broadway in revivals of “Our Town,” ”12 Angry Men” and the original 1985 production of “I’m Not Rappaport.”
He is survived by his wife, Rebecca Linn, and two daughters.
In the all new Muppet caper MUPPETS MOST WANTED, Kermit and the gang embark on a world tour to share their show with fans. Little do they know that their new manager, Dominic Badguy (Ricky Gervais), has other plans. He and his accomplice Constantine, an amphibian identical to Kermit, are out to on the world of some of its greatest treasures, and plan on using the Muppets shows as a cover. Now, it’s up to the gang to stop them, and figure out which is the lean, mean, green stealing machine and who is the real Kermit.
It doesn’t matter what the Muppets do, it’s going to be funny (with the exception of THE MUPPETS’ WIZARD OF OZ… let’s just forget that ever happened). Having said that, this was not my favorite Muppet flick. Sure, there are some funny jokes, and the gang still oozes with charm, but I feel like the story lagged. Overall, this was a boring movie. They didn’t utilize the comedic skills of Ricky Gervais or Ty Burrell, and completely wasted Tina Fey’s witty timing and sense of humor. I was really disappointed in the role that they stuck her in. She deserves more than a bad accent and mediocre dialogue. Such a shame.
The Muppet characters are still just as charming as ever, with the exception of Constantine. I didn’t really like his character… even as a villain. He was too cheesy, and the assumption that no one would realize that he switched places with Kermit, even just by listening to him talk, is a bit too much. The Muppets are wacky, and don’t always make sense. I get it. His accent was still terrible. Actually, every fake accent in this film is terrible. Give me a smart, silly film. Don’t shove cliches and, what feels like, a rushed script down my throat. I know it sounds like I”m being tough on them, but that is because I am a fan, and they have an incredible body of work. Compared to the rest, this one is boring.
Even the songs in this film are boring! We’re doing a sequel was a decent opener, but after that the songs fell flat. Even as I type this, not one song sticks out in my mind. The last movie had ‘Pictures In My Head’, a cover of “We Built This City”, and “Man Or Muppet” just to name a few. Again, another disappointment.
MUPPETS MOST WANTED feels like more of a rush job than a thought out film. The only thing that saves this film, and makes it worth watching is the beloved characters that we grew up with… and Walter too!
Twentieth Century Fox’s new animated feature RIO 2 took over Miami, Florida on Friday evening (March 21) for a series of gala events marking the film’s World Premiere.
The celebrations included a screening; a GUINNESS WORLD RECORDS Attempt of the Largest Samba Party; the groundbreaking ceremony of the City’s Official Walk of Fame, in which the film and two of its stars, Jamie Foxx and Andy Garcia, were the inaugural inductees; and a special concert that featured performances by acclaimed artists Janelle Monáe, Sergio Mendes, Carlinhos Brown and Ester Dean, all of whom contribute to the film’s soundtrack.
Attendees at the World Premiere screening of RIO 2 walked the special “Blu” Carpet (named for one of the film’s characters) and were enveloped by action, music and fun as director Carlos Saldanha reunited his beloved characters in RIO 2.
In the new film, it’s a jungle out there for Blu, Jewel and their three kids, after they’re hurtled from Rio to the wilds of the Amazon. As Blu tries to fit in, he goes beak-to-beak with the vengeful and villainous Nigel, and meets the most fearsome adversary of all…his father-in-law.
Favorite “Rio” characters are joined by Oscar nominee Andy Garcia, Grammy winner Bruno Mars, Emmy and Tony winner Kristin Chenoweth and Oscar/Emmy/Tony/Grammy winner Rita Moreno.
For the GUINNESS WORLD RECORDS® Attempt of the Largest Samba Party, Fox hosted over 256 dancers – each of whom sported traditional Brazilian garb – to dance a choreographed Samba.
They did indeed succeed in breaking the largest samba dance record!
Just as the Samba is recognized around the world as a symbol of Brazil and the Brazilian Carnival, RIO and now RIO 2 celebrated that country’s music and grandeur, and made it come alive with character, color, emotion and fun.
The Official Miami Walk of Fame, Inc. immortalizes the entertainment industry’s biggest names, many of whom are hometown celebrities in entertainment, film, television, theater, sports, music and beyond.
The inaugural star-studded public ceremony took place with the premiere induction of RIO 2, as well as the induction of two of its stars – Academy Award and Grammy Award-Winner, Jamie Foxx, and Miamian Andy Garcia.
The festivities continued with a gala RIO 2 concert event featuring performances by recording artists Janelle Monáe and Ester Dean, Brazilian music legend Sergio Mendes, and fellow Brazilian phenomenon Carlinhos Brown.
Atlantic Records has announced the release of “RIO 2: MUSIC FROM THE MOTION PICTURE,” the musical companion to Blue Sky Studio/20thCentury Fox’s upcoming animated musical comedy. The soundtrack album arrives in stores and at all DSPs on March 25th.
“RIO 2: MUSIC FROM THE MOTION PICTURE” is available for pre-order now via http://smarturl.it/rio2soundtrack. All pre-orders will receive an instant download of the album’s colorful first single, “What Is Love,” by Wondaland Arts Society/Bad Boy recording artist Janelle Monáe. “What Is Love” is on sale now as an individual download on the iTunes Store and other digital retailers.
Monáe will herald the release of “RIO 2: MUSIC FROM THE MOTION PICTURE” with a special performance of “What Is Love” on an upcoming episode of AMERICAN IDOL XIII, set for Thursday, March 27 (9:00-9:30 PM ET live/tape-delayed PT) on FOX.
In addition to “What Is Love,” “RIO 2: MUSIC FROM THE MOTION PICTURE” also features the song, “Welcome Back,” performed by GRAMMY®-winning Atlantic recording artist Bruno Mars, who makes his big screen debut in Rio 2 as “Roberto.” The album also gathers brand-new tracks from Mars’ longtime musical collaborator and labelmate, Philip Lawrence; 15-member Sao Paulo percussion group, Barbatuques; renowned Brazilian musician Carlinhos Brown (who received a 2012 Academy Award nomination for his work on the original Rio); and Brazilian legend Milton Nascimento. In honor of the much beloved “Take You To Rio” from Rio, the soundtrack features “Rio Rio,” a new version of the track by Ester Dean, featuring B.o.B. As if all that weren’t enough, “RIO 2: MUSIC FROM THE MOTION PICTURE” also presents songs from the film performed by cast members Anne Hathaway, Jesse Eisenberg, Jamie Foxx, Andy Garcia, Rita Moreno, Kristin Chenoweth and Jemaine Clement.
“RIO 2: MUSIC FROM THE MOTION PICTURE” was specially curated by Academy Award nominated and GRAMMY-winner Sergio Mendes and Academy Award and GRAMMY nominated composer John Powell – who also teamed up on the first RIO soundtrack.
GRAMMY®-winning soundtrack producer Kevin Weaver (Boardwalk Empire, True Blood – Volumes 1 & 2, Girls) served as Executive Soundtrack Producer for Atlantic Records.
“RIO 2: MUSIC FROM THE MOTION PICTURE”
(Atlantic)
In Stores and Online March 25th
COMPLETE TRACKLISTING
What Is Love – Janelle Monáe
Rio Rio – Ester Dean (Featuring B.o.B)
Beautiful Creatures – Barbatuques, Andy Garcia, and Rita Moreno
Welcome Back – Bruno Mars
Ô Vida – Carlinhos Brown and Nina de Freitas
It’s A Jungle Out Here (Brazilian) – Philip Lawrence (Featuring UAKTI)
Don’t Go Away – Anne Hathaway and Flávia Maia
Batucuda Familia – Carlinhos Brown, Siedah Garrett, Jamie Foxx, Rachel Crow, Amy Heidemann, Andy Garcia, and Rita Moreno
Poisonous Love – Kristin Chenoweth and Jemaine Clement
I Will Survive – Jemaine Clement and Kristin Chenoweth
Bola Viva – Carlinhos Brown
Favo De Mel – Milton Nascimento
It’s A Jungle Out Here – Philip Lawrence
What Is Love (Cast) – Janelle Monáe, Anne Hathaway, Jesse Eisenberg, Jamie Foxx, and Carlinhos Brown
What Is Love (The GoonRock Mix) – Janelle Monáe*
Angry Birds Rio 2 Theme – Barbatuques *
* Exclusive TARGET Bonus Tracks
Directed by Carlos Saldanha (RIO, ICE AGE) and produced by John C. Donkin and Bruce Anderson (RIO), RIO 2 flies into theatres everywhere April 11th, in 3D.
The actor will star alongside Bryce Dallas Howard, Chris Pratt and Ty Simpkins in JURASSIC WORLD.
Sy’s upcoming projects include co-starring with Robert De Niro in Stephen Gaghan’s crime thriller CANDY STORE, as well as playing the mutant Bishop in Bryan Singer’s highly anticipated X-MEN: DAYS OF FUTURE PAST.
Colin Trevorrow (SAFETY NOT GUARANTEED) directs JURASSIC WORLD from the screenplay he co-wrote with Derek Connolly. Frank Marshall, Pat Crowley and Steven Spielberg are producing the sequel. Photography on the movie begins in April.
Paramount Pictures’ NOAH movie will finally be released in theaters Friday, March 28th and the first reviews coming in are very positive.
Variety critic Scott Foundas calls director Darren Aronofsky’s film a, “bold, personal, visually extravagant take on the Old Testament tale.” (review)
The Hollywood Reporter’s critic, Todd McCarthy, writes, “Working on by far his biggest budget in the wake of the great global success of Black Swan, Aronofsky bulks up his film not only with naturalistic spectacle but with fantastical elements that evoke both Ray Harryhausen and Peter Jackson; creatures rise up from the sea, a whole forest takes instantaneous shape at Noah’s convenience and there is far more swordplay and fighting than one ever imagined in this story.” (review)
Devin Faraci over at Badass Digest has the best review of the bunch. “And don’t get me started on what God is doing. Noah doesn’t shy away from the enormity of the Flood – a sequence has people screaming and clinging on to a mountain peak as the waters smash them away, their death cries echoing within the expanse of the ark. This isn’t the version of the Flood as seen in cheery Sunday School books. It’s one of the most harrowing things I have ever seen in a PG-13 movie.” (review)
In the latest featurette, meet Tubal-cain, Noah’s nemesis and a descendant of the infamous Cain who slew Abel. Played by Ray Winstone, (Martin Scorsese’s THE DEPARTED and HUGO), the English actor says he perceived Tubal-cain as a flawed but savvy man determined to survive at any cost. “I kind of saw Tubal-cain not as the bad guy, but as very human. He has his own very strong point of view.”
Although he is mentioned in the Book of Genesis, Tubal-cain is not included as part of the story of Noah – but Aronofsky and Handel brought him into the screenplay for a very specific reason. “Here’s a guy who is a descendant of Cain, the first murderer, and who himself is defined as forger of weapons in the Bible,” explains Handel. “He seemed like the right person to serve as the leader of the descendants of Cain, representing the wickedness and corruption of man.”
Winstone was a leading choice from the start. “We had to hire someone who you believe could kick Russell Crowe’s butt,” muses Aronofsky. “And he’s a big, tough guy who really sizes up to Russell. They have a great stand-off and confrontation.”
Winstone continues: “I think that he’s tormented because the Creator doesn’t speak to him; he’s like a child that’s been shunned. There’s a lot of envy going on between him Noah and there’s a sadness. I think he’s a man who from a young age has been a warrior fighting for land, fighting for minerals, fighting for meat, and he has come to a point where he is wondering, ‘what have I done with my life?’”
One of the film’s producers, Mary Parent, was impressed with Winstone’s complexity. “Tubal-cain is very much the manifestation of all that has caused God to question where man is headed. There’s an incredible moment in the movie where he even begins to compare himself to God, and takes it to the level of hubris. Yet, at the same time, Ray brings a vulnerability, so you feel for Tubal-cain – and you see that from his perspective, what he’s doing makes sense. While Noah respects all of Creation, Tubal-cain sees everything as for the taking.”
From the inspirational story of courage, sacrifice, hope and redemption, Darren Aronofsky (“Black Swan,” “The Wrestler,” “The Fountain”) brings to the screen NOAH. Academy Award winner Russell Crowe portrays the man chosen by God to undertake a momentous mission of rescue before an apocalyptic flood destroys the world. Never before has the full story been brought to life on screen in a vivid epic – inviting the audience to experience these spectacular events through the eyes and emotions of Noah and his family, as they journey through fear and faith, destruction and triumph, hardship and hope.
The production took the film’s world-class cast and crew on their own unexpected journey as they set out to intensively research Noah’s world, honor the text and board an authentic Ark, hand-built to biblically-detailed specifications. In every aspect of the film’s performances, action and innovative special-effects, the creative team’s aim was clear: to forge a contemporary experience of “Noah” that is immediate, vibrant and personal. The result is the first cinematic portrait of Noah as an imperfect man whose awe-inspiring task grapples with the worst of humanity while affirming our faith in its best.
Academy Award winner Jennifer Connelly, Ray Winstone, Emma Watson, Logan Lerman, Douglas Booth, Dakota Goyo and Academy Award winner Anthony Hopkins (“The Silence of the Lambs”) also star.
Visit the online Ark Experience to interactively explore the three decks of Noah’s ark:
In a nervy, brash, one-of-a-kind comedic performance, Jude Law introduces the world to DOM HEMINGWAY – steely London safecracker, hell-bent hedonist, profane pontificator and legendary live wire – as he hits the streets after 12 years in jail for keeping his mouth shut and protecting his boss.
Now, Dom’s ready to unleash everything and collect what he’s owed. But when his long-awaited payday doesn’t go as planned, Dom tries to reconnect with his long lost daughter – only to be tempted again by the three things Dom Hemingway knows how to do best: cracking safes, busting heads, and breaking hearts.
Law – a two-time Oscar nominee for COLD MOUNTAIN and THE TALENTED MR. RIPLEY – underwent a total transformation into the manic yet paradoxically poignant role. With a dart-player’s paunch, broken nose, lamb-chop sideburns, bad teeth and a nasty scar running beneath a blood-red eye, it is hard to believe that beneath Dom’s disheveled exterior and sportive contempt lies the same actor famed across the globe as a romantic lead.
Law spared nothing to get at the sheer, larger-than-life Dom-ness of Dom Hemingway. “He’s an explosive, poetic, scary, yet strangely funny man,” Law muses. “He’s what we all are in our essence, this sort of weird make up of good and bad, but on a more expansive level.”
The high-voltage comedy of the character first came to life in the mind of writer/director Richard Shepard, known for the Golden Globe-nominated THE MATADOR. “I liked the name Dom. It seemed interesting,” Shepard reflects. “And Hemingway had allusions to something macho.”
A large part of the film’s look is Dom’s look, which became a collaboration between Shepard, Law, costume designer Julian Day and hair and make-up artist Wakana Yoshihara.
Go behind the scenes of Shepard’s DOM HEMINGWAY, and meet the man behind Jude Law’s most controversial role yet.
Having embedded himself so intently, Law says he won’t soon forget Dom Hemingway or the surprising outcome of his escapades. “Playing Dom was an exhausting process and I developed some very bad habits which took a while to shake off,” he confesses.
“But I learned a lot from him. I’ll miss him. I loved being him and loved having him in my life. That sounds terribly sentimental, but he’s got a quality that is very attractive. He can’t help but be himself, even if that self is very loud and sometimes appalling. The best way to describe Dom Hemingway is that he is indescribable.”
Starring Jude Law, Richard E. Grant, Emilia Clarke and Demian Bichir, DOM HEMINGWAY will be out in theaters on April 2.
For GRAND BUDAPEST HOTEL, Wes Anderson’s reaches into that bag of tricks he always does, piling on the preciousness and eccentricities you’ve come to expect (or dread) from the fussy director but, thanks in part to his terrific script but mostly to a magnificent central character played by Ralph Fiennes, he pulls out his best film yet. Fiennes’ turn as Gustave, a Concierge at an Eastern Europe hotel in the 1930’s, is sure to have ‘em talking at next year’s awards season as will the film itself.
Like Anderson’s last film MOONRISE KINGDOM, THE GRAND BUDAPEST HOTEL is a nostalgic look at a different era as well as a coming-of-age story. It centers upon the once-grand titular venue, perched on a mountaintop in the imaginary European country of Zubrowka. The story is narrated initially by the author of a book on the hotel (Tom Wilkinson then Jude Law in flashback) who recounts how he met the Budapest’s owner Mr Moustafa (F Murray Abraham as an old man and Tony Revolori as a young one), in the 1960s. Moustafa then takes over as narrator, flashing back again to the 1930’s when he was a young orphan being groomed as a lobby boy by the Grand Budapest’s concierge Gustave H. (Fiennes). Gustave runs a tight ship but finds time to sexually service the hotels elderly aristocratic female guests, including the wealthy Madame Desgoffe (Tilda Swinton, in old-age do). The plot’s set in motion when Madame D dies and Gustave is more concerned about acquiring her priceless Renaissance painting ‘The Boy and the Apple’ than the fact that he’s been framed for her murder. Gustave and Zero are soon on the run from police led by Inspector (Edward Norton) as well as Madame D’s angry son Dmitri (Adrien Brody) and his savage black-clad toady Jopling (Willem Dafoe – a scene stealer made up to look like something out of a ‘40s poverty-row horror). Romance, chases, Marx Brothers-style gags and wacky subplots ensue. THE GRAND BUDAPEST HOTEL soars during an extended prison sequence that climaxes in a breakout lead by a bald, tattooed Harvey Keitel. It’s all so funny but there is menace and sadness in THE GRAND BUDAPEST HOTEL as well. Sour ZigZag officers (modeled on Nazis) storm onto trains in a couple of scenes, demanding papers and foreshadowing the European conflicts to come, the hotel is shown in later decades as fallen into sad disrepair, and a spontaneous (but cordial) gun battle shatters the serenity of the Budapest’s lobby.
Anderson keeps the story moving at a madcap pace and his script is packed with hilarious dialogue (“Did he just throw my cat out of the window?”). The film’s look is eye-popping thanks to Adam Stockhausen’s meticulous production design (the Budapest’s exteriors are played by a scale model that resembles a candy-colored wedding cake), and sounds unique due to Alexandre Desplat’s Cossacky score while Robert Yeoman’s cinematography basks in storybook mountainscapes and swift interior tracking shots that call to mind a cartoony speeded-up take on what Kubrick was doing at the Overlook. I expect all of these artists to nab Oscar noms for their work in THE GRAND BUDAPEST HOTEL but the film’s greatest strength lies in the its characters and performances. Fiennes’ con man/gigolo Gustave is the most dimensional, larger than life, and fascinating lead Anderson has ever written. Alongside Jeff Bridges’ The Dude, or Peter Seller’s Dr. Strangelove, Gustave is one of cinema’s all-time great eccentrics (Sellers’ spirit is one Feinnes channels) and the wit and energy that Fiennes brings to the character is to be savored. The actor’s timing is note-perfect down to the last arched brow and host of vain and occasionally vulgar mannerisms. It’s early in the year but I think Fiennes, an actor new to the Anderson entourage, is also a shoo-in for an Oscar nom. Most of the other actors in the film (Norton, Brody, Keitel, Dafoe, Jeff Goldblum, Jason Schwartzman, Bob Balaban) have worked with Anderson before and they’re all in top form – especially Dafoe. Owen Wilson, Fisher Stevens, and Bill Murray play members of ‘The Society of the Crossed Keys’, a fraternity of hotel concierges that have each other’s backs, a concept I wish Anderson had done more with (and it’s the second film this year – after MONUMENTS MEN – to underuse the notoriously difficult-to-cast Murray).
I confess I went into THE GRAND BUDAPEST HOTEL expecting to hate it. While I recognize Wes Anderson as one of the few true originals working in American cinema, I was never a huge fan and found his last film, MOONRISE KINGDOM a way too-cute, emotionally distant bore that just irritated me (I went as far as claiming it the worst film of 2012 in my review HERE, an assertion I stand by after attempting to watch it again). The trailer for this follow-up played like a parody of the worst of the director, but I call ‘em as I see ‘em, and though Anderson has refused to broaden his aesthetic, I was stunned how much I enjoyed checking into THE GRAND BUDAPEST HOTEL. I look forward to seeing it again soon and recommend everyone do the same. You won’t want to check out!
5 of 5 Stars
THE GRAND BUDAPEST HOTEL opens Friday, March 21st in St. Louis at (among other places) Landmark’s Tivoli Theater and Plaza Frontenac Theater
It was only three months ago that Hollywood gave us a comedic spin on over-the-hill heroes striving to recapture the glory days of their youth. Boxing movie icons Sylvester Stallone and Robert De Niro pulled out the gloves and trunks from the back of the closet and jumped back in the ring for a GRUDGE MATCH. Too bad the referees (or studio execs) didn’t throw in the towel and put a stop to the dismal bout. Well here’s another fella’ going for a second chance at a prize usually taken by those several decades younger. But this guy is not a boxer or a ball player like Roy Hobbs, THE NATURAL. It’s not an athletic event at all. And our hero is still many years from his AARP card. Forty-something Guy Trilby is determined to finally get the big prize at the Golden Quill National Spelling Bee by defeating all the 14 year-olds standing in his way. Happily for us, the abrasive, arrogant subject is played by a comic icon: Jason Bateman, the isle of sanity inside the crazy Bluth clan of TV’s “Arrested Development” and the co-star or supporting player of several recent screen farces like HORRIBLE BOSSES and IDENTITY THIEF. But he’s not playing straight man to Melissa McCarthy this time. He’s front and center. Oh, and he’s also making his feature film directing debut. So, do we have another multiple threat comic star like Ben Stiller in the making?
Guy Trilby (Bateman) has found a loophole in the rules for the big $50,000 spelling bee. And so, because he didn’t complete eight grade, he’s allowed to compete, angering school officials and parents everywhere. He escapes the angry mobs, trophy in hand, thanks to Jenny Widgeon (Kathryn Hahn), a reporter for the news website “Click and Scroll”, Guy’s sponsor in the different contests. But try as she might, even using her womanly wiles, Jenny can’t get Guy to open up and explain why he’s doing this. On the flight to the big televised national finals, Guy meets one of his competitors, wide-eyed nerdy innocent Chaitanya (Rohan Chand). After trying to push the boy away, Guy and the lad soon begin to bond at the dingy host motel to the tourney. Is the normally ruthless Trilby actually developing a heart, or is this a part of his sinister plan for victory? Just what is it with this guy named Guy?
This is the performance that Bateman has given us hints of in many of his previous film and TV roles. But this is no put-upon straight man tossing out put-downs almost under his breath. Trilby is a single-minded man using his passive aggressive insults which often spew out of his mouth like a verbal gattling gun to take down anyone who gets in the way of his goal. With his brow furled, he strides on, occasionally slowing to toss a devastating grenade of surly sarcasm. It’s a testament to Bateman’s skills that we’re often rooting for one of the movies’ most unpleasant protagonists. Keeping up with him is always delightful Hahn as the inquisitor somehow both drawn-to and repulsed by Guy. But she always has that reporter’s determination to dig up the truth, the motive behind the monster. The light fighting Guy’s darkness is Chand as the cherubic, sweet Chaitanya. He’s a delightful comic counterpart, but is often difficult to accept as an equally ruthless challenger in the film’s last act. There’s wonderful comic support from Allison Janney as the tournament’s director, a former spelling champ, who will not tolerate this foolishness from Guy. The verbal sparring matches between these adversaries crackle with energy as she barely conceals her contempt. And there’s the wonderful screen veteran Phillip Baker Hall as the Golden Quill founder, who tries to maintain an old fashion sense of dignity about the glories of learning as his legacy devolves into little more than a vulgar “big-time” style rasslin’ match. And for a few bonus laughs there’s the hilarious Rachel Harris as the most aggressive of the outraged parents.
Director Bateman gives the film a dark, murky look, perhaps to reflect Trilby’s skewed attitude . This is not the typical sunny California settings of most screen comedies. This gives an extra burst to the tournament itself when we view the proceedings through the shiny candy-colored lens of the TV cameras (perhaps a comment about the artificiality of reality programming?). Often Bateman relies a bit too much on slow motion action in an opening escape scene and later as Guy and Cahitanya have a hell-raising night on the town all set to blaring hip-hop and other popular tunes. The later montage goes on a tad too long with many gags that would rightly toss Guy into the slammer. This might have been intended as an homage to Max’s seduction of Leo in THE PRODUCERS, but it plays almost as child endangerment. First time feature screenwriter Andrew Dodge gives us a bonanza of yuks in that gangbuster first half hour, but like many recent comedies it begins to run out of steam after the one hour mark as pathos rears its head and subverts the early subversive attitude and we do finally get a half-hearted look at Guy’s motivations. Fortunately there’s enough solid laughs to make this first foray in feature film making a cause for celebration. Bateman has been an impressive, smart comedy MVP for many years now. BAD WORDS gives us hope that he will prove to be just the same behind the camera.
It’s no wonder a studio like Summit Entertainment would be interested in bringing Veronica Roth’s book series to the big-screen. Between the theme of government control set amid a sci-fi setting and the focus being on a young woman discovering who she really is amidst a growing rebellion, it’s not a stretch to see that DIVERGENT might be the next THE HUNGER GAMES. To put it simply, GAMES doesn’t have to worry about any sort of competition from this new young adult rival, but those interested in that world shouldn’t completely dismiss this entertaining coming of age story either.
Where THE HUNGER GAMES has somehow been able to appeal to readers and film fans of both young and old, this new young adult series may not be as lucky. This is mostly in part to the focus on romance rather than substance. When so much attention is paid to whether the two good-looking leads will kiss or not, you begin to see what really is most important in this series. Thankfully this budding romance isn’t nearly as agonizing as say the TWILIGHT films, but make no mistake, this is clearly a young adult series. And with that warning, be prepared to witness precocious teens try to catch cutesy glances at one another. So much so that you almost forgot that you are supposedly watching a science fiction film interested in bigger ideas.
In DIVERGENT, the Chicago of the distant future is separated into different factions. Each faction – don’t you dare try to make me recount all their names and what they stand for – is comprised of individuals who share specific personality traits that are unique to that faction. When you get to a certain age, a mental test is conducted that probes the mind to find out who you should belong to. Of course, the choice is always up to the individual, but no person should have all of the traits that make up the five factions. Only in very rare instances does this happen. Those individuals whose tests come back “inconclusive” are called Divergents.
Tris, played with all heart and gusto by Shailene Woodley, happens to be one of these individuals. When she is told to hide her test results, she is forced to decide what faction she wants to belong to. She ends up choosing “Dauntless” even though it goes against her family tradition. The Dauntless are known for their heroics and athletic ability. Through her training she meets a ragtag group of teens who are all striving to be officially accepted into the group. Only if you pass all of the tests and are in the upper percentage of the new recruits will you get accepted. One of her mentors, mysteriously named Four (the smoldering Theo James), seems to take a liking to Tris but also sees her as a potential problem due to some of the other traits she exhibits that other Dauntless members don’t possess. Four and Tris soon discover that they share more than just an emotional connection and that there lives may be at risk due to mounting pressure between the factions.
The film seems to suffer from being a slave to the source material. Even if you look past the bloated running time, so much effort is put into the training sequences and Tris “finding herself” amid the diverse group that you spend the majority of the film waiting for the plot to kick into gear. I will say that these coming of age scenes have a breezy easiness to the way they are laid out even if they become repetitious after awhile. The trials and obstacles she must face even seem to carry some minor symbolism as they act almost as stepping-stones showing a naïve girl transforming into a strong woman. It’s only when the film finally decides to deal with the larger issue of the story that everything suddenly feels rushed. Everything in the final 20 minutes feels like narrative overload, abruptly tacked on to make way for the subsequent films in the book series. By the end of the chaotic finale, you may find yourself looking back and appreciating some of the quieter moments from earlier in the film – especially a soaring scene where we see Tris literally soaring above the city set to a song by the band M83.
Director Neil Burger (LIMITLESS, THE ILLUSIONIST) takes such great care setting up these characters but wastes his calculated handling of the story in its finale. One could argue that the story could function much better as a TV series. Even though a similar book series has been adapted and made quite a splash at the box-office recently, I feel the deliberate pace that is spent to get to know each of these characters – which I can only assume is also present in the books – could translate to the small screen more efficiently. The entire ensemble seems appropriately cast and all are captivating on screen thanks to some impressive cinematography (Alwin H. Küchler). Burger’s direction mostly elevates the teen love affair into something slightly more just through his approach to this story. However, I would be remiss not to warn those unfamiliar with the books that this truly is an adaptation of a young adult novel. That being said, don’t be surprised if the film inspires even more young people to join the DIVERGENT fan faction.
Birds are fascinating creatures. This is true, but most people take birds for granted, so many of them flying about overhead. Birds are everywhere, and as creepy as that thought may be to some, they are always watching over us, constant spectators of the human experience below. Her on planet Earth, we go though life struggling primarily to answer two questions… who am i and what should I do with this life i have?
It’s no wonder there are some drawn in by a fascination for these feathered friends of ours. Those who watch, track and seek out birds of all species are generally referred to as “birders.” The term’s definition may be argued by some, including those in the film A BIRDER’S GUIDE TO EVERYTHING. Directed and co-written by Rob Meyer, this film is a coming of age story about an awkward 15-year old boy named David Portnoy.
David, played by Kodi Smit-McPhee, is grieving the loss of his mother, even as his father Donald plans his upcoming marriage to Juliana. David struggles with this rapid change in his family life. As a way to distract himself, and perhaps feel closer to his late mother, David takes up birding with two fellow enthusiasts at his school. David’s mother was a birder and accomplished researcher in the field and David shows a compelling level of knowledge and passion for the hobby in general.
A BIRDER’S GUIDE TO EVERYTHING is not about birds. Yes, the film contains many references to birds, jokes about birds, even bird metaphors, but the film is about David dealing with his teenage emotions regarding loss, love and growing up. Donald, played by James Le Gros, is understanding and patient at first, but as his wedding approaches he becomes less tolerant of David’s birding ways. Juliana, played by Daniela Lavender, was the nurse who cared for David’s dying mother. Despite her caring, warm spirit and genuine love for Donald and David, this fact clearly makes the situation that more unnerving and difficult to grapple with for David.
David’s journey of self-discovery begins, by chance, as he spots what he believes to be an extinct species of duck. Having snapped a blurry photo f the mystery bird, David seeks the opinion of renowned birder Lawrence Konrad, played by veteran actor Sir Ben Kingsley. David then enlists the help of his small school birding club to find the elusive bird and make what could be the greatest birding find of his generation. Along with his two nerdy birding companions, of whom have equivalent social personalities of Sheldon and Howard from The Big Bang Theory, they reluctantly allow Ellen, a student photographer, to accompany in exchange for the use of her telephoto lens.
Ellen, played by Katie Chang, clearly has an interest in David early on, but it takes some time and circumstances for David’s eyes to open and for the teenage hormones to kick in, despite Ellen’s thinly veiled, but equally awkward efforts to test the terrain. Together, the four adventurers head out into the Connecticut woods from New York in an older teenager’s “borrowed” convertible. Some mishaps occur on the way, but the journey allows for the viewer to get a strong sense of what David is going through, internally and with those around him. Chang’s mellow, almost neutral performance compliments Smit-McPhee’s uneasiness. Chang gives Ellen a nerdy, but confident worldly edge which plays well against, and ultimately alongside the textbook skinny, socially awkward David.
As usual, Ben Kingsley is a joy to watch. Invoking his trademark vocal traits and mannerisms, Kingsley lends a role model type figure to David’s story. This is crucial, especially since his father is preoccupied with his upcoming wedding. A BIRDER’S GUIDE TO EVERYTHING feels a bit like STAND BY ME, only nerdier, and without a dead body. One thing the film succeeds at is showcasing the birding hobby as a storytelling device, much in the way THE BIG YEAR did, starring Jack Black and Steve Martin, except with a more intimate, realistic approach that allows the film to feel more dramatically accurate, whereas THE BIG YEAR just felt like a vehicle for blockbuster comedy.
The small, independent spirit of A BIRDER’S GUIDE TO EVERYTHING carries a lot of weight for the film as the script is lacking in areas. Some of the more emotional moments in the story fall a little flat, perhaps partially due to a mostly young cast, but writing is always where these issues begin. Visually, the film does not feel amateurish and the film is accompanied by an equally enjoyable soundtrack, which also conveys a similar independent spirit. This independent spirit is another character trait of David’s, and perhaps what makes his story so intriguing.
A BIRDER’S GUIDE TO EVERYTHING does not break any boundaries. It does not redefine any genres, nor is cause for any controversy. The film is simply a pleasant exploration of a boy’s journey from innocence to an opening of himself to what can be, what will be and what is most important in life.
A BIRDER’S GUIDE TO EVERYTHING is currently available on Video On Demand and in Theaters beginning Friday, March 21st, 2014.
