General News – Page 405 – We Are Movie Geeks

BAGGAGE CLAIM – The Review

COME FLY WITH ME, the late, late movie staple, like the old Sinatra standard, put forth the idea that an airline ticket could open up a whirlwind world of romance and adventure. Well, the new film BAGGAGE CLAIM really believes that, too. But FLY was released in 1963…yeah, fifty years ago! Have the producers actually hung out at any airports recently. Not the same vibe anymore, at all. BAGGAGE is the newest “rom-com” from Hollywood’s assembly line (seems like a new one comes out every other month on schedule) with a bit of a twist. As the politically correct marketing folks would say, “This has an urban edge”. Or to be more to the point it’s cast and crew is predominantly African-Americans. And it’s a testament to strives in equality as this film proves to be just as fluffy, silly, and trite as any Katherine Heigl or Kate Hudson romantic comedy. Let’s head to this carousels….

Montana Moore (Paula Patton) is a single 30 year-old flight attendant for Trans-Alliance (ya’ know I don’t think that’s a real airline!) who’s always a bridesmaid or maid of honor. And it’s about to happen again! Her younger sister has just gotten engaged. And the big event is right around the Christmas holidays! Montana hopes to get her beau Graham (Boris Kodjoe) to pop the question so they can make the announcement during those festivities, mostly to get her pushy, much-married mother (Jenifer Lewis) to back off. But a Chicago Thanksgiving getaway derails those plans. She’s on the market once more with just 30 days to find someone. Luckily her supportive flight crew pals, attendants Gail (Jill Scott) and Sam (Adam Brody), hatch a (possibly illegal) scheme. They get a list of Montana’s ex-boyfriends and send it out to their other airport pals. When the exes make travel plans (it is the busy holiday season, after all), they’ll pass on the info so that Montana can join the flight crew or nab a seat, that way she can just “happen” to bump into them. She does get to re-connect with music producer Damon (Trey Songz) and ambitious politico Langston (Taye Diggs). Happily she can get rides to and from the airport thanks to her apartment building neighbor and childhood chum, William Wright (uh, get it?) played by Derek Luke, who’s sharing his pad with the ditzy Taylor (Christina Milian). And then she meets hotel tycoon Quinton (Djimon Hounsou), who’s not the marrying kind. Oh, what’s a girl to do?

Patton, who was so terrific as part of Tom Cruise’s IMF team in MISSION IMPOSSIBLE: GHOST PROTOCOL, flings herself into the “rom-com” staple role of the knock-out gorgeous gal who can be silly and klutzy and full of insecurities. Unfortunately she’s required to spew out the dialogue so quickly that she seems constantly out of breath. This may be also due to the countless scenes of her madly dashing through airports, helped along by her pals in security (gee, that makes me feel safe!). Mostly Montana (sounds like a sitcom..call BET!) is a prize that the various suitors strive for. Even the controlling congressman, played by Diggs, who wants to use her as a donation ploy with the wealthy condescending old white contributor played by Ned Beatty (Oh, Otis!). Many of her dates consists of glorified R and B videos with Patton and her beaus cuddling and cooing against a swanky backdrop while a forgettable pop ballad blasts over the theatre sound system (Gotta’ by the soundtrack!). I guess that’s easier than writing believable dialogue for them. Speaking of believability, Montana’s two best buds come right from “rom-com stereotypes 101”. Scott is the sexually voracious zoftig gal pal that became tired in TV sitcoms long ago (she’s like an Ethel Mertz that’s always ready to party). Pity poor Brody saddled with the cliche’ fussy, eye-rolling supportive gay role (“you go, girlfriend!”) so well parodied by Elijah Wood in last year’s CELESTE & JESSE FOREVER that it should be permanently retired. Hmmm, Brody’s a token Gay and Caucasian, a twofer! There is a “instead of finding a man, I need to find me” empowerment speech near the inevitable airport resolution (how original!), but it seems like a weak rebuttal to the previous hour of frantic husband hunting. In short (too late!), this is a movie that Scarlett Johansson’s Barbara Sugarman character in the vastly superior DON JON (opens today,check out Michael Haffner’s terrific review!) would adore. It’s predictable mind candy. Patton and company proved they can do as fluffy a comedy as anybody in Hollywood. Next time I hope they aim much a lot higher.

1 Out of 5

CLOUDY WITH A CHANCE OF MEATBALLS 2 – The Review

Foodimals. They’re the new minions and Sony Pictures should have a tasty hit on their hands with the exhilarating CLOUDY WITH A CHANCE OF MEATBALLS 2, which brings back nearly the entire cast of characters from the 2009 hit (except Bruce Campbell’s Mayor and Mr. T- whose character’s voice has been replaced with Terry Crews). While the first one was a spoof of ARMAGEDDEON, the sequel is a rollicking send-up of JURASSIC PARK which picks up where its predecessor left off. Inventor Flint Lockwood’s (Bill Hader) genius is finally being recognized as he’s invited by his idol Chester V (Will Forte) to join The Live Corp Company, where the best and brightest inventors in the world create technologies for the betterment of mankind. Chester’s right-hand-gal – and one of his greatest inventions – is Barb (a highly evolved lipstick-wearing orangutan with a human brain). It’s always been Flint’s dream to be recognized as a great inventor, but everything changes when he discovers that his most infamous machine (which turns water into food) is still operating and is now creating these food-animal hybrids. With the fate of humanity in his hands, Chester sends Flint and his friends on a dangerously delicious mission.

Visually, CLOUDY WITH A CHANCE OF MEATBALLS 2 is as good as any animated endeavor out there. It has a refreshing “cartoony” aesthetic that doesn’t try to make its characters look realistic – but it’s the foodimals everyone will be talking about. Flint and his friends battle tacodiles, shrimpanzees, apple pie-thons, watermelephants, a stampede of bananaraptors, and a double bacon cheespiders with multiple sesame seed eyes. (trivia: Flint’s girlfriend Sam is wearing the exact same outfit Laura Dern wore in JURASSIC PARK). But CLOUDY WITH A CHANCE OF MEATBALLS 2 is more than a bundle of digital eye candy. Like its predecessor, it’s seriously and deliriously demented and makes no apologies for it. It throws out rapid fire jokes, puns (“There’s a leak in the boat!” – cut to shot of an actual leek who screams in panic), and absurdities– some don’t work, but many, like the emission-free car that runs on cute (a kitten pops its head out of the gas tank), are gut-busters. The pace and tone of the comedy is actually pretty sophisticated and while kids will enjoy the visuals and the general frenzy of activity, many of the better jokes are aimed at their dragged-along parents (butter versus Parkay anyone?) And don’t look for any heavy messages about parent-child bonding or saving the planet. – CLOUDY WITH A CHANCE OF MEATBALLS 2 doesn’t go there but simply tries, and succeeds, to be a good time at the movies.

4 of 5 Stars

DON JON – The Review

Review by Michael Haffner

JERSEY SHORE and other similar interpretations of the Jersey area found on TV and film have reinforced a specific stereotype that might either cause some to run and hide from DON JON or embrace it in the hope of recognizing some familiar and empty stereotype. Both sides might be surprised to find out that the film neither embraces such stereotypes nor ignores them either. At any rate, DON JON is fully aware of its surface appeal but subverts expectations by placing some thoughtful subtext beneath the “Jersey romantic-comedy” surface.

Jon (Joseph Gordon-Levitt) is a self-described ladies man. He only goes after “the dimes” at the club (on a 1-10 scale, 10 being the hottest) and usually ends up taking them to bed. That is until he meets Barbara (Scarlett Johnasson). What follows is a cat and mouse game between the two as Jon is only able to get closer to Barbara by doing or changing something in his life to accommodate her. The breaking point for both of them though is when Barbara takes offense to Jon’s incessant viewing of pornography. From there, Jon begins a journey of self-discovery triggered by the women in his life.

I’m going to leave my summary of the film at that for the sake of not ruining some interesting plot turns that the film takes in the second half. Thankfully, the inspired casting makes these changes in DON JON (and in Jon’s character) seem natural. JGL’s boyish charm that is typically on display is almost all but forgotten beneath the slicked back hair and Jersey accent and attitude. Though he certainly looks the part, his performance reveals that he’s up for channeling some of the deeper issues that the role requires. Johansson is vivacious as she saunters from scene to scene in one tight mini dress after another. Some female viewers might begin to hold a grudge against the film’s script as her motives and exploits are portrayed at times as both manipulative and selfish. However, the film redeems itself through the inclusion of Julianne Moore’s character in the later half of the film. Her role is a breath of fresh air as it portrays the “older woman” in an unexpected light. The entire cast handles the humor well and adds depth to a script that refuses to get pigeonholed in either the dramatic or romantic comedy genres.

Joseph Gordon Levitt’s directorial debut confidently addresses taboo issues in our society such as masturbation, pornography, and addiction, without ever pointing a finger or looking down on the main character for his faults. Through such normal routine acts as showing Jon at the grocery store, Levitt brings to light certain societal pressures that lie in plain sight – though we often fail to recognize them – but he never seems to stoop to some moral message by placing the blame on who could likely be held accountable for these societal issues. The film isn’t about what’s “wrong” with Jon but what his actions simply say about him as a person. In one of the clever stylistic choices Levitt and editor Lauren Zuckerman does to showcase his actions, several repetitive montages are spliced together to create a rapid-fire look at Jon’s daily routine. “There’s only a few things I really care about in life. My body. My pad. My ride. My family. My church. My boys. My girls. My porn.” And with that succession of words stated by Jon, we are treated to visuals that illustrate these facts all too clearly. Some will say that the film’s use of pornographic imagery is excessive in both subject and due to its cyclical manner that it’s played out. However, that’s exactly the point. Only through seeing these actions that we realize how closed off Jon is to the real world. Even through he stares at his computer screen for hours each day, some of these other routine acts that you would assume would be more “normal acivities” reiterate this point as well. His family dinners are spent either silent so as to watch the football game or arguing over one matter or the other. Workouts at the gym consist of him exercising solo while talking to himself. Even his Sunday mornings at church involve him confessing his sins to a priest but behind the sanctuary “privacy” screen. Never does he embrace the idea of human contact and the emotions and complications that might come with it. All of these activities that we see Jon perform only add to the subtext that Levitt has carefully constructed about the modern man’s disconnect with society.

Roger Ebert once wrote, “no good film can ever be too long and no bad film is too short.” As much as I do love the story presented, I honestly do believe that Joseph Gordon-Levitt did cut off the film just slightly too short. A few extra minutes would have gone a long way. Even though the film is bookended with a montage of images intercut with a voiceover by the main character, the fact that the film is intent in presenting a change in the character’s psyche seems to be undermined by him not actually expressing his feelings as opposed to once again internalizing them. The handling of a later and important sex scene seems also misrepresented. JGL’s inexperience behind the camera makes the scene as glossy and as empty as Jon at the beginning of the film; which certainly wasn’t the intention. Anyone looking for a more intimate and truly emotional love-making scene would be better suited to see what James Ponsoldt achieved in this year’s THE SPECTACULAR NOW.

When the film debuted at Sundance earlier this year before getting picked up by its distributor, the original title was DON JON’S ADDICTION. My original reaction when I heard they were removing the negative word “addiction” was that the studio wanted to soften the stigma that that title may carry with it and to bump up the romantic comedy elements of the film. While I do feel that the studio has mistakenly marketed this film as a romantic comedy – which I feel it isn’t – I also am happy they changed the title. While many people will say Jon was addicted to porn, I would argue porn isn’t his addiction or necessarily to blame for the way he reacts with women. Jon was addicted to himself. Look at the listing of things that he says that he “really cares about in life.” Every single one has the word “my” in front of it. Yes, porn might be one of the things in that list, but as DON JON illustrates, a good film can hold many truths under its façade. Look past the film’s use of porn; past the romantic comedy marketing of Hollywood studios; past the macho New Jersey accents and muscle shirts; past the male stereotypes; past the nosy and controlling Barbara; past the fallacy that pornography makes all men degrade women; past the rules of a satisfying and healthy relationship; past the Hollywood constructs of what makes a film a comedy or a drama; and what you may find that DON JON is simply a human story. A human story that isn’t afraid to examine and learn from its character’s flaws.

4 out of 5 stars

DON JON Prizepack Giveaway

Are you ready to get your DON JON swerve on? If the answer is yes, then we have just the thing for you! A DON JON prizepack giveaway just for you! That’s right. We are giving away one DON JON prizepack that includes:

$30 Fandango giftcard
Don Jon mints
Don Jon air freshener
Don Jon branded tank top
Don Jon branded tissues
Don Jon branded gym bag

TO ENTER:

OFFICIAL RULES:

1. YOU MUST BE A U.S. RESIDENT WITH A U.S. SHIPPING ADDRESS. NO P.O. BOXES.

2. PLACE YOUR NAME, A VALID EMAIL, AND ANSWER TO THE QUESTION BELOW IN THE COMMENT SECTION BELOW.

3. WHAT IS YOUR FAVORITE PICKUP LINE, AND WHY?

4. WINNERS WILL BE CHOSEN THROUGH A RANDOM DRAWING OF QUALIFYING CONTESTANTS. NO PURCHASE NECESSARY. PRIZES WILL NOT BE SUBSTITUTED OR EXCHANGED.

Jon Martello (Joseph Gordon-Levitt) is a strong, handsome, good old fashioned guy. His buddies call him Don Jon due to his ability to “pull” a different woman every weekend, but even the finest fling doesn’t compare to the bliss he finds alone in front of the computer watching pornography. Barbara Sugarman (Scarlett Johansson) is a bright, beautiful, good old fashioned girl. Raised on romantic Hollywood movies, she’s determined to find her Prince Charming and ride off into the sunset. Wrestling with good old fashioned expectations of the opposite sex, Jon and Barbara struggle against a media culture full of false fantasies to try and find true intimacy in this unexpected comedy written and directed by Joseph Gordon-Levitt.

Director: Joseph Gordon-Levitt

Writer: Joseph Gordon-Levitt

Cast: Joseph Gordon-Levitt, Scarlett Johansson, Julianne Moore, Tony Danza, Brie Larson, Glenne Headly

DON JON hits theaters September 27, 2013

INTO THE WOODS First Look At Meryl Streep As The Witch

Check out the first look at Meryl Streep as the Witch in Disney’s INTO THE WOODS.

Meryl Streep ventures “Into the Woods” as the Witch who wishes to reverse a curse so that her beauty may be restored. The humorous and heartfelt musical, a modern twist on the beloved Brothers Grimm fairy tales, explores the consequences of the quests of Cinderella, Little Red Riding Hood, Jack and the Beanstalk and Rapunzel – all tied together by an original story involving a baker and his wife, and the witch who cast a spell on them.

INTO THE WOODS opens in theaters December 25, 2014.

Like Into The Woods on Facebook: https://www.facebook.com/DisneyIntoTheWoods

Disney’s INTO THE WOODS kicked off production in early September, featuring an award-winning production team and all-star ensemble cast. Rob Marshall, the talented filmmaker behind the Academy Award®-winning musical “Chicago” and Disney’s “Pirates of the Caribbean: On Stranger Tides,” helms the film, which is based on the Tony®-winning original musical by James Lapine, who also penned the screenplay, and legendary composer Stephen Sondheim, who provides the music and lyrics—including an all-new song for the big-screen adaptation.

INTO THE WOODS is produced by Marshall, John DeLuca, “Wicked” producer Marc Platt and Callum McDougall. The film is shooting in studio and on location throughout England.

The all-star ensemble cast includes:

Meryl Streep (“The Iron Lady,” “The Devil Wears Prada,” “August: Osage County”) portrays the Witch who wishes to reverse a curse so that her beauty may be restored.
Emily Blunt (“Looper,” “The Young Victoria,” “The Devil Wears Prada”) is the Baker’s Wife, a childless woman who longs to be a mother.
James Corden (Broadway’s “One Man, Two Guvnors,” “The Three Musketeers,” “Gavin & Stacey”) plays the role of the Baker, a hard-working man who desperately wants to start a family.
Anna Kendrick (“Pitch Perfect,” “Up in the Air”) fills the shoes of Cinderella, who finds herself on a journey of self-discovery.
Chris Pine (“Star Trek Into Darkness,” “Jack Ryan”) portrays Cinderella’s Prince, charming and impossibly handsome, who is on an endless quest to find his bride.
Johnny Depp (“Pirates of the Caribbean” films, “The Lone Ranger,” “Sweeney Todd”) steps in as the Wolf, who sets his sights on Little Red Riding Hood.
Lilla Crawford (Broadway’s “Annie”) makes her feature-film debut as Little Red Riding Hood, a smart and spunky girl who journeys into the woods, finding unexpected adventures along the way.
Daniel Huttlestone (“Les Misérables”) lands the role of Jack, an absentminded and adventurous boy who trades his treasured cow for five magic beans.
Tracey Ullman joins the cast as Jack’s Mother, a poor and exasperated mom who is overwhelmed, yet fiercely protective of her son.
Christine Baranski (“Mamma Mia!,” “Chicago” “The Good Wife”) takes on the infamous Stepmother who wishes for riches and grandeur; she’ll do anything to marry off one of her daughters to a prince.
MacKenzie Mauzy (“Brother’s Keeper,” Broadway’s “Next to Normal”) plays Rapunzel, a sheltered young woman who experiences the world beyond her tower for the first time.
Billy Magnussen (Broadway’s “Vanya and Sonia and Masha and Spike,” “Boardwalk Empire,” “The East”) is the dashing and eager Prince who courts Rapunzel.

Celebrated actors from the stage and screen fill the supporting roles, including Tammy Blanchard (“Blue Jasmine,” “The Good Shepherd”) and Lucy Punch (“Bad Teacher,” “Dinner for Schmucks”) as Cinderella’s spoiled stepsisters, Florinda and Lucinda. Richard Glover (“Sightseers,” “St. Trinian’s”) is the Princes’ royal steward, Frances de la Tour (“Hugo,” “Alice In Wonderland”) portrays the giant, and Simon Russell Beale (“The Deep Blue Sea”) is the Baker’s father. Actress Joanna Riding (“My Fair Lady,” “Carousel”) portrays Cinderella’s late mother, and Little Red Riding Hood’s beloved granny is played by Annette Crosbie (“Calendar Girls,” “The Slipper and the Rose”).

The big-screen adaptation welcomes songs from the stage musical, including “Children Will Listen,” “Giants in the Sky,” “On the Steps of the Palace,” “No One Is Alone” and “Agony,” among others. Additionally, Sondheim has penned an all-new song for the story’s theatrical debut.

Premiering on Broadway on Nov. 5, 1987, at the Martin Beck Theatre, the musical won 3 tony’s including best score, best book and best actress.

The production ran for 764 performances. Among other awards, the musical received five Drama Desk awards, including best musical. “Into the Woods” has been produced around the world, including a 1988 U.S. tour, a 1990 West End production, Broadway and London revivals, in addition to a television production, DVD recording and a 10-year-anniversary concert.

The award-winning production team includes Dion Beebe (“Collateral,” “Chicago,” “Nine”), Oscar® winner for the Marshall-helmed “Memoirs of a Geisha,” as director of photography. Dennis Gassner (“Skyfall,” “Quantum of Solace”), who won his own Oscar for “Bugsy,” serves as production designer, and three-time Oscar winner Colleen Atwood (“Memoirs of a Geisha,” “Chicago,” “Alice In Wonderland”) is costume designer.

ENOUGH SAID – The Review

All right you kids, get out of the pool! Time to give the adults a chance to have some fun! Now by “pool” I really mean movie romances, perhaps even the much maligned “rom-com”. Middle aged folks can still meet cute and fall in love, right? Even if they’ve been down the aisle before. I mean, it’s possible. Just like in the old crooner standard “The Second Time Around”. That notion is explored in the new film from independent writer/director Nicole Holofcener. She’s made a name for herself over the last decade with her low-key character studies which always feature the talented actress Catherine Keener. Holofcener has also been prolific in television and has cast several TV stars in her last couple of features like Jennifer Aniston in FRIENDS WITH MONEY. Her new film casts two iconic tube actors in this tender love story with a rather offbeat title, ENOUGH SAID. Yeah, well it’s so wonderful I’ve got a bit more to say.

The film’s main focus is Eva (Julia Louis Dreyfus), a fifty-something divorced private masseuse, who is facing the dreaded empty nest as her only child, daughter Ellen (Tracey Fairaway), prepares to move away to college (all the way across the country!). Maybe Eva should re-enter the dating scene. Her best pals, psychiatrist Sarah (Toni Collette) and hubby Will (Ben Falcone), bring her along to a fancy party. There Eva meets celebrated poet Marianne (Keener), who wants to be her new massage client. Also at that party Eva meets a funny, soft-spoken, big bear of a guy, Albert (James Gandolfini) who also has a college-bound daughter. They seem to make a connection and when Will tells her that he wants to call her up for a date, she happily agrees. Even though he’s not her physical type, Eva is slowly drawn to the kind and gentle museum curator (it’s a place for folks to study old TV shows…cool!). And Eva acquires a new friend in Marianne as the two bond during the massage sessions. They talk about their previous marriages and Marianne tells several disparaging stories about her ex-husband and before she can speak his name Eva realizes she’s talking about Albert! What to do? Eva likes her, so maybe she can keep her secret. But the “loser” Albert stories continue. Will this poison her new romance?

The absolutely stellar supporting cast never hits a false note. Falcone is endearing as the loveable goofy (and often frisky) hubby who displays more down-to-earth “horse sense” in dealing with a slight home crisis (a bumbling housekeeper in a great sub-plot) than his more educated spouse. Said spouse, played by the always great Collette, is a great pal/sidekick to Dreyfus, often close to the Lucy/Ethel dynamic. She seems always on the verge of rolling her eyes at her apparently clueless husband, but can’t really hide her affection for him. Fairaway seems also embarrassed by her clinging mother and tries to push her away, but is really hurt when Mom spends time with Ellen’s younger, very clingy BFF Chloe (the very funny Tavi Gevenson). And then there’s the etherial nurturing Earth-mother Marianne played to the hilt by the always compelling Keener. Eva believes this poet-domestic goddess is perfect (“No cellulite! None!), but she (and the audience) sees her cruel, ugly side when she speaks about her far, far from perfect ex. It’s a different take on “the other woman” role in romantic films. She doesn’t want her ex back, but she may break up his new relationship without realizing it.

In the main leads, we see a very different side to these two actors we’ve enjoyed so much on the small screen. Ladies first: this film is the best big screen work we’ve seen from the once and future (in reruns) Elaine/”old” Christine/VP Selena Meyer. The awkward klutz/wisegal is there, but Eva’s closer to real adult than most of Dreyfus’s previous roles. She’s almost heart-broken that her baby is leaving for school, but knows that she has even more love to share with the right someone. Even when she thinks she’s found him, somehow she tries to wreck things. Kudos to Drefyus for taking on a character who is often not likeable. I was amazed at how fast the audience turned on her after a cruel comment during a disastrous dinner party scene. But then, a few scenes later, she got us back on her side and rooting for her to triumph. This makes her tearful comeuppance very powerful. Dreyfus has had a fantastic acting career, but this work proves, that her best may be yet to come.

I so, so wish I could say the same for her co-star. His role of Albert drives home the great loss from earlier this year with Gandolfini’s shocking death. We’ll only get one more big screen visit from him (next year in ANIMAL RESCUE), but it’s not nearly enough. The sweet, vulnerable, funny Albert is so different from the belligerent, bellowing Jersey mobster and most of his feature film work (KILLING THEM SOFTLY and NOT FADE AWAY were not that far from “big Tone”). This film would’ve opened up an even greater variety of roles for the gifted actor. Albert may be a bit hefty, but he’s the “good guy” that women claim to be trying to find. He’s a true romantic lead. But there will be no more leads like this. But the film is far from sad. It’s a celebration of his talents and a wonderful, almost final gift from this iconic actor.

But really, honestly, the film is very funny. The banter between the two leads seems so natural, the chemistry completely unforced. This may be the best adult movie romance, well since MURPHY’S ROMANCE (1985?C’mon!). There’s no exaggerated cartoonish characters here, even the exes are good people. Eva’s ex-husband is not a venal creep and his younger new wife is kind and understanding, not an empty-headed bimbo. This all comes from Holofcener’s finely tuned script. She directs it with a steady confident hand, and never telegraphs a punchline or an emotional moment. I think it’s her best work and it’s one of the very best films of the year. So, is this film really worth your time? Yes! It’s wonderful! ENOUGH SAID, indeed!

5 Out of 5 Stars

ENOUGH SAID screens exclusively in the St. Louis area at Landmark’s Tivoli and Plaza Frontenac cinemas

Watch The New FROZEN Trailer

Check out the new trailer for Disney’s FROZEN starring the voices of Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad, Santino Fontana, Alan Tudyk, and Ciarán Hinds.

From the studio behind 2010’s “Tangled” and last year’s “Wreck-It Ralph,” Walt Disney Animation Studios presents FROZEN, the most daring comedy-adventure ever to hit the big screen.

Walt Disney Animation Studios, the studio behind “Tangled” and “Wreck-It Ralph,” presents “Frozen,” a stunning big-screen comedy adventure. Fearless optimist Anna (voice of Kristen Bell) sets off on an epic journey—teaming up with rugged mountain man Kristoff (voice of Jonathan Groff) and his loyal reindeer Sven—to find her sister Elsa (voice of Idina Menzel), whose icy powers have trapped the kingdom of Arendelle in eternal winter. Encountering Everest-like conditions, mystical trolls and a hilarious snowman named Olaf (voice of Josh Gad), Anna and Kristoff battle the elements in a race to save the kingdom.

The film is directed by Chris Buck (“Tarzan,” “Surf’s Up”) and Jennifer Lee (screenwriter, “Wreck-It Ralph”), and produced by Peter Del Vecho (“Winnie the Pooh,” “The Princess and the Frog”).

Featuring music from Tony winner Robert Lopez (“The Book of Mormon,” “Avenue Q”) and Kristen Anderson-Lopez (“In Transit”), FROZEN journeys into theaters November 27, 2013, in Disney Digital 3D™ in select theaters.

http://movies.disney.com/frozen/

“Like” FROZEN on Facebook: http://www.facebook.com/DisneyFrozen

Follow on Twitter: Twitter.com/DisneyAnimation

THE WORLD’S END Coming To Blu-ray/DVD November 19th

Five middle-aged friends set out to relive a beer-fueled odyssey from their youth, and end up in an epic battle to save humankind in the outrageous comedy THE WORLD’S END, available on Blu-ray™ Combo Pack, including Blu-ray™, DVD and Digital HD with UltraViolet™, DVD and On Demand on November 19, 2013, from Universal Studios Home Entertainment. Now fans can truly watch The World’s End anywhere, on any device!

Directed by Edgar Wright (Shaun of the Dead, Hot Fuzz), The World’s End’s irresistible humor has made it the toast of film reviewers across the nation. Labeled “sheer comic perfection!” by Peter Travers of Rolling Stone and called “Hilarious!” by Entertainment Weekly’s Chris Nashawaty, The World’s End stars Simon Pegg (Star Trek Into Darkness, Paul) and Nick Frost (Snow White and the Huntsman, Paul). This is the third and final film in Wright’s The Ultimate Three Flavors Cornetto® Trilogy, which also features hits Shaun of the Dead and Hot Fuzz starring Pegg and Frost, available exclusively on Blu-ray™ November 19th.

THE WORLD’S END also stars Paddy Considine (The Bourne Ultimatum), Martin Freeman (The Hobbit), Eddie Marsan (Sherlock Holmes), and Rosamund Pike (Jack Reacher). The Blu-ray™ Combo Pack serves up more than two hours of bonus content, including a gag reel, feature commentary with Simon Pegg and Nick Frost, and an insider’s look at the making of the funniest reunion picture ever made.

The Blu-ray™ Combo Pack of The World’s End includes a Blu-ray™, DVD and Digital HD with UltraViolet™.

Blu-ray™ unleashes the power of your HDTV and is the best way to watch movies at home, featuring 6X the picture resolution of DVD, exclusive extras and theater-quality surround sound.
DVD offers the flexibility and convenience of playing movies in more places, both at home and away.
DIGITAL HD with UltraViolet™ lets fans watch movies anywhere, on their favorite devices. Users can instantly stream or download movies to watch on iPad^®, iPhone^®, Android™, smart TVs, connected Blu-ray™ players, game consoles, and more.

Bonus Features Exclusive to The World’s End Blu-ray™:

Cast Commentary with stars Simon Pegg, Nick Frost, and Paddy Considine
Technical Commentary with director Edgar Wright and director of photography Bill Pope
Filling in the Blanks: The Stunts and FX of The World’s End – Cast and crew discuss the prowess of The World’s Endstunt and VFX teams. Watch rehearsals of intricate fight scenes choreographed by some of the movies’ best stuntmen. Learn how the VFX team enhances the existing footage to perfect the film’s look and style.
Hair and Make-Up Tests
Rehearsal Footage
Stunt Tapes – Behind-the-scenes of the bathroom fight, the twinbot fight and the beehive fight
VFX Breakdown – VFX Supervisor Frazer Churchill compares production footage with final shots to take viewers behind the veil of the outrageous visual effects sequences.
There’s Only One Gary King – osymyso’s Inibri-8 Megamix – A mash-up of Gary King’s (Pegg) best moments.
The Man Who Would Be (Gary) King
Signs & Omens – A film clip montage highlighting all the hidden clues and hints throughout the film.
Edgar & Simon’s Flip Chart –Writers Edgar Wright & Simon Pegg bring back the trusty flip chart to reveal their step-by-step process of creating the story.
Deleted Scene, Outtakes, Alternate Edits and more!

Bonus Features on The World’s End Blu-ray™and DVD:

Completing the Golden Mile – The Making of The World’s End – While on the surface The World’s End looks like a movie about a bunch of old friends getting drunk on a pub crawl, it’s actually about much more. Look through the eyes of these frequent collaborators at the depth of the themes and the relationships between characters.
Feature Commentary with Screenwriters Edgar Wright & Simon Pegg

Bonus Features Exclusive to The Ultimate Three Flavors Cornetto^® Trilogy Blu-ray™:

Interactive Screenplays for The World’s End, Hot Fuzz, and Shaun of the Dead

THE WORLD’S END SYNOPSIS:
Simon Pegg and Nick Frost reteam with director Edgar Wright (Shaun of the Dead, Hot Fuzz) in this wildly entertaining thrill ride that critics call “funny as hell” (Richard Roeper, WLS-AM Chicago) and “sheer comic perfection” (Peter Travers, Rolling Stone). Twenty years after their first epic pub crawl attempt, the “five musketeers” reunite in their home town to complete the ultimate challenge – one night, five friends, twelve bars – a boozy quest on which only the strongest will survive. But after a bizarre series of encounters with the out-of-this-world locals, they soon realize that reaching their final pub, The World’s End, may be the least of their troubles. They’re having the time of their lives, ready to take on the world… but tonight they may have to save it.

HOT FUZZ SYNOPSIS:
Nicolas Angel (Simon Pegg) is a big-city cop who can’t be stopped – but he’s making everyone else on the force look bad. When he is reassigned to a small, quiet town, he struggles with this new, seemingly idyllic world and his bumbling partner (Nick Frost). Their dull existence is interrupted by several grisly and suspicious accidents, and the crime-fighting duo turn up the heat and hand out high-octane, car-chasing, gun-fighting big-city justice in this hilarious hit critics are calling, “Outrageous! Uproariously Funny!” (Thelma Adams, US Weekly).

SHAUN OF THE DEAD SYNOPSIS:
There comes a day in every man’s life when he has to get off the couch…and kill some zombies. When flesh-eating zombies are on the hunt for a bite to eat, it’s up to slacker Shaun (Simon Pegg) and his best pal Ed, (Nick Frost), to save their friends and family from becoming the next entree. Novelist Stephen King gushes Shaun of the Dead is “a 10 on the fun meter and destined to be a cult classic” and Newsweek calls it “a bloody hoot!”

THE WORLD’S END CAST AND FILMMAKERS:
Cast: Simon Pegg, Nick Frost, Paddy Considine, Martin Freeman, Eddie Marsan, Rosamund Pike
Directed by: Edgar Wright
Producers: Nira Park, Tim Bevan, Eric Fellner
Screenplay by: Edgar Wright & Simon Pegg
Executive Producers: James Biddle, Edgar Wright, Simon Pegg, Nick Frost, Liza Chasin
Director of Photography: Bill Pope, ASC
Production Designer: Marcus Rowland
Editor: Paul Machliss, ACE
Costume Designer: Guy Speranza
Original Music by: Steven Price

THE WORLD’S END TECHNICAL INFORMATION – BLU-RAY™
Street Date: November 19, 2013
Copyright: 2013 Universal Studios. All Rights Reserved.
Selection Number: 61125399
Running Time: 1 hour, 49 minutes
Layers: BD-50
Aspect Ratio: Widescreen 2.35:1
Rating: R for pervasive language including sexual references
Technical Info: DTS-HD Master Audio 5.1, DVS – 2.0 Dolby Digital DTS (English); DTS Digital Surround 5.1 (Spanish)
Subtitles: English SDH and Spanish

THE WORLD’S END TECHNICAL INFORMATION – DVD:
Street Date: November 19, 2013
Copyright: 2013 Universal Studios. All Rights Reserved.
Selection Numbers: 61125403
Running Time: 1 hour, 49 minutes
Layers: Dual Layers
Aspect Ratio: Anamorphic Widescreen 2.40:1
Rating: R for pervasive language including sexual references
Technical Info: Dolby Digital 5.1(English); Dolby Digital 5.1 (Spanish)
Subtitles: English SDH, Spanish

THE ULTIMATE THREE FLAVORS CORNETTO^® TRILOGY – BLU-RAY™ & DVD:
Blu-ray™ Selection Number: 61130021
DVD Selection Number: 61130022

http://www.focusfeatures.com/The_Worlds_End

DRINKING BUDDIES – The Review

“It’s still the same old story…” states a classic tune that became the theme of a classic Hollywood romantic flick (that’s CASABLANCA for you “geek-lings”). Well this new flick expands on another story from a flick that’s not quite as old. WHEN HARRY MET SALLY from 1989 (really?) pondered whether men and women could remain good platonic pals without romance (you know, the love and the sex stuff) barging in. That answer (SPOILER ALERT!): nope. Not gonna’ happen. Uh uh. But is that still the case? A brand new flick examines two friends that are a bit younger than Billy and Meg, and a bit more “working class”. And instead of the “Big Apple”, they’re in the “Windy City”. But most unlike the earlier pair, these two are DRINKING BUDDIES, both off and on the job. Wha-?

You see, that’s because they both work at an independent brewery. One of those places that whips up their own beer label and sets up an eatery in sight of the big tanks and barrels. Luke (Jake Johnson) as one of the brewers, tends to those tanks, scrubbing and hosing them down, checking the temperatures, and so forth. Kate (Olivia Wilde) works in the office, setting up parties, shipping the beer to local outlets, and inviting folks over for tasting events. The two always have lunch together as they tease and joke. At quitting time they head over to a local pub with their co-workers for pool and darts, along with more drinking and laughter. But at the end of a rowdy night they go their separate ways. As the film opens, both are in serious relationships. Kate is dating the head of a small music label, Chris (Ron Livingston) who’s older and closer to an intellectual (he surprises her with somber books as gifts). Luke is living with Jill (Anna Kendrick) who’s a few years younger and working in education. The two are beginning to talk marriage. A couples weekend at Chris’s family lake front house leads to indiscretions, break-ups, and an apartment moving day which will test these relationships. So, after all this will Kate and Luke remain just buddies?

Here’s a great group of young actors who have been seen in many studio projects, but have not been able to showcase much more of their skills (more about that later) to great effect. Johnson, who may be best known for FOX-TV’s “New Girl” in addition to a few feature films (SAFETY NOT GUARANTEED) plays a looser version of his bartender “Girl” role. Luke has an endearing goofy charm punctuated by moments of tenderness. But we get a hint of his darker side perhaps spurred on by his conflicted feelings about the women in his life. He cares deeply about Kate, but is frustrated by many of her impetuous choices. Those choices may spring from her feelings about him. Wilde has often been typed by the studios as the glamour gal or the hero’s girlfriend in many recent movies. In this year’s maligned screen comedy THE INCREDIBLE BURT WONDERSTONE (I was one of the few reviewers that got a kick out of it, so if it’s at the dollar DVD machine..) and this film she proves herself to be a delightful comic actress. Her Kate is almost one of the guys. She can easily join in on any bit of fun that occurs. It’s no wonder that Luke (and her co-workers) are always up for a game of pool and a beverage after they clock out. Then we are sideswiped by this good time gal’s pain. She can be easy on the eyes, but still tugs at our heartstrings. Livingston displays some of the hangdog charm that made OFFICE SPACE a cult hit. His Chris is too dry and subtle for the “joes” that hang with Kate. He has to buffer his sarcastic wit constantly with an “I’m kidding”. His somber demeanor never totally meshes with his often messy, goofy girlfriend. Kendrick as Jill also comes off a tad “brainier” than Luke, but we see her making a real effort to connect with him and his buds. She has some of the same sexy pixie-ish charm she projected in PITCH PERFECT and UP IN THE AIR tempered with a vulnerability as she is determined to make this union work. Horror director Ti West is very good as another brewery worker eager to know Kate while being an annoying thorn in Luke’s side. And then there’s SNL vet (and Wilde’s fiance) Jason Sudekis in a small funny role as the always distracted brewery owner. He wants to be liked by his employees, but there’s just too much on his mind. Luckily Kate’s in control (at least in her office).

Now what’s that skill I hinted about? Director/writer Joe Swanberg guided the actors through scenes that were mostly improvised. Mostly? Well, like the HBO series “Curb Your Enthusiasm” (and the Chris Guest classics like BEST IN SHOW), the actors were given a basic outline for scenes. The outlines would include points that needed to be mentioned along with an ending that the actors would work toward. Happily the cast members were quick on their feet (and wits) and we don’t see them looking distracted while the wheels in their noggins were churning. Making this improv test more impressive was the fact (mentioned by them in media interviews) that they were really imbibing. The set was an actual working Chicago brewery, so there was no tea or colored water consumed during scenes. That leads to one of the film’s few problems. Besides the wearing of sunglasses in the early hours, nobody seems to feel the ill effects (big time hangovers) of the late night bar crawls. Back to the improvising, this method has been utilized mostly for humor (and there are many funny moments), but it also inspires some great drama and gives the confrontational duets a real sense of urgency and danger. Fortunately Swanberg knows how to best capture the actions and when to be ruthless in the editing room. The story feels concise and natural. And the plot moves in a realistic way and avoids the clichés of the big studio “rom-coms” . The “others”, Jill and Chris, ar not clowns or creeps who are delaying the final fadeout. Kudos to all involved for not going by the numbers and giving us a real challenging modern romance. Hmm, I think maybe I’ll get their next round!

4 Out of 5

DRINKING BUDDIES screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre

RUSH (2013) – The Review

Vroom! Vroom! Time to strap ourselves in and wait for the green light. The multiplex becomes the big racetrack for this weekend’s new formula one, based on true events thrill ride, RUSH. Of all the different pro sports, auto racing lags considerably behind the team competitions like baseball and football. as a movie setting. The 1960’s and early 70’s may have been its most popular decades with several big films anchored by big movie stars who were also big motor sports fans: James Garner in GRAND PRIX, Paul Newman in WINNING, and Steve McQueen in LE MANS. A couple of big box office draws have indulged their need for speed more recently: Sly Stallone in DRIVEN, Tom Cruise in DAYS OF THUNDER, and a parody with Will Ferrell in TALLEDAGA NIGHTS: THE BALLAD OF RICKY BOBBY along with the CARS films from the Pixar gang. The director of RUSH, Ron Howard, has helmed a sports movie before. CINDERELLA MAN was a boxing bio which focused on the love story of James and Mae Braddock as much as the big bout with Max Baer. And Howard’s got a bit of high-octane gas mixed in his film making blood since his first theatrical feature film was GRAND THEFT AUTO (a sort of follow-up to his drive-in hit that was sold with the ad tag line, “Ronny Howard pops the clutch and tells smokey to EAT MY DUST!”). But this isn’t just about watching the cars overtake each other. RUSH is almost a character study about two very different drivers many decades ago and how their rivalry propelled the sport to new heights. Let’s go…

Yes, let’s go back, 37 years to be exact. As the film opens Brit James Hunt (Chris Hemsworth) and Austrian Niki Lauda (Daniel Bruhl) are about to compete in the latest race in the Formula 1 circuit in August of 1976. The film then flashes back 5 or 6 years to tell their stories. Hunt is the hard-partying golden boy of racing with a rich sponsor, Lord Hesketh (Christian McKay) and a bright future. That is until Hesketh’s money runs out and Hunt must go out and convince corporate sponsored motor teams that he’ll cut back on the partying and the risky on-track behavior. To that end, he even settles down and marries the glamorous model Suzy Miller (Olivia Wilde). Over in Austria Lauda breaks from his powerful, wealthy family in order to pursue his racing dreams. He takes out a huge bank loan and basically buys into a Formula 3 racing team. His engine knowledge and determination don’t win him any fans in the pit crew, but his demands get results and he soon moves up to Formula 1. Like Hunt, he too takes a bride, Marlene (Alexandra Mara Lara) who is able to mellow out the rigid racer. Soon the 1976 circuit becomes a fierce competition between Hunt and Lauda. A horrific accident later turns their intense rivalry into a supportive friendship as their lives take very different paths.

The film is almost equally split among the two actors playing the racing rivals. Hemsworth gives off some the same charm and charisma as Hunt as he’s done playing that burly displaced Asgardian. We can understand the never-ending line of groupies eager to be part of the swingin’ 70’s with this long-haired blond Adonis. But we get a glimpse beyond his busy bedroom. Hunt almost loses that confidence after his rich backer leaves and he must sell himself. And there’s the pain in his eyes as he loses his one great love. The real discovery in RUSH is Hemsworth’s lesser known co-star (I only knew him from INGLOURIOUS BASTERDS). Bruhl plays Lauda with a steely focused intensity. He’s got no time for the booze and babes while there are races to be won, but his dry sense of humor often breaks through (he agrees that he resembles a rodent). These qualities are best shown when Lauda is dealt a cruel blow. The gruesome make-up doesn’t diminish the determination Bruhl projects as Lauda prepares to “get back on the horse”. This also gives strength to the tender scenes between Lauda and his wife Marlene played with grace and patience by the lovely Mara Lara. Wilde looks lovely also in the retro fashions and does a very good British accent, but she’s not given much to do in this film. Her Suzy really has only a couple of scenes with James, so the marriage seems like a brief sidebar to the story. Happily we get to see footage of the real racers at the film’s end, so that we can better appreciate the superb performances of Hemsworth and Bruhl.

Howard really gets down near the dashboard to give us an extra sense of danger in the racing sequences. We’re right on top of the action as the cars push and zip around each other. There’s also the frantic scenes at the pit stops as the crews seems to barely get out of the way as they sweat to get the cars back in the battle. Of course, the weather adds to that danger element as Howard shows the rain dashing against the drivers (they have to drill holes in their visors!) and turning the track into a wild, unmanageable beast. The different races are identified with crisp on-screen graphics by Howard to help us settle in. They’re all full of breathless excitement, but the off track scenes are just as engaging. Whether it’s the non-stop orgies with team Hunt or the painful recoveries in a lonely hospital room (you’ll never quite think of vacuuming in the same), Howard never lets the film lag. Even if you’ve never had any interest in the racetrack, RUSH will have you riveted by the story of these two unlikely friends. And here’s the flag…

4 Out of 5

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DON JON hits theaters September 27, 2013

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