Tag: Bryan Cranston

KUNG FU PANDA 4 – Review

Since we’re nearly into Spring Break season for students, the studios are gearing up to release some sequels (usually a Summer staple). I suppose you could consider last weekend’s DUNE: PART TWO a sequel, though it’s really the conclusion of the original story. Ah, but this weekend’s big studio release is the latest entry in a “tentpole”, a franchise that’s now a teenager (sweet sixteen). Plus it’s an “all-ages” series with a”PG” rating that parents are always searching for (he’s been MIA at the multiplex for eight years now). It’s not from the “Mouse House”, but rather their biggest animation rival for a time. And this was the character they created that truly worked for me (I’m not a fan of the look of the big green ogre’s exploits). Watch out, and hold on to your snacks, as Master Po is back, and hungry as always, in KUNG FU PANDA 4. Skadoosh!!

This new adventure begins with a “call back” of sorts when some hard-working mineral minors are menaced by an old foe who should be chilling in the afterlife. Cut from the prologue to the happy patrons of the noodle shop run by Mr. Ping (voice of James Hong) and Li Shan (Bryan Cranston) who are thrilled to meet the Dragon Warrior himself, Po (Jack Black). But the festivities are cut short by a surprise visit from Master Shifu (Dustin Hoffman). It seems that it’s time for Po to step up into the role of the spiritual leader of the valley creating the need for a new DW. Auditions are held, but Po isn’t quite ready to decide. Things get more complicated when he stops a skilled “sneak thief, a fox named Zhen (Awkwafina) from looting the Jade Museum. After she’s handed over to the jailer, those miners, from the opening scene, arrive to beg for help. Po is baffled that an old foe is back until Zhen mentions that this is the work of the shape-shifting master criminal The Chameleon (Viola Davis). Naturally, Zhen can lead Po right to her. The fox is put into his custody and soon the duo are on the way to her hometown, the bustling Juniper City. Along the way, they must hire a boat to take them across the vast sea. Unfortunately, the captain of such a vessel, is at a truly dangerous “dive bar”, the “Happy Rabbit”. But the danger really kicks (get it) in J.C. as they earn the wrath of the local police while trying to enlist the aid of Zhen’s old cohorts in the “Den of Thieves”. And with Ping and Li only a few hours behind him, can Po keep them all out of danger and defeat the devious, cunning Chameleon, or will his new temporary partner (the “Furious Five” are all battling evil elsewhere) pull a “fast one” on the lovable ursine?

So how can an actor be so energetic in a role he’s been “voicing” since 2008? Answer me that, Mr. Black! Perhaps that’s a big part of the near-universal appeal of the panda named Po. But it’s not all “hollerin’ and whoopin’ it up”, as Black shows us the sweet side of the bear, even giving us a touch of the caring teacher. That’s especially the case in his scenes with Zhen, whose streetwise, fast-talkin’ delivery comes from the very busy Awkwafina (this is her second Dreamworks character). Her wisecracks and “burns” keep pace with the fox’s manic slapstick, although we get some dramatic shading in the big finale. And the two are a terrific team, almost matched by Hong and Cranston as the two bickering but united “daddies”, an animalized “odd couple”. Well, there’s a third papa if you consider Hoffman’s Shifu who is still a perfect peeved straight man, er…red panda, to the exasperating Po. The story also benefits from a couple of inspired new voice actors. Ke Huy Quan is quite engaging as Zhen’s former “father figure” Han, the armadillo-like (a Sunda pangolin to be precise) who rolls about the underground lair of the underworld. It’s been said that a great villain reflects on the hero, and Davis is a treat as the regal, silky, sneering Chameleon who imbues venom into every command and taunt.

Making this sprawling action/fantasy yarn proved to be a task for two terrific directors, Stephanie Stine and Mike Mitchell, who deliver the comedy and the pathos with equal aplomb. The staging of the stunt setpieces is truly amazing, defying gravity and using it as another threat, as in the big brawl in the pub teetering on the edge of a cliff overlooking the sea (one character even asks, “Who thought this was a good location?”). The directing duo also guided an army of tremendous artisans in the look of the environments (Juniper City dazzles above and below ground) and the design of the new characters from shifty alligators to snarling wolves and even a trio of sadistic bunnies (shades of that white rabbit that bedeviled those Holy grail seekers). I was especially impressed by the constant flow of Juniper City foot (well paw and claw) traffic. The artistry is enhanced by a clever script that sports a few wild twists and a big finale that salutes the previous big-screen epics. Sure, some will be missing the “Furious Five”, but those returning characters and the new friends and enemies more than “take up the slack”. If desired this is a great send-off for the series, even as the end credits hint at a possible new direction(s). If we return to the Valley of Peace, audiences will be “pleased as Po” if they’re as well done (ala Ping’s noodles) as KUNG FU PANDA 4.

3 Out of 4

KUNG FU PANDA 4 is now playing in theatres everywhere

Win A Family 4-Pack Of Passes To The St. Louis Advance Screening Of KUNG FU PANDA 4

THIS SPRING, AWESOMENESS RETURNS!  JACK BLACK IS BACK IN DREAMWORKS ANIMATION’S KUNG FU PANDA 4.  RATED PG.  IN THEATERS MARCH 8TH

https://www.kungfupandatickets.com/

The special screening is 7PM on Tuesday, March 5th at Galleria 6 Cinemas (6PM Suggested Arrival) . 

Please arrive early as seating is not guaranteed.

10 winners will receive 4 passes to the screening.

GET YOUR PASSES HERE: http://gofobo.com/IwIIA76314

After three death-defying adventures defeating world-class villains with his unmatched courage and mad martial arts skills, Po, the Dragon Warrior (Golden Globe nominee Jack Black), is called upon by destiny to … give it a rest already. More specifically, he’s tapped to become the Spiritual Leader of the Valley of Peace. That poses a couple of obvious problems.

First, Po knows as much about spiritual leadership as he does about the paleo diet, and second, he needs to quickly find and train a new Dragon Warrior before he can assume his new lofty position. Even worse, there’s been a recent sighting of a wicked, powerful sorceress, Chameleon (Oscar® winner Viola Davis), a tiny lizard who can shapeshift into any creature, large or small. And Chameleon has her greedy, beady little eyes on Po’s Staff of Wisdom, which would give her the power to re-summon all the master villains whom Po has vanquished to the spirit realm. So, Po’s going to need some help.

He finds it (kinda?) in the form of crafty, quick-witted thief Zhen (Golden Globe winner Awkwafina), a corsac fox who really gets under Po’s fur but whose skills will prove invaluable. In their quest to protect the Valley of Peace from Chameleon’s reptilian claws, this comedic odd-couple duo will have to work together. In the process, Po will discover that heroes can be found in the most unexpected places.

The film features the voice talent of returning stars Academy Award® winner Dustin Hoffman as Kung Fu master, Shifu; James Hong (Everything Everywhere All at Once) as Po’s adoptive father, Mr. Ping; Academy Award® nominee Bryan Cranston as Po’s birth father, Li, and Emmy Award nominee Ian McShane as Tai Lung, Shifu’s former student and arch-nemesis. Oscar® winner Ke Huy Quan (Everything Everywhere All at Once) joins the ensemble as a new character, Han, the leader of the Den of Thieves.

Kung Fu Panda 4 is directed by Mike Mitchell (DreamWorks Animation’s Trolls, Shrek Forever After) and produced by Rebecca Huntley (DreamWorks Animation’s The Bad Guys). The film’s co-director is Stephanie Ma Stine (She-Ra and the Princesses of Power). In 2008, the Academy Award®-nominated 2008 inaugural chapter, Kung Fu Panda, became DreamWorks Animation’s highest-grossing original animated film and launched a franchise that has earned more than $1.8 billion at the global box-office.

ARGYLLE – Review

L to R: Henry Cavill, Dua Lipa, and John Cena in ARGYLLE, directed by Matthew Vaughn

It feels as though there are one, or two, films that want to “push” against the standard movie-releasing rules as January slowly (with those recent temps it feels like crawling) gives way to February. The big splashy noisy action blockbusters are supposed to be waiting in the wings for the warmer times, but since this is from “Marv maverick” Matthew Vaughn, of course it’s not going to adhere to anyone’s rules. The guiding force behind the KINGSMAN and KING’S MAN franchises (and a pivotal entry in the X_MEN multiverse) attempts to get another series going by mixing in a bit more comedy and even a touch of romance and fantasy as he hopes we will be swept up in the world of ARGYLLE.


And just what does the title mean? In the first few minutes we learn that it’s the moniker of a globe-trotting “super-spy” (Henry Cavill), who favors a velvet suit rather than the patterned sweaters. When we meet him, he’s trying to capture a sultry blonde assassin, Lagrange (Dua Lipa). And with the help of his “muscle” Wyatt (John Cena) and computer whiz Kiera (Ariana DeBose), it’s “mission accomplished”, until they learn that their target was actually working with their boss in “the agency’. But then Argylle’s narrative voice segues into a woman’s voice, that of Elly Conway (Bryce Dallas Howard) who is reading the last line of her newest espionage thriller (the fifth in a series of best sellers) at her local bookstore in Colorado. From there it’s back to her quiet country home on the lake, buffeted by the mountains, as she finishes the sixth book, aided by her constant companion, a Scottish Fold cat named Alfie. The still night is interrupted by a “face-time” call from Elly’s mom Ruth (Catherine O’Hara) who isn’t pleased with the draft of the new tome. Agreeing that it needs a new chapter for a better ending, Ruth says that she’ll fly out for a visit. But Elly throws her a curve by boarding a Chicago-bound train. As the train departs, she’s joined by an off-putting scraggly fan named Aidan (Sam Rockwell) who explains that he’s a real spy and that Elly’s books have real-life counterparts. Elly scoffs until Aidan saves her from the countless skilled killers in the passenger car. As they escape, Aidan tells her that she must finish the new story, in order to thwart the forces that want to silence the duo forever. Somehow Elly’s creations are indeed true, and the reclusive writer must call upon her inner agent Argylle to survive.

As the timid and awkward “future cat lady” Elly, Howard displays the full range of her acting prowess, jumping right from comic annoyance to stark skittish terror to reluctant daredevil (hey she could wear high heels and evade dinosaurs in a recent trilogy) as the “normal” plunged into this “netherworld”. She’s certainly the heart of this flick as the vulnerable author turned adventurer. It helps that her guide is the ultra-cool and wacky Aidan played with “loosey-goosey” charm to spare by the always interesting “wild card” Rockwell, a nice “switcheroo” on the cliffhanging hero. More like the cliche is Cavill as the “fictional” gentleman agent who seems to have everything under control, especially his razor-sharp “buzz” haircut. He’s a fun parody in the opening sequences and it’s always a treat to see him “pop in” for a few seconds to assure Elly as she sees him in a mirror before “blinking” him back into her brain. Bryan Cranston appears to be having lots of fun putting his own spin on the arch-enemy “mastermind” role of Ritter, head of the “Division”. O’Hara flexes her considerable comic “chops”‘ as Elly’s “hovering” and way too helpful mother (a twist on her HOME ALONE icon). Though they’re featured heavily in the marketing, Lipa (who sizzles on screen), DeBose, and Cena really have slightly elongated “cameos’ as the novel’s femme fatale, and sidekicks, respectfully. Much the same can be said of Sofia Boutella as the “Keeper of Secrets” and particularly Samuel L. Jackson in a role that’s an affable, amiable “Nick Fury-lite”.

Vaughn gives the opening Bondian set-piece a real “sugar rush” jolt of giddy energy pouring on his hyper-stylized campy stunt flourishes. It almost makes us wish that he could bring that wild whimsey to a full-on spy satire ala the OSS-117 series (or another try at GET SMART). Then he switches gears into a manic spin on ROMANCING THE STONE with Elly and Aidan having a definitely deadly “meet cute”. Unfortunately, the script from Jason Fuchs begins piling on the double and triple crosses, attempting to dazzle us with its clever twists, but often coming off as illogical with characters changing behaviors “willy nilly”, with situations triggering responses that should’ve occurred earlier (not wanting to spoil). It wears us down long before the big third act stunt-heavy finale (paired with lotsa’ pop tunes) that has nearly five near-conclusions with a truly colorful showdown that would be sumptuous at a couple of minutes but comes off as self-indulgent “showboating” at nearly ten minutes. Luckily Vaughn (who has been de-clawed much like Alfie in order to get a more all-ages friendly PG-13 rating) keeps the comic close-ups of the obviously CGI kitty cat limited (it seemed like the trailers were “pushing’ it relentlessly), but the whole thing feels incredibly bloated at 139 minutes (didn’t FAST X teach us anything about action’thriller editing being needed). A dreary mid-credits bonus scene teases a follow-up, but this initial effort’s exhausting pacing and cliched “master plan” may make this the first and final mission for the mildly amusing agent ARGYLLE.

2 Out of 4

ARGYLLE is now playing in theatres everywhere

Win Passes To The St. Louis Advance Screening Of ARGYLLE – Stars Henry Cavill, Dua Lipa And John Cena

THIS WINTER… THE GREATER THE SPY, THE BIGGER THE LIE.  FROM THE TWISTED MIND OF MATTHEW VAUGHN, DIRECTOR OF KINGSMAN.  UNIVERSAL PICTURES AND APPLE ORIGINAL FILMS PRESENT HENRY CAVILL, BRYCE DALLAS HOWARD, SAM ROCKWELL, BRYAN CRANSTON, CATHERINE O’HARA, DUA LIPA, ARIANA DEBOSE, JON CENA AND SAMUEL L. JACKSON IN ARGYLLE. 

ONLY IN THEATERS FEBRUARY 2ND.

https://www.argyllemovie.com/

The St. Louis advance screening is 7PM on Tuesday, Jan 30th at Marcus Ronnie’s Cine (6PM Arrival Suggested)

Please arrive early as seating is not guaranteed.

Enter at the link: http://gofobo.com/tekrE33756

Rated PG-13 for strong violence and action and some strong language. 

L to R: Henry Cavill, Dua Lipa, and John Cena in ARGYLLE, directed by Matthew Vaughn

The greater the spy, the bigger the lie. 

From the twisted mind of Matthew Vaughn (Kingsman franchise, Kick-Ass) comes Argylle, a razor-witted, reality-bending, globe-encircling spy thriller. 

Bryce Dallas Howard (Jurassic World franchise) is Elly Conway, the reclusive author of a series of best-selling espionage novels, whose idea of bliss is a night at home with her computer and her cat, Alfie. But when the plots of Elly’s fictional books—which center on secret agent Argylle and his mission to unravel a global spy syndicate—begin to mirror the covert actions of a real-life spy organization, quiet evenings at home become a thing of the past. 

Accompanied by Aiden (Oscar® winner Sam Rockwell), a cat-allergic spy, Elly (carrying Alfie in her backpack) races across the world to stay one step ahead of the killers as the line between Elly’s fictional world and her real one begins to blur. 

The top-flight ensemble cast features Henry Cavill (The Witcher), John Cena (Fast X), Oscar® winner Ariana DeBose (West Side Story), Grammy winning pop superstar Dua Lipa (Barbie), Emmy winner and Oscar® nominee Bryan Cranston (Breaking Bad), Emmy winner and comedy icon Catherine O’Hara (Schitt’s Creek), Sofia Boutella (Kingsman: The Secret Service), and the legendary Samuel L. Jackson. Alfie is played by Chip, the real-life cat of supermodel Claudia Vaughn (née Schiffer). 

Argylle is directed and produced by Matthew Vaughn, from a screenplay by Jason Fuchs (Wonder Woman). The film is produced by Matthew Vaughn, Adam Bohling (Kingsmanfranchise), Jason Fuchs, and David Reid (Kingsman franchise). The executive producers are Adam Fishbach, Zygi Kamasa, Carlos Peres and Claudia Vaughn. 

Apple Original Films presents, in association with MARV, a Cloudy production. Argylle is distributed by Universal Pictures.

Director Matthew Vaughn with Chip the cat (playing Alfie) on the set of ARGYLLE

Watch The Brand New Trailer For KUNG FU PANDA 4

This spring, for the first time in almost a decade, comedy icon Jack Black returns to his role as Po, the world’s most unlikely kung fu master, with a hilarious, butt-kicking new chapter in DreamWorks Animation’s beloved action-comedy franchise: Kung Fu Panda 4.

Check out the brand new trailer.

After three death-defying adventures defeating world-class villains with his unmatched courage and mad martial arts skills, Po, the Dragon Warrior (Golden Globe nominee Jack Black), is called upon by destiny to … give it a rest already. More specifically, he’s tapped to become the Spiritual Leader of the Valley of Peace.

That poses a couple of obvious problems. First, Po knows as much about spiritual leadership as he does about the paleo diet, and second, he needs to quickly find and train a new Dragon Warrior before he can assume his new lofty position.

Even worse, there’s been a recent sighting of a wicked, powerful sorceress, Chameleon (Oscar® winner Viola Davis), a tiny lizard who can shapeshift into any creature, large or small. And Chameleon has her greedy, beady little eyes on Po’s Staff of Wisdom, which would give her the power to re-summon all the master villains whom Po has vanquished to the spirit realm.

So, Po’s going to need some help. He finds it (kinda?) in the form of crafty, quick-witted thief Zhen (Golden Globe winner Awkwafina), a corsac fox who really gets under Po’s fur but whose skills will prove invaluable. In their quest to protect the Valley of Peace from Chameleon’s reptilian claws, this comedic odd-couple duo will have to work together. In the process, Po will discover that heroes can be found in the most unexpected places.

The filmfeatures the voice talent of returning stars Academy Award® winner Dustin Hoffman as Kung Fu master, Shifu; James Hong (Everything Everywhere All at Once)as Po’s adoptive father, Mr. Ping; Academy Award® nominee Bryan Cranston as Po’s birth father, Li, and Emmy Award nominee Ian McShane as Tai Lung, Shifu’s former student and arch-nemesis. Oscar® winner Ke Huy Quan (Everything Everywhere All at Once) joins the ensemble as a new character, Han, the leader of the Den of Thieves.

Kung Fu Panda 4 is directed by Mike Mitchell (DreamWorks Animation’s Trolls, Shrek Forever After) and produced by Rebecca Huntley (DreamWorks Animation’s The Bad Guys). The film’s co-director is Stephanie Ma Stine (She-Ra and the Princesses of Power). In 2008, the Academy Award®-nominated 2008 inaugural chapter, Kung Fu Panda, became DreamWorks Animation’s highest-grossing original animated film and launched a franchise that has earned more than $1.8 billion at the global box-office.

(from left) Po (Jack Black) and Zhen (Awkwafina) in Kung Fu Panda 4 directed by Mike Mitchell.
© 2023 DreamWorks Animation. All Rights Reserved.

(from left) The Chameleon (Viola Davis), (right) Tai Lung (Ian McShane) in Kung Fu Panda 4 directed by Mike Mitchell.

Watch The Wild Trailer For Matthew Vaughn’s ARGYLLE Starring Bryce Dallas Howard, Sam Rockwell, Henry Cavill, John Cena, Dua Lipa And Samuel L. Jackson

The greater the spy, the bigger the lie.

From the twisted mind of Matthew Vaughn (Kingsman franchise, Kick-Ass) comes ARGYLLE, a razor-witted, reality-bending, globe-encircling spy thriller.

Bryce Dallas Howard (Jurassic World franchise) is Elly Conway, the reclusive author of a series of best-selling espionage novels, whose idea of bliss is a night at home with her computer and her cat, Alfie. But when the plots of Elly’s fictional books—which center on secret agent Argylle and his mission to unravel a global spy syndicate—begin to mirror the covert actions of a real-life spy organization, quiet evenings at home become a thing of the past.

Accompanied by Aiden (Oscar® winner Sam Rockwell), a cat-allergic spy, Elly (carrying Alfie in her backpack) races across the world to stay one step ahead of the killers as the line between Elly’s fictional world and her real one begins to blur.

The top-flight ensemble cast features Henry Cavill (The Witcher), John Cena (Fast X), Oscar®winner Ariana DeBose (West Side Story), Grammy winning pop superstar Dua Lipa (Barbie), Emmy winner and Oscar® nominee Bryan Cranston (Breaking Bad), Emmy winner and comedy icon Catherine O’Hara (Schitt’sCreek), Sofia Boutella (Kingsman: The Secret Service), and the legendary Samuel L. Jackson. Alfie is played by Chip, the real-life cat of supermodel Claudia Vaughn (née Schiffer).

L to R: Henry Cavill, Dua Lipa, and John Cena in ARGYLLE, directed by Matthew Vaughn

L to R: Sam Rockwell as Aiden and Bryce Dallas Howard is Elly Conway in ARGYLLE, directed by Matthew Vaughn

Bryce Dallas Howard is Elly Conway in ARGYLLE, directed by Matthew Vaughn

ARGYLLE is directed and produced by Matthew Vaughn, from a screenplay by Jason Fuchs (I Still See You). The film is produced by Matthew Vaughn, Adam Bohling (Kingsman franchise), Jason Fuchs, and David Reid (Kingsman franchise). The executive producers are Adam Fishbach, ZygiKamasa, Carlos Peres and Claudia Vaughn.

Apple Original Films presents, in association with MARV, a Cloudy production. Argylle is distributed by Universal Pictures.

Argylle will be released in US and UK cinemas on February 2nd.

https://www.argyllemovie.com/

Samuel L. Jackson in ARGYLLE, directed by Matthew Vaughn

ASTEROID CITY – Review

(L to R) Jake Ryan as “Woodrow”, Jason Schwartzman as “Augie Steenbeck” and Tom Hanks as “Stanley Zak” in writer/director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features

Wes Anderson is among the most creative directors out there, a true auteur with a distinctive style. His films, including THE GRAND BUDAPEST HOTEL, THE ROYAL TENENBAUMS and THE FANTASIC MR FOX, are often quirky, color-drenched, full of cultural references and even whimsical but also deeply human. While not everyone loves their unique style, he has many fans, including this writer. Anderson’s last film, THE FRENCH DISPATCH, was an anthology inspired by the New Yorker magazine, and while Anderson’s newest, ASTEROID CITY, is not an anthology, it’s a story-within-a-story format evokes some of that as does its deadpan off-kilter comedy – but here with an Atomic Age slant, of 1950s candy colors, science-focus, buttoned-down seriousness and even a touch of Area 51.

ASTEROID CITY is the name of a small Southwest desert town in the 1950s, where middle-aged war photographer Augie Steenbeck (Jason Schwartzman) has arrived with his three children so his oldest, Woodrow (Jake Ryan), can take part in a science fair-like competition for very brainy kids. The tiny town is named for the asteroid crater that is its one tourist draw, and has one gas station, one diner and one motel, the kind with little cabins. The cabins are filled with the gifted kids and their parents, including a famous actress, Midge Campbell (Scarlett Johansson). The kids are going to show off their science creations and receive awards at the meteor crater, in ceremony led by General Gibson (Jeffrey Wright) and organized by physicist Dr. Hickenlooper (Tilda Swinton). While waiting for the ceremony, Augie talks by phone with his well-off father-in-law Stanley Zak (Tom Hanks), who lives nearby and who urges Augie to share the tragic secret he has been concealing from his son and young twin daughters.

Except none of that is real, because Asteroid City isn’t a real place. It exists only in a play being broadcast on TV, as the announcer/host (Bryan Cranston) tells us. The whole thing – play and TV broadcast – evokes the 1950s, a time when serious theatrical productions by big-name playwrights, even original ones, appeared on the small screen. There is also just a touch of a “Twilight Zone” vibe to the TV sequences, with their narrator, presented in black-and-white and in a square frame like an old television show.

In contrast to those black-and-white sequences, the world of the play itself, “Asteroid City,” fills the screen with bright pastel colors, reflecting the era’s advertising artwork, with lots of pink, teal and tangerine orange. Everything looks like a stage set – or a movie one. The town has all the classic ’50s elements: a one-pump gas station, a diner with a long counter, a motel with little cabins, even a highway ramp that goes nowhere. From the wood-panel sided station wagons to the meteor crater tourist site, ASTEROID CITY has it all.

ASTEROID CITY is a complicated, three-ring circus of a comedy, a send-up of the ’50s stereotypes and culture, but it is also a film that is likely to divide audiences – a sort of love-it or hate-it film. It is busy and crazy but if you can just go with its flow, and especially if you are a fan of Wes Anderson generally, it is fun, and even impressive that Anderson can pull it all off (Anderson even throws in a little animation). Personally, as a big Wes Anderson fan, ASTEROID CITY delighted me although it may not top my list of favorites. Yet, some others might even rank it as among his best. However, for others, it may be the opposite. If you crave deeper character development or a reflection on human life, which some Anderson films offer, ASTEROID CITY might be irritating more than enthralling. A good rule of thumb might be how you felt about THE FRENCH DISPATCH. Love that one, and this one will likely follow its path to your heart.

As the film alternates between those two story-lines, one with the characters in the play and the other the people putting on that play and broadcast, both stories reflect the 1950s world where they both exist. In the desert world of the play, the adults struggle with their various issues as the kids await the science awards, until a surprise disrupts the carefully-planned program. In parallel, we follow playwright Conrad Earp (Edward Norton) as he crafts the play in which those character exist, and the artistically-driven director, Schubert Green (Adrien Brody), has he shapes it for the studio stage, as well as the tales of the quirky actors in it. Which means some of the film’s actors play dual roles, with Jason Schwartzman playing Jones Hall, the actor playing Augie Steenbeck and Scarlett Johansson playing Mercedes Ford, playing Midge Campbell. Matt Dillon, Stephen Park and Rupert Friend also play dual roles, actors and characters in the play.

Confused? Yes, director Wes Anderson has a lot of balls in the air as he juggles these two stories and this large cast, But this a comedy, which means a bit of chaos works in its favor. There are plenty of sterling comic bits, and visual joking, playing off the kitsch and culture of the 1950s era, with its science-seriousness, and futuristic optimism battling Atomic Age nerves, with a splash of space alien flavor.

ASTEROID CITY is packed with big-name stars, including several Wes Anderson regulars, which gives wide potential for its plentiful weird little comic bits involving supporting characters. And quirky, deadpan characters abound here, among them, Steve Carell as the manager/owner of the town’s sole motel, which has the most impressive oddball assortment of vending machines, including one that sells real estate.

Unsurprisingly, the A-list cast is excellent, and each gets his or her moment. Jason Schwartzman and Scarlett Johansson carry much of the dramatic element, as they share their various struggles, but Tom Hanks, Adrien Brody and others get their moments. A fair amount of comedy comes from Steve Carell as the very entrepreneurial motel owner, but there are plenty of others in the mix.

Actors playing actors playing actors is among the nested elements in this film. This structural conceit is a bit unwieldy at times but whether all the ’50s references about science, alien landings, Actors Studio and more delight or irritate will depend on the individual. One feels that if ASTEROID CITY were a straightforward telling of the story in the play, without the framing device, it would have been sufficient. But Wes Anderson wanted to do more, and so gives us this three-ring circus of a film, not content with just one act in the ring.

ASTEROID CITY has dazzle, it’s fun and sparkling, and has full-bore star power. But the dual-story track can distract, interrupting each story by turn, which might make it harder to engage with the characters. Depending on what someone wants or expects from the film, it will be an enthralling ride or a frustrating one.

ASTEROID CITY opens Friday, June 23, in theaters.

RATING: 3 out of 4 stars

Focus Features To Takeover The Landmark Theatres Sunset In Los Angeles For Wes Anderson’s ASTEROID CITY In A One-Of-A-Kind Immersive Experience From June 15th – June 30th

Get ready to Blast Off!

Focus Features is transforming the Landmark Theatres Sunset in Los Angeles into a real-life Asteroid City for an exclusive two-week immersive experience. The pop-up will be open to the public beginning with 7:45PM preview screenings of ASTEROID CITY on Thursday, June 15th, with all five screens at the theater showing Wes Anderson’s newest film for the first two weeks of its theatrical run. ASTEROID CITY takes place in a fictional American desert town circa 1955, when the itinerary of a Junior Stargazer/Space Cadet convention is spectacularly disrupted by world-changing events.

Brimming with vibrant colors and the unique aesthetic that has come to represent a Wes Anderson film, this singular experience will transport fans into another world. Patrons will have the opportunity to explore the fictional town of Asteroid City in person while capturing photos with set re-creations, props from the film, and costume displays. The theater’s concession area will be transformed into the 1950’s luncheonette seen in the movie, and interactive elements inspired by the film’s fictional town will be featured throughout the space.

Kevin Holloway President Landmark Theatres commented, “Landmark Theatres is proud to have innovative and collaborative studio partners like Focus Features, that like us, remain committed to celebrating specialty films like Wes Anderson’s latest, ASTEROID CITY. We’re excited to unveil our latest Landmark location by dedicating our entire Sunset complex to this fully immersive experience.”

Added Lisa Bunnell, President of Distribution at Focus Features, “Watching a Wes Anderson movie is an incredibly unique experience that can often feel like you’re stepping into an entirely new universe. We’re excited to partner with our friends at Landmark Theaters to bring his newest film to life with this pop-up and give fans the opportunity to experience a bit of Wes’ magic in person.”

(L to R) Jason Schwartzman stars as “Augie Steenbeck” and Scarlett Johansson stars as “Midge Campbell” in Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features

In addition to standard admission tickets, fans can also purchase a premium experience ticket which will include a movie ticket, an exclusive t-shirt, and concessions.

Located at the Landmark Theatres Sunset at 8000 W Sunset Boulevard, the pop-up experience will be open from June 15th – June 30th.

For more information and to purchase tickets to ASTEROID CITY, visit: www.focusfeatures.com/asteroid-city

ASTEROID CITY takes place in a fictional American desert town circa 1955. Synopsis: The itinerary of a Junior Stargazer/Space Cadet convention (organized to bring together students and parents from across the country for fellowship and scholarly competition) is spectacularly disrupted by world-changing events.

The film’s huge cast features Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, Jake Ryan, Jeff Goldblum.

ASTEROID CITY opens in limited theaters in NYC and LA on Friday, June 16th and expands nationwide on June 23rd.

(L to R) Tom Hanks as Stanley Zak, Hope Davis as Sandy Borden, Tony Revolori as Aide-de-Camp, and Liev Schreiber as J.J. Kellogg in writer/director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features

Wes Anderson’s ASTEROID CITY First Trailer Features The Stellar Cast Of Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston And Jeff Goldblum

Focus Features has released the first trailer for Wes Anderson’s ASTEROID CITY.

ASTEROID CITY takes place in a fictional American desert town circa 1955.

The itinerary of a Junior Stargazer/Space Cadet convention (organized to bring together students and parents from across the country for fellowship and scholarly competition) is spectacularly disrupted by world-changing events.

Deadline is reporting that the film will debut in May at the Cannes Film Festival. Anderson’s previous films to bow at the festival are MOONRISE KINGDOM and THE FRENCH DISPATCH.

The huge cast includes Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, Jake Ryan, and Jeff Goldblum.

Focus Features will release Asteroid City in select theaters on Friday, June 16th nationwide on Friday, June 23rd.

Scarlett Johansson in director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features

(L to R) Jake Ryan, Jason Schwartzman and Tom Hanks in director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features

Steve Carell in director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features

THE UPSIDE (2019) – Review

Less than a couple of weeks into the new year and film fans have already been treated to a “prequel” (of sorts) with the early days “biopic” ON THE BASIS OF SEX. So, before the sequels and franchise installments begin rolling in, how about a “redo”. No, we’re not talking about a “reboot” or the popular movie-marketing concept, the “re-imagining”, much like THE PREDATOR from a few months ago. We’re talking about a way that Hollywood “recycled’ long before the ecology movement, in short, a good ole’ fashioned remake. Those films usually find their source material from previous studio films, like last year’s fourth (and very popular) version of A STAR IS BORN. But often the studios will look beyond their own library and a cast a net for stories from other lands, say France. In the late 1980s Disney helped establish their more adult division, Touchstone with smash English versions of BOUDU SAVED FROM DROWNING and THREE MEN AND A CRADLE, which you might know as DOWN AND OUT IN BEVERLY HILLS and THREE MEN AND A BABY (the former spawned a TV show, while they latter inspired a sequel). Now another studio, STX (which picked this up from the Weinstein Company for obvious reasons) has turned the international hit THE INTOUCHABLES into the new buddy “dramedy” THE UPSIDE.

This character study oddly begins with a high-speed romp through the streets of the Big Apple. At the wheel of the high priced and powered sports car is an African-American man in his thirties named Dell (Kevin Hart), his passenger, a white man a couple of decades older is Phillip (Bryan Cranston). When New York’s finest finally catches up to them, Dell explains that they’re on the way to the hospital as he points out the folded up wheelchair in the back seat. So how did these two meet requires a six-month flashback? Dell is newly paroled and looking for work. No takers, so he’s content to collect signatures on his job search form. But he’s got to provide for his estranged “baby mama” and his twelve-year-old-son, who’s on the same path as his papa. One fateful day, Dell reports to a swanky apartment building, thinking he’s applying for a janitorial position. Up in the penthouse floor(?), he’s stunned to see several applicants in their “Sunday best” (suits, ties, etc,). Dell soon grows impatient and bursts into an interview, pleading for a signature for his required form. There he meets the quadriplegic best selling author and financial guru Phillip. His executive aide Yvonne (Nicole Kidman) is shocked at his demeanor, explaining that the job is “life auxiliary”, a caregiver to Phillip, who tells Dell to return tomorrow morning for the signature. The next day, Dell shows up and is told by Yvonne that he’s been hired on a “trial” basis (“three strikes and you’re out”) because somehow Phillip is taken with his crude brashness. Over the next few months, Dell helps Phillip enjoy life again, while Phillip introduces Dell to high culture and advises him on building a career. But can class and racial barriers erode between these very different men? Could they even become…friends?

The role of Dell could be seen as a big turning point in the ever-expanding roster of film roles from the prolific Mr. Hart. It’s not merely a rehash of his usual, and often tiresome hyper-manic blustery “child-man”. While it would be easy to say something about discovering “decaf”, this may be a real case of a performer trying to get out of his “comfort zone” and test the “dramatic waters”. Sure, there’s still that “rat-a-tat” punchline delivery, but Dell is more of a real human being, full of regrets over his past while being fearful for his and his family’s (particularly his pre-teen son) future. Some scenes are a bit mawkish and cloying, but Hart isn’t falling back on his time-tested audience-pleasing bits. It helps that he has an excellent screen partner in the always compelling Mr. Cranston. Though Phillip is often seen as a victim of fate and a magnet of sympathy, Cranston imbues him with an aristocratic dignity, with no patience for fools and “kiss-ups” (his disgust at the sycophantic job-seekers is priceles). But Cranston also shows us that Phillip’s can still feel joy, despite his “DNR” demands. Unfortunately, the two main actresses don’t fare nearly as well. Kidman plays the up-tight, button-down gal Friday complete with prim librarian glasses, who is the stern taskmaster to Dell, while barely masking her supressed passion for her boss. Of course, we get a variation of the cliche removing of the spectacles as she “busts a move” at a stuffy party made funky by Dell’s DJ skills. Then there’s the thankless role of Lily, Phillip’s “passion penpal” played by TV vet Julianna Marguiles. The character’s badly concieved, serving only to ignite a big third act conflict. Ms. M deserves better than this contrived “plot pusher”.

Director Neil Burger (DIVERGENT, LIMITLESS) makes excellent use of the NYC locales and keeps the bonding and “friendship funtime” montages to a minimum. And he does elicit excellent dramatic work from Hart. The screenplay adaptation from Jon Hartmere struggles to break free from some tired story tropes and turns. We get an endless riff of homoerotic panic from Dell as he must take care of Phillip’s “bizniz” on a morning when the nurse is tardy (really, no one went over this with him). Later on, Dell is quickly (too quickly, despite the “true story” title card) enamored of opera and in one ludicrous, painfull sequence he “conducts” several classical singers and musicians, echoing one of the “dates’ in PRETTY WOMAN. In many way, Phillip is a combination of that flick’s Richard Gere “John”, a fairy “godfather”, and the “white savior” that derails many a studio effort. But then Dell is another variation on “types”: the uncultured “free spirit” cutting through the BS (as in many Richard Pryor duds like THE TOY) and liberating the “stiff’ (here through lots of weed and …companionship, yes he’s a “pimpin’ pal”) and often venturing into the “magic N….” terrritory (BAGGER VANCE, GREEN MILE, etc.). And despite the “real events’ claim, the plot seems fair too predictable. GREEN BOOK proved that this type of “buddy flick” can be a “crowd pleaser’, but this one seems to have had all its rough edges smoothed away to facilitate a sweet fade-out. That may work for many, but for discerning cinefiles that doesn’t make THE UPSIDE an improvement over the across-the-pond original.

3 Out of 5