Tag: Sony

GHOSTBUSTERS: FROZEN EMPIRE – Review

Janine (Annie Potts), Peter (Bill Murray), Ray (Dan Aykroyd) and Winston (Ernie Hudson) in Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.

Suit up! Even though spring has finally sprung it doesn’t mean that all the spooks and specters are hiding out or in hibernation until the Fall and their holiday Halloween. And you know who you’re “gonna’ call”. Yes, it’s the return of a much-beloved film franchise, opting for an “earlier than Summer” release. Well, they are celebrating a rather big anniversary. Mind you, it’s just a few months short of three years since the last installment/revival/spin-off. No, I’m talking about the original, still-revered comedy/horror hybrid classic which will soon be forty years “young” (well, compared to the evil entities that cross their paths…and “streams”). So, let’s fire up Ecto-1 and see what the new teams and the OGs are up to in GHOSTBUSTERS: FROZEN EMPIRE.


After a wild prologue involving a certain NYC fire station answering the call to the ritzy Adventures’ Club way back in 1904, the “legacy team” is charging out of that same locale in the 21st century. By legacy, I mean the off-spring of Egon Spengler, daughter Callie (Carrie Coon), and grandkids Trevor (Finn Wolfhard) and Phoebe (Mckenna Grace), joined by Callie’s Beau and Phoeb’s former teacher back in Oklahoma, Gary Grooberson (Paul Rudd). They’re all back in the Big Apple and out to contain a long slithery sewer serpent ghost. The ensuing damage earns the ire of Mayor Peck (William Atherton) whose threats of litigation cause Phoebe to be “benched” since she a minor of fifteen. Back at HQ, Gary is concerned with the structural damage around the original spectral containment unit. This prompts the kids to visit “Uncle” Ray Stantz (Dan Ackroyd) who operates a supernatural curio shop with another OK transplant, Podcast (Logan Kim). That same day, Ray gets a client, an anxious cash-hungry guy Nadeem (Kumail Nanjiani) who wants to sell his late granny’s spooky metal orb. Ray then takes the piece to the new ghostbuster research facility in one of the Burroughs (hidden in an old public aquarium) run by Winston Zedemore (Ernie Hudson) and his “right hand” Janine Melnitz (Annie Potts) with an assist from another OK pal Lucky (Celeste O’Connor). Turns out that the orb is a mini-prison for a centuries-old demonic entity that uses fear and ice to try to enslave the globe. When it gets loose, can the combined ghostbusting crews including Peter Venkman (Bill Murray) save the citizens of Manhatten from becoming frozen encased “people-cicles”?

Sure, it’s great that the 84′ team is more integrated into the story than in AFTERLIFE, but it makes all the characters input severely reduced in order to avoid going over the two-hour mark, Still, most of the roster makes an effort to build on the earlier entry. Although Phoebe is put on the sidelines for the second act, Ms. Grace brings more depth to the standard “teen brainiac” as she hurries into adulthood. This lets us in on a secret friendship she’s forged with a (sorry Casper) friendly ghost, more than a century-old teen Melody (Emily Alyn Lind), a chess partner in the pre-dawn Central Park. Their bond is strong though Phoebe knows that will end soon. Rudd exudes lots of his energetic charm as Gary, though the romance with Coon’s Claire doesn’t have the sparks that flew in Oklahoma. Wolfhard is the surly teen who just wants the keys to Ecto-1 and finds a nemesis in a familiar green glutenous ghost. Ackroyd appears to be having a grand time rattling off paranormal trivia and finds a great new screen partner in the always entertaining Patton Oswalt as a translator of ancient languages. The most laughs in the surprisingly somber flick are generated by Nanjiani as the on-the-make slacker who finds that embracing his heroic heritage is more rewarding than cashing in on his heirlooms. He even holds the comedic focus sharing a scene with Murray, who doesn’t seem to be that invested in his two extended cameos (maybe he’s there in tribute to his late co-star and directing pal…and a chunk o’ change). And Atherton remains a perfect patsy and an irritating “wet blanket” as Peck (now that’s a long trek from the EPA to the mayor’s office). Hudson is still an MVP along with (and welcome back) Ms. Potts.


Taking over the director’s chair is a screenwriter from the last film, Gil Kenan who also co-writes this time with Jason Reitman. Wisely he takes the action out of the “dustbowl” and returns to the zany playground of NYC, making it look as though it’s not that different from the ’80s. Plus that nifty prologue and the first “bust” remind us of the pleasures of the whole franchise. Unfortunately, the flick hits a long lull as the “pieces” are put into place for the big effects finale. The idea of an unlikely friendship between “buster” and ghost is intriguing, but it merely becomes a “plot device” to hasten disaster. Back to those effects, the producers do a fairly decent job of replicating the practical effects of the first two flicks with the new CGI tech and manage to make many of the spirits very scary and gruesome. And it’s all put to use in a finale “throwdown” that feels a touch cramped as it’s all within one building rather the bustling streets or the towering skyline, with one character doing the whole superhero shooting power from the fingertips thingee. Speaking of, comic book films have been accused of indulging in too much “fan service”. This film says, “Hold my beer..er..Ecto Hi-C”. We get a phony news report that not only uses footage from those previous flicks but includes the music video and clips from the merchandising commercials (toys, cereals, etc.). Then throughout the film, the Elmer Bernstein music cues are hit hard and often (the piano, then the the therimen, then both with the horns). And like most current franchises, there’s a mid-credits bonus scene that’s just “meh”. But the hardcore fans will be delighted, though any “newbies” seeing this somewhat lackluster outing won’t be shopping for their own jumpsuits and proton packs after taking in GHOSTBUSTERS: FROZEN EMPIRE. On your way out, don’t slip on the “slime”…

2.5 out of 4

GHOSTBUSTERS: FROZEN EMPIRE is now playing in theatres everywhere

MADAME WEB – Review

Hey “True Believers”, is it time for another trip into the Marvel Universe so early in the new year? Well, since the last adventure of the Ant-Man and the Wasp hit the multiplex almost on the same date last year, then it’s “Avengers Assemble” once more. But with a couple of big exceptions. You see, this isn’t a Marvel Studios production, rather it’s Sony “in association with Marvel” (small print on the poster, almost Scott Lang-sized). So, this is another effort by them to “spin-off” Spidey and bring another secondary character from the comics into their very own feature film. Oh, and the others were the “rouges gallery” AKA the bad guys. First, it was VENOM, who got a sequel followed by the disastrous MORBIUS, with KRAVEN “waiting in the wings” (probably sharpening his claws, too). Ah, but this time it’s another hero so Sony hopes that moviegoers will get tangled up in the strands spun by MADAME WEB.


Much like that vampire villain, this “origin story” starts in an exotic foreign land, far from NYC. In the rainforests of Peru circa 1973, a very pregnant Constance Webb (Kerry Bishe)is trying to find a rare strain of spider that can supposedly pass on miraculous powers and healing abilities. But when she’s successful her exploring partner Ezekel Simms (Tahar Rahim) steals it after shooting the whole research party and leaving Constance clinging to life. Luckily, the “spider-enhanced” local tribe retrieves her and delivers the baby before she passes away. Spring ahead to 2003 in the Big Apple as paramedics Cassie Webb (Dakota Johnson) and her partner Ben Parker (Adam Scott) respond to a traffic accident over a river. Cassie is trapped in a car that plummets into the water. Before she passes out she has a strange vision of light strands, and “ghost images”. Cassie awakens after Ben revives her. But the visions haunt her, and they happen again on a call as she sees a foreshadowed tragedy. Meanwhile millionaire Ekekel has nightmares of his own death at the hands of three costumed young women. He harnesses the powers of the rare spider to track down the trio, all high school-aged women. And somehow they all converge at Grand Central Station, just as Cassie is buying a ticket. On the train she sees a black-clad assassin kill them. But suddenly she snaps back and realizes these are images of what can happen. So Cassie goes into action to save Julia (Sydney Sweeney), Anya (Isabela Merced), and Mattie (Celeste O’Connor). Later the quartet is on the run from the arachid-like crawling killer, with Cassie as their “den mother”. Can she keep them safe? And what is her connection to their super-human hunter?

In between the big “evade and escape” action “set pieces” the cast does their best with their unevenly written roles. At the forefront is Ms. Johnson as the constantly evolving Cassie. We see her disconnect from humanity in the opening scenes (scoffing at a kid’s “thank you” crayon art), only bonding with her ambulance “side” man. Johnson shows her confusion as the “awakening” of her destiny forces her to become “engaged”. Ultimately she veers from nurturing “mama bear” to snarky “iron fist” as she gets her “gals” in line. Still, she doesn’t quite have the dynamism to convey the heroic leader mantle. Her “flock” are mainly teen flick cliches, though the actresses try to put a fresh “spin” on them. Sweeney upends her TV (and recent rom-com) persona as the timid, hesitant Julia, who begins to blossom around her new “sisters”. O’Connor is all sassy attitude as the pop tune-loving, skateboarder rich kid Mattie. As the dark, brooding but brilliant Anya, Merced brings a bit of soul to the often undefined neighbor of Cassie (Queens isn’t that small). Rahim gives good physical energy to the snarling, growling Ezekel who mainly barks threats when not suppressing his nightmare visions, and walking barefoot through the subway. Scott provides some much-needed humor as the confused but concerned “work buddy” Ben. Two terrific young actresses aren’t given much to work with in near-cameo roles. Emma Roberts is Ben’s expectant sister-in-law Mary who figures into the big finale, while Zosia Mamet is stuck at the computer monitors (yes, a spin on “the guy in the chair”) as Ekekel’s tech “tracker” Amaria.

In her feature film debut, TV director S.J. Clarkson works hard to get the pace taut while delving into the personality of Cassie Webb, but the sophomoric script derails her efforts. It all plays out as a superhero spin on the Terminator series, with Ezekel as the nearly indestructible seeker springing up to “jump-start” the sluggish plot and distract from the limp dialogue. He’s almost a spider-stalker, although he’s not spinning or swinging on web strands like our pal Petey making him look like a big silly black rubber frog as he jumps from buildings to the hoods of cars. Speaking of that, what kind of car can plow through the front of a building and drive off with merely a buckled hood? And that’s just one of the oddball story turns that rival the “skating on oil” ARGYLLE scenes. It’s tough to compellingly convey Cassie’s “power” as it’s really a barrage of “fake outs” to set up the big stunts, which become somewhat tedious, as does the bickering between the quartet. Oh, the tension is broken up so that Cassie can “dump” her charges on Ben in order to fly off for an absurd cave pool “therapy session”. I’m not spoiling things, but I should warn them about the “bait and switch” from the movie marketing team because these heroes only “suit up” for a minute or so of the nearly two hours. Ah, but there’s plenty of time for “in your face” product placement for that “other cola”. Plus, there are no bonus credit scenes, though the ending almost pleads for a follow-up franchise. There’s little chance of that since this initial entry should effectively squash the “spider sisterhood” led by MADAME WEB.


1.5 Out of 4


MADAME WEB is now playing in theatres everywhere

WHERE THE CRAWDADS SING – Review

Kya (Daisy Edgar-Jones) finds a feather in Columbia Pictures’ WHERE THE CRAWDADS SING.

So now we’re at the mid-point of the cinematic “travel-palooza” that has taken up most of the spots at the nation’s multiplexes this Summer. Since the Marvel heroes have taken us to distant worlds and maniacal multiverses, how about something a bit closer to home, say the East Coast of the US? Oh, and for this flick let’s turn to a mainstay of movies, namely an adaptation of a very popular (still on those lists) literary best seller. To be honest I wasn’t familiar with the source material and thought it was in the “young adult” category, much like those HUNGER GAMES novels. Ah, but this is more of an “all ages” page-turner, maybe more of a “beach read” now made into a “watch”. It certainly seems to have “something for everyone” in this torrid tale of late 60’s love and murder set in North Carolina. As the story’s heroine tells us, that’s WHERE THE CRAWDADS SING (though it’s not an animated musical).

And it opens with said murder, as a group of bicycling pre-teens finds a body at the foot of a massive fire tower on a hazy evening way back in 1969. The town sheriff and his deputy make the ID. It’s Chase Andrews (Harris Dickinson) former high school football star and part of a rich prominent family. A note wasn’t found, so the death is thought to be “foul play”. The local gossip leads them to seek out the “Marsh Girl”, Kya Clark (Daisy Edgar-Jones) resulting in a speedboat pursuit ending in her arrest. As she waits in the local jail cell, Kya reflects on her life. She’s part of a family that’s lived deep in the woods, almost “hidden away” in a rickety shack. Pa Clark (Garret Dillahunt) was a boozy fisherman/trapper who pummeled his family when he wasn’t “hoisting” a bottle. His violent temper drove his wife away along with most of his kids. Finally, Kya was the only one left until he took a hike, leaving her to fend for herself. Luckily a kind local boy named Tate would visit (not knowing she was alone). And thanks to the caring couple who ran a dockside general store, she decided to try and attend the nearby grade school. But her lack of footwear earned her the March Girl label. The humiliation inspired her to hide away from the locals until now teenaged Tate (Taylor John Smith) found her and offered to mentor her. While teaching her the “three R’s”, they fell in love. When Tate was accepted into college, he promised Kya that he’d return to her. Years passed as the broken promise haunted her. So much so, that she entered into an affair with the surly Chase. When she hears of his engagement, Kya rebukes him leading to Chase stalking her and viciously attacking her. So, will she be found guilty of his death or can the “out of retirement” defense lawyer Tom Milton (David Strathairn) convince the jury of her innocence?

At the film’s center, doing a splendid job of juggling the cliches and making the overheated dialogue bearable is the talented Ms. Edgar-Jones (another Brit carrying on the tradition of Vivian Leigh by doing a “pitch perfect” Southern belle accent). She expertly conveys the “floating on air” joy of first love and the soul-crushing sorrow of heartbreak. But she also imbues Kya with a determined dignity, even as the townspeople gawk and whisper, never staying silent when the mockery begins. Smith has the thankless role of the “dream beau”, a golden-haired sensitive lad who seems plucked from the latest CW teen drama. Yes, he makes her swoon, but his flaws do help put the main mystery in motion (his excuses are pretty weak, though). The juicer role may be Chase, played with a perpetual sneer by Dickinson, the dark-haired flipside of the noble Tate. We know he’s the worst type of “break-up back-up’, but Kya is somehow unable to see it until his inner monster bares its fangs. As for the veteran co-stars, Dillahunt makes for a most menacing patriarch, but he somehow injects some humanity into Pa when he’s touched by Kya’s gift to him (perhaps this prompts his departure, trying not to snuff out her kindness). And that kindness just flows from Strathairn as the underdog lawyer we’ve seen go against the powerful in countless dramas. It’s a testament to his talent that he steers Milton away from parody and cartoonishness.

It’s a pity that the film itself quickly submerges under the murky water of Southern-fried gothic satire. We’ve led astray almost immediately as the local’s descriptions make us think that the “Marsh Girl” is a riff on the Wolf Gal of the classic Lil’ Abner newspaper comic strip, with bushy eyebrows, strategic facial smudges, and verbal skills that make NELL sound like a Havard grad. No, she’s mostly seen in simple sundresses without shoes. Speaking of costuming, her lawyer Milton is mainly seen in crisp light-colored linen suits ala Mr. A Finch, though I’m surprised he wasn’t saddled with suspenders, in order to pluck them as she says, “Now, yore’ Honor, ‘ahm jes’ a simple country defendor…”. Just a nod to many tropes including the couple running the country store who often veer dangerously into “magical minority” territory. It’s certainly a step down for screenwriter (adapting the book by Delia Owens) Lucy Alibar who gave us the really imaginative bayou fable BEASTS OF THE SOUTHERN WILD. In her second feature directing effort, Oliva Newman is able to sprinkle in a few visual flourishes that occasionally elevate this from being a “super-budget” Lifetime Cable TV tear-jerker. The glorious forest and swamp settings and the recreations of 60’s Americana (Ah, Western Auto and Piggly Wiggly) are done with skill, but then some ridiculous sequence will tarnish those bits of artistry. To put it succinctly, this is an over-heated, sudsy, soapy mess, but it can provide some amusement for those in the right frame of mind. Outside the theatre, I threw out alternate ideas and plot twists that would’ve made those 125 minutes zoom by (I imagined an Agatha Christie big courtroom reveal). The book’s readers may appreciate this, but for those who don’t get a “camp” kick out of this tale, it’s a sure bet they won’t be eager to revisit WHERE THE CRAWDADS SING. Oh, and we never hear the critters, but we know where they hang out.

One Out of Four

WHERE THE CRAWDADS SING is now playing in theatres everywhere

SPIDER-MAN: INTO THE SPIDER-VERSE – Review

With just 16 days left in 2018, many filmgoers (let’s not call them “haters”, but rather “grumblers”) might think they’ve seen the last of the Marvel movie heroes for this year, especially since Warner Brothers and the “Distinguished Competition” (a phrase coined by the much-missed Stan Lee, which replaced the deriding “Brand Echh”) are clearing the multiplex waters for AQUAMAN. Mind you, this has been a stellar year for Marvel Studios which had three films in the box office top ten, with BLACK PANTHER and the latest Avengers at the top two spots, but now it looks that there’ll be one more hit by the drop of the Times Square glitter-ball. But technically it’s not from that studio. Sony has had a lock on the Marvel mascot, Spider-Man, for all of the new century, but after the disastrous reboot flicks in 2012 and 2014, they wisely joined forces with Marvel Studios for last year’s smash SPIDER-MAN: HOMECOMING (which allowed him to mix it up alongside their franchise stars, with Iron Man as a mentor). Now Sony said they’d continue making their own spin-offs with secondary characters and villains. They had a good-sized success with a solo VENOM flick a couple of months ago (#10 in this year’s B.O. stats). Now comes another one, swinging out from Sony…Animation! Yes, the folks behind last year’s Razzie fave, THE EMOJI MOVIE. Will the webbed wonder escape that fate? The answer lies with SPIDER-MAN: INTO THE SPIDER-VERSE.

The story doesn’t start with a guy named Pete, which most would assume. No, this story is set in a world a lot like ours (the police cruisers are marked “P.D.N.Y.”, so that’s a hint), where we encounter a very smart (street and book) pre-teen guy named Miles Morales (voiced by Shameik Moore). He’s a bit anxious on this day because his policeman pop Jefferson (Brian Tyree Henry) and nurse mom Rio (Luna Lauren Velez) are sending him off to a prestigious private school (all on a scholarship) where he’ll stay in a dorm room during the week. And maybe the recent tremors are making Miles jumpy. Either way, he has a tough time on his first day. So tough in fact, that he sneaks out of his dorm that evening to visit his favorite uncle Aaron (Mahershala Ali). He decides to take his nephew to a secluded spot just off the subway line, where they can indulge their passion for “street art”. But they’re joined by a most unwelcome guest: a genetically engineered spider. Which, you guessed it, bites young Miles. When he wakes up the next morning he notices that he’s undergone some “changes”, and not the “voice deepening” kind. That night Miles revisits the “secret spot” to locate that spider. Unfortunately, a wall collapses and he finds himself a very scared witness to a pitched battle between the city’s “friendly neighborhood” Spider-Man and some super-powered goons employed by the Kingpin AKA Wilson Fisk (Liev Schreiber). Before the fighting ends tragically, Spider gives Miles a tiny flash drive (later called a “goober”) to shut down Fisk’s big machine (which is causing the tremors and brief blackouts). Luckily Miles escapes before one of those goons, the high tech killer known as The Prowler, captures him. The next day, Miles is stunned to encounter his hero once more. But he’s different, older, a bit flabby, and going by Peter B. Parker (Jake Johnson). He explains to Miles that Fisk has built a giant super magnet that opens a portal that brings back objects (including people) from alternate Earths. And unfortunately, Pete’s losing his molecular stability and will cease to exist unless he can get back to the device. The old pro super-hero teams up with the novice as they eventually encounter more “travelers’, other beings with similar powers. There’s Gwen Stacey AKA Spider-Woman (Hailee Steinfeld), hard-boiled 30’s P.I., Spider-Noir (Nicolas Cage), teenager Peni Parker (Kimiko Glenn), who works with a massive spider-controlled robot, and anthropomorphic hero, Peter Porker, the Spider-Ham (John Mulaney). Can Miles refine his abilities, send his new friends home, and stop the Kingpin’s destructive weapon before it erases the heroes of the spider-verse?

A most impressive roster of actors make these animated characters…well, even more animated. Moore makes Morales a most endearing young hero, full of enthusiasm while constantly fretting over his “cool factor’ amongst his new classmates. Of course, all his concerns feel multiplied after receiving a dose of super-spider powers. Moore conveys his fears and heartbreak while balancing it with Miles’s compassion. He cares about everyone: his family, his old and new friends, and especially the scruffy wiseguy who becomes his reluctant mentor. As the Spidey we’ve followed through several decades (and eight live-action features) Johnson is the ultimate everyman hero, greyed, paunchy, but always ready with a plan in a pinch. But Johnson also gives us a guy that’s been kicked around by life, who wonders if all this dimension skipping is worth it. Fortunately, he still has that snarky sense of humor, and Johnson delivers the taunts with skill and precision. As for the “spider squad”, Steinfeld is confident but a bit closed off, cautious about getting to close anyone, especially Miles. Cage voices a great homage to film noir tough guys, tossing out hilarious forgotten 30’s slang, while Mulaney makes the Spider-Ham a lovable loopy cartoon cut-up. Prior to the bug bite, Miles has two strong male role models. Henry is great as his gruff, loving but stern policeman papa, while Ali is ultra smooth and slick as the super cool uncle. As for those bad guys, Schrieber makes Fisk a most formidable foe. But it’s a different take than we saw from Michael Clark Duncan in the 2003 DAREDEVIL film or Vincent D’Onofrio in the current Netflix DD series. He’s not the oversized, but cultured mastermind. Despite his suit and tie, this Kingpin is a powerhouse palooka, still fresh from the mean streets, who Schrieber makes even more fearsome with his guttural growls (“Kill dat’ guy!!”). Kudos also to comic actresses Kathryn Hahn for a fresh take on a well-established Spidey villain, and Lily Tomlin who offers a tough, smart take on Aunt May.

It’s no wonder that it took three tremendously talented artists to direct this work that could definitely be referred to as a game changer, much like the first TOY STORY, in future annals of animation history. Bob Persichetti, Peter Ramsey, and Rodney Rothman unite to breathe fresh new life into the super-hero genre, so much a part of the new century, while showing us that animation need not be a “cinema sitter”, that it can work for action stories as well as it has for funny animal fables. And all while affectionately acknowledging their source material, making the finished film seem like a graphic novel (okay, “comic book”) come to vibrant, noisy life. We hear Miles’s thoughts via voice-overs, while also seeing the boxed captions pop up all about him. Sound effects appear (not as garish as the classic 60’s Batman TV show though), as the force of impact ( a punch or a kick) splinter and shatter the screen in electric hues. The colors overlap and mesh much like the old four-color printing of the books. The tones almost glow and pop, reflecting hip-hop inspired ‘street art’. Then there are the eclectic character designs, mixing the molded-shading of CGI figures coupled with dark, delineating outlines, sharpening the edges much as a comic inker would enhance and accentuate a jawline or the curve of a nose. Particularly impressive is the look of the Kingpin who appears to be two tons of dark granite on two legs, his angry bald head is almost floating in a sea of black. Of course, that heft doesn’t get in the way of his deadly speed with those massive meaty fists crushing anything in their path. Yes, the flick is dazzling, but it’s also really clever and funny thanks to the script from Phil Lord meshing the creations of many wonderful comics artists. The dialogue deftly deflates countless action movie cliches without careening into derisive “camp” cavorting. Somehow it’s equal parts sweet and silly while making us care about this swooping, web-slinging “spandex squad”. Things sometimes get a bit “grim and gritty”, but Lord doesn’t neglect the fun aspect of bouncing and twirling high above the streets. Actually fun is the main word to describe the wondrous entertainment machine that is SPIDER-MAN: INTO THE SPIDER-VERSE. It’s the best holiday gift you could give the kid inside you.

5 Out of 5

ALPHA- Review

With the Summer winding down, and Labor Day well in sight, are moviegoers nostalgic for an adventure set it the “good ole’ days”? Hmmm, not sure if they were all that “good”, but the emphasis is on the “ole”, er “old” in the week’s new release. We’re going way, waaay back with this epic, around 20,000 years to be exact to the “cave man” tribal days, when humans were both hunters and the hunted. It’s not fun in fur skin time as in the comic strip “B.C.” or THE FLINTSTONES, nor is it the fantasy of early man evading dinosaurs as in the ONE MILLION YEARS B.C. films or the comedy CAVEMAN (loved the stoned “stop -motion” T-Rex in that). . No, it’s a bit closer to the 1980’s double bill of QUEST FOR FIRE and CLAN OF THE CAVE BEAR, though more “family friendly” but tougher than the TV ads would lead you to believe). Plus it borrows an element of the superhero flicks in that it’s an “origin” story. But not about a “cosmic crusader’s” beginning, rather it’s the start of a relationship that still exists (and shows no signs of stopping). According to the filmmakers this bond began when a lost, lonely young man met ALPHA.

That young man in question is Keda (Kodi Smit-McPhee), the teenage son of tribal leader Tau (Johannes Hauker Johannesson) and his mate Rho (Natassia Malthe) during the last Ice Age, somewhere in Europe. The story begins with Keda’s first (and perhaps last) buffalo hunt. When things take a disastrous turn, the film flashes back to several days prior. As with all the young men of the tribe, Keda must prove himself worthy of going on the hunt by sharpening stones into deadly spear-heads. He makes the “cut’ and says goodbye to Rho as he accompanies Tau along with some other “newbies’ and the tribal elder males on the long journey to find that herd. Along the way, they join forces with another hunting tribe (they’re old pals with Tau), and pick off a wild boar (though Keda hesitates at striking the killing blow to the beast). Tau points out a wolf pack that is observing the hunters from a distance, explaining to Keda about their leader, the “alpha”. The boy also experiences nature’s brutality as another young hunter is snatched away by a predator sprinting out of the darkness. Finally they encounter the buffalo herd grazing not far from a cliff’s edge. We’re “caught up” as Tau thinks that his son has “joined his ancestors” at the bottom of a ravine. The heartsick papa gathers meat and skins before he and the hunters make the long trek back to their homes. Long after they depart, the bloody, bruised, and battered Keda wakens. Despite his broken leg and multiple wounds, he’s determined to rejoin his tribe. He evades the beasts while trying to locate food and water along with shelter until the wolf pack finally catches up with him. Keda wounds one of them with his dagger as he scurries up a tree. When the wolves finally depart, Keda is shocked to find that the one he sliced still lives. He nurses the wolf back to health, as they form their own pack, two lost hungry wanderers uniting to survive while trying to find their families. But can Keda and the wolf he names Alpha return home before the brutal Winter ends their tentative friendship?

In his first feature as solo director (previously he teamed with brother Allen). Albert Hughes has crafted an epic adventure showcasing the beauty of nature and its cruelty. The images gleaned from multiple locales around the globe are stunning (in Imax 3D, the stars at night vividly sparkle and glisten, as though you can reach out and grab one), but the towering vistas never detract from this human (and animal) tale of unlikely partnership. Hughes elicits a compelling performance from Smit-McPhee, who carries the bulk of the story on his weary shoulders, emoting with his “ancestors”, that vibrant sky, and the enigmatic liquid-blue stare of Alpha. We see the wonder and danger through Keda’s expressive eyes as he matures from timid youth to quick-thinking and acting adult survivor. Smit-McPhee share a believable paternal bond with Johannesson who’s tough and surprisingly tender as his father and tribal leader, while Malthe is a nurturing though worried mother. As I mentioned earlier, this is not the sweet tale of inter-species bonding being sold in the previews and trailers. It’s a harsh, cruel young world that Keda and Alpha must navigate, with death hiding from every rock and shrub. A fall into a frozen body of water is not for the claustraphobic (flashbacks to the second OMEN flick), and a moonlit encounter with a hungry pack plays like a hellish nightmare (those red glowing eyes). All highlighted in the suburb cinematography by Martin Gschlacht. The screenplay by Daniele Sebastian Wiedenhaupt from a story by Hughes never drags even as it takes a moment or two for some whimsical sequences that are “first” in the man/dog origin such as the first bowl of water, first “fetch”, and so forth. The story of first friendship is both an intimate tale of survival and a thrilling spectacle of that simpler time. And at a taut 90 minutes, it’s a great movie night for the family (well, for the grade school-aged tots). The next time you look past that cold nose into those glistening eyes so delighted to see you, you might just see more than a smidge of ALPHA in your best furry friend.

4 Out of 5

Review: THE TOURIST

THE TOURIST was directed by Florian Henckel von Donnersmarck. Unfortunately, the director’s name is more interesting than the film itself. In all seriousness, Johnny Depp was the only truly intriguing part of this movie, which falls flat on almost every level. Despite having been co-written by Christopher McQuarrie, writer of such great crime films as THE USUAL SUSPECTS and THE WAY OF THE GUN.

The story follows an attractive British woman named Elise (Angelina Jolie) who we come to learn is the lover of a brilliant thief named Alexander when she is summoned by him after two years in hiding. We’re nudged gently into the drawn out plot of deception and trickery as Elise plays his game, which involves an innocent American tourist by chance. The tourist, a math teacher named Frank Tupelo (Johnny Depp), finds himself caught between the beautiful and mysterious Elise, the Interpol authorities tracking Alexander and the billionaire gangster Reginald Shaw, whom Alexander stole a LOT of money from.

We now have a not-so-elaborate labyrinth of lives, none what they seem on the surface, but the focus of the film tends to be on the scenery and the unbelievable, somewhat awkward romance that develops between Frank and Elise. As a semi-sappy, occasionally charming and humorous romance of two unlikely people, THE TOURIST plays out relatively well. The draw back however, is that the script hints at so many more appealing, engaging possibility that fail to fully come to fruition.

As for the scenery, the film was shot almost entirely in Venice, Italy and a bit of Paris, France in the beginning. Cinematographer John Seale captures the beauty of the settings wonderfully, but the style is perhaps more suited for a sales reel promoting tourism than an intriguing, artistically pronounced film. Likewise, James Newton Howard displays a dazzling score of classically inspired mood music that is pretty, but not terribly effective at grabbing the audience and sweeping them up in the story.

While there is plenty of scenery to take in, it is unfortunately rivaled by an overwhelming amount of blatant screen time placed on Angelina Jolie. I found her unappealing and excessively skinny, as usual. She has no real presence on screen, no electricity. Her character and her performance are equally dull. Johnny Depp, on the other hand, is enjoyable in a role that is less flattering than his usual star-power type, once again highlighting his range. He’s a math teacher from Wisconsin and a bit of a loaf… I think he may have even added some pounds for the role, which show in his Wisconsin cheddar cheeks.

Aside from Jolie and Depp, THE TOURIST also feature two talented actors in supporting roles. One of whom is Paul Bettany, often known best for his darker, creepy roles, but here is written as a mostly annoying prick working for Scotland Yard. His performance is fine, but wasted on an otherwise shallow character. Most disappointing was the misuse of Rufus Sewell in a role serving little more than a McGuffin, or red herring, with minimal screen time. It was however, a nice treat to see Timothy Dalton back on the big screen as Chief Inspector Jones.

As a very light quasi-romantic caper film with little depth and an extremely unsatisfying ending out of left field, THE TOURIST does produce it’s fair share of comfortable chuckles and scenery, but the risk of buyer’s remorse may be higher than many are willing to pay out at the box office.

Overall Rating: 2.5 out of 5 stars

THE OTHER GUYS “The Other Premiere” Contest – St. Louis Is In The TOP 5!!!

Hot Damn!! ST. LOUIS HAS MADE THE TOP 5!! Help get Mark Wahlberg and Will Ferrell to ST. LOUIS !!

  • St Louis , MO   WOO-HOO!!
  • Atlanta, GA
  • Dallas, TX
  • Houston, TX
  • Philadelphia, PA 

Please help us get the word out so we can win ‘THE OTHER PREMIERE’ of THE OTHER GUYS! It only takes a second to vote…and you can vote once per day. The top city will be announced live on the Today Show next Monday, August 2nd.

Vote here:       The Other Guys – Premiere City Poll

Press Release:

“THE OTHER GUYS” LETS

FACEBOOK USERS AND MOVIEGOERS DECIDE

ON HOST CITY FOR “THE OTHER PREMIERE”

In anticipation of the nationwide release of Columbia Pictures’ The Other Guys, starring Will Ferrell and Mark Wahlberg, in theaters August 6th, the film will make its World Premiere in New York City on August 2nd. But the fun won’t stop there.

The movie will have another premiere — “The Other Premiere” — and moviegoers can help decide where it will be. Moviegoers can go on Facebook at www.facebook.com/otherguysmovie and vote in a poll to decide which Other City will host The Other Premiere. Ferrell and Wahlberg will attend the red carpet event in the winning city on August 5th.

Commenting on the announcement, Adam McKay, director of The Other Guys, said,

“We’ve all had those moments when we’ve had to watch some other guy be the cool guy. But your city can be the cool city. Get on Facebook and vote, and we’ll bring The Other Premiere to you.”

Film’s Synopsis: 

In THE OTHER GUYS, NYPD Detectives Christopher Danson and P.K. Highsmith (Dwayne Johnson and Samuel L. Jackson) are the baddest and most beloved cops in New York City . They don’t get tattoos – other men get tattoos of them. Two desks over and one back, sit Detectives Allen Gamble (Will Ferrell) and Terry Hoitz (Mark Wahlberg). You’ve seen them in the background of photos of Danson and Highsmith, out of focus and eyes closed. They’re not heroes – they’re “the Other Guys.”

But every cop has his or her day and soon Gamble and Hoitz stumble into a seemingly innocuous case no other detective wants to touch that could turn into New York City ’s biggest crime. It’s the opportunity of their lives, but do these guys have the right stuff?

THE OTHER GUYS stars Will Ferrell, Mark Wahlberg, Eva Mendes, Michael Keaton, Steve Coogan, Ray Stevenson, with Samuel L. Jackson and Dwayne Johnson. Directed by Adam McKay and written by Adam McKay & Chris Henchy, the producers are Will Ferrell, Adam McKay, Jimmy Miller, and Patrick Crowley. THE OTHER GUYS will be in theaters on August 6, 2010.

Remember, vote once a day all this week at The Other Guys – Premiere City Poll and be sure to spread the word on Facebook to help get Will Ferrell and Mark Wahlberg here next week to premiere their movie!

3-D, CG POPEYE Am What it Am

I know I’m in the minority on this one.  No, not that that headline is perfect grammar, which it aren’t, but the belief that Robert Altman’s 1980, live action version of POPEYE starring Robin Williams is a fine, funny, enjoyable film.  Paul Dooley plays Wimpy, people.  How can you go wrong with that?

Of course, that’s not stopping Sony from taking the property and making their own CG and 3-D version of the spinach-swallowing sailorman.  Variety is reporting Avi Arad is on board as producer on the new POPEYE film and Mike Jones is punching out the screenplay.

In case you haven’t heard of Jones, he got a special thanks credit on BLAIR WITCH PROJECT, something that probably still doesn’t make him a household name.  He picked up the POPEYE gig based on a screenplay he wrote titled THE MINOTAUR TAKES A CIGARETTE BREAK, which, if that is a literal title, sounds like an amazing film.

Says Jones about coming on board POPEYE:

I’m an unabashed, lifelong Popeye fan.  Introducing this squinty-eyed sailor to a new generation also means reintroducing him to those who, like me, grew up with him.

POPEYE will be set up at Sony Pictures Animation who are also developing THE SMURFS film for 2011.  No word on a director as yet, but I’m guessing someone of Altman’s talents won’t be on board this time around.

SPIDER-MAN 4 Gets a Stardate, As Well

Someone’s about to flinch, and in more ways than one.     Sony Pictures announced this afternoon that the Marc Webb-directed reboot of the SPIDER-MAN franchise will not only be coming at you on July 3rd, 2012, it will be literally coming straight for you in 3-D.

Those of you who know me pretty well know how I feel about the whole 3-D concept and how overly used it is becoming in Hollywood.   What was an annoying gimmick that never really did anything for my cinematic experiences (yes, I’m even including AVATAR with that statement) is now quickly becoming the norm, a commonplace element of movie watching that, years down the road, will be the catalyst for a new type of brain cancer.   I can’t back that up, so, RealD, please put the phone call to your lawyers on hold for a bit.

But the 3-D aspects of having pieces of web and a John Malkovich-driven Vulture coming right at audience’s face wasn’t what I was referring to with that “someone is going to flinch” comment.   In fact, that aspect of the film isn’t even news worthy as just about every film is likely to, at least, be tempted by the 3-D bug.   SPIDER-MAN 4, which Sony, for now, is just calling SPIDER-MAN, is set for release on July 3rd, 2012.   This comes just four days after the intended STAR TREK sequel is set to bow.   Like I said, someone is going to flinch.   If both of these high profile films hold these, exact dates all the way until their respective releases, I will eat my movie-loving hat.   As a cute aside, I will be sure it is my newly bought Spyder skull cap for good measure.

Actually, if I had to guess, and the verbose writer in me tells me I do, I would see Sony pulling SPIDER-MAN’s July 3rd release before Paramount moving STAR TREK 2’s release date.   For one, the good favor the STAR TREK franchise has coming off last year’s success is undoubted, and people are skeptical at best of this new SPIDER-MAN.   Webb is an unchallenged filmmaker coming into a franchise whose last entry was a failure on so many levels and whose next entry is toning it back in every aesthetic aspect imagineable.   Not exactly the type of film that cries out 4th of July weekend material.

For now, both June and July 2012 are pretty well open with only STAR TREK and SPIDER-MAN having potential release dates.   I either see SPIDER-MAN getting pushed back to mid-July or moved up to the first or second weekend in June.   This would seem a much more likely debut date for it.   Of course, I could always be proven wrong.   That Spyder cap will probably go down a lot easier with some garlic salt splashed on it.

Sam Raimi walks, Sony to Reboot SPIDEY Franchise

So, I’m gonna cut right to the chase here and say that if this news is 100% valid, it must be the most shocking (albeit not entirely unexpected) development in Hollywood this year. OK, so the year is young, but still… allegedly, Sam Raimi has pulled out of directing SPIDER-MAN 4, reportedly over creative differences regarding the direction of the script. In response to this, Sony Pictures is apparently opting NOT to replace the director and is instead said to be taking the opportunity to start from scratch, so to speak. The word is that Sony will reboot the franchise, returning to a script written a while back by James Vanderbilt and will likely recast the entire project. Look… whether you loved or hated Tobey Maquire as the red and blue tights-wearing superhero (personally, I thought he was good for the role) — this is potentially BIG news! The one confusing thing in my mind is, what of all the recent talk about John Malkovich being confirmed as The Vulture for the fourth installment. Are these conflicting stories, or is he on in spite of this sudden change of plans?

Now for the fun part… assuming this is solid and the franchise as we know it is dead and Sony is indeed returning to the drawing board, what would we — the fans — like to see in this seconds go around? Granted, we know not of Vanderbilt’s script, but the question begs to be asked… who should be the next to slip on Peter Parker’s spectacles and dawn Spider-Man’s Spidey Spandex? Chime in, let us know… we eat this stuff up!

Source: FilmJunk