Justin Bieber, you are becoming omnipresent. But with this degree of fame comes an myriad of mockability. You've been scorned on 30 Rock, The Office, South Park, and plenty of others. But this might be the harshest critique you've gotten from a sitcom: Comedy Central's Ugly Americans really takes down Justin Bieber (literally) in the below clip, which claims that teen pop singers "sell their souls."
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Source: Comedy Central
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
Neal Purvis and Robert Wade have become synonymous with the James Bond franchise (the duo has scripted the last four films in the series), but with 007 on hold for the foreseeable future, they are picking up work elsewhere. The Hollywood Reporter scoops that they've teamed up with power producer Walter Parkes to write an original action-adventure thriller based on a concept from Michael Lieber and Parkes.
The story takes place among the nomadic Taureg tribes of West Africa, an area rich with uranium that has become a focal point for both energy companies and terrorist states. An American anthropologist is thrust Into this geopolitical mess when he must travel back to the Sahara to help a former research subject who has been accused of a terrorist attack. Though comparisons to Blood Diamond and Indiana Jones will inevitably arise from that description, Parkes has given a little insight on the tone that he envisions for his new project:
“At its heart, this is an action movie set within a world that is morally complex, alluring and completely real — which is why Robert and Neal, whose work spans James Bond to John Le Carre, are uniquely suited to bring a project like this to life,” he said.
As we all know, an original action film is hard to come by these days and one that is sure to address touchy political issues such as "energy", "terrorism" and "Africa" is even rarer. That knowledge fuels my anticipation for a project like this - that and the writers of Casino Royale and the producer of Gladiator and Men In Black. Hopefully a greenlight will be easier to get than I anticipate it will and we can see what this talented trio has cooking sooner than later.
Starting near the end of his short 24-year life and then told in flashback this film version of Christopher “Notorious B.I.G” Wallace’s (Jamal Woolard) rapid rise from the streets of Brooklyn to fame is told in standard-issue Hollywood biopic style. We see this Catholic honors student (played by his real life son Christopher Jordan Wallace) become a teenage drug dealer and accidental father before a chance recording finds its way to Sean “Puffy” Combs (Derek Luke) who engineers an almost immediate rise to fame fortune -- and trouble. “Biggie” now must juggle his newfound recording career a marriage to fellow artist Faith Evans (Antonique Smith) his romantic encounters with female rap comer L’il Kim (Naturi Naughton) and a major East Coast/West Coast rivalry with Tupac Shakur (Anthony Mackie) that leads to tragedy for both. As Wallace Brooklyn rapper Woolard is almost indistinguishable from the real man himself. He’s completely convincing performing B.I.G’s biggie hits and proves himself to be a first-rate dramatic actor as well -- at least in a story like this that he can clearly relate to. As his mother Angela Bassett makes the most of limited screen time (despite top billing) and expertly conveys the angst of a parent fighting a losing battle for her son. Luke again shows why he is so promising playing Puffy with just the right amount of flash and supreme confidence. Unfortunately the “balanced” portrait of Combs and many others in B.I.G’s life is tainted by the fact this film was produced by some of the real life players including his managers mother and executive producer Combs. George Tillman Jr. (Soul Food) directs this by-the-numbers account of Biggie’s life in a style we have seen countless times before. Except for a couple of occasions he doesn’t even let the rap sequences play out to give us an idea of how this guy whose songs reflected his rough Brooklyn lifestyle could climb to the top so fast. Whatever was special is lost in what appears to be a brazen attempt to sell soundtrack albums.
Charlie (Michael Douglas) has been a mess for quite a while. A jazz musician who has battled schizophrenia and manic depression for years has spent the last couple living in a mental hospital. His 16-year-old daughter Miranda (Evan Rachel Wood) has been living on her own in the family home (mom is long gone) having quit school and gone to work at McDonald’s to make ends meet. When Charlie is released and comes home the pair begins to tentatively rebuild their relationship. The good news is that Charlie is taking his meds and handling the real world reasonably well; the bad is that he’s developed an obsession with a legendary cache of Spanish gold doubloons reportedly buried near their dusty California home. When Charlie begins to convince Miranda that he really isn’t crazy--at least when it comes to the treasure--together they begin a Don Quixote-like journey that cements their fractured relationship back together. Forget Michael Douglas as Gordon Gekko the ultra-smooth Wall Street guy or as dashing Jack Colton of Romancing the Stone fame. These days Douglas now 62 has said he needs a really good reason to leave his family so this role where he can play a scraggly bearded wild-eyed edge-of-nuts guy is just the ticket. Douglas gives one of his best performances ever as Charlie striking just the right balance of intellect insanity and inherent love for his no-longer-little girl. Plus the man whose on-screen persona has often been all about male vanity is anything but that in King of California. He’s a scrawny whippet of a guy rather than a hunky leading man and it’s a transformation that just may get him another Academy Award nomination. Meanwhile 20-year-old Evan Rachel Wood proves that she really is an acting force to be reckoned with giving a gently nuanced performance as a girl who has had to grow up way too soon yet still completely loves the father who has struggled to care for her as he struggles with his personal demons. First-time writer/director Mike Cahill has done a first-rate job of bringing this quirky funny and slightly poignant story to the screen. Perhaps the reason he’s been so successful is in the company he keeps. A film-school friend of Oscar-winner Alexander Payne (Sideways About Schmidt) Cahill enlisted his producing help for his film along with Payne’s Sideways partner Michael London. King of California bears Cahill’s own stamp however--a combination of terrific visuals that often make wry satiric statements deftly melded with an assortment of memorable characters and situations. Perhaps his biggest strength is in the casting of the film in his choice of the two talented actors who bring a believability and sense of real family ties to their roles. With King of California Cahill begins what looks to be a long and beautiful friendship with moviegoers who love to be transported to interesting and funny places.
In true straightforward comic-book style TMNT starts with a brief backstory (without the laborious explanation on why four turtles and a rat become human-like in the first place) and then launches into the heart of the movie. After the defeat of their old arch nemesis The Shredder the Turtles—fun-lovin’ Michelangelo (Mikey Kelly) tech guru Donatello (Mitchell Whitfield) hotheaded Raphael (Nolan North) and pragmatic leader Leonardo (James Arnold Taylor)--have grown apart as a family. While Leo is off honing his craft the turtles no longer fight crime--except Raphael who still fights crime under the pseudonym Nightwatcher. Struggling to keep them together is their rat sensei Master Splinter (the late Mako). But strange things are brewing. Tech-industrialist Max Winters (Patrick Stewart) is amassing an army of ancient monsters to apparently take over the world. With the help of old allies April O'Neil (Sarah Michelle Gellar) and Casey Jones (Chris Evans) the Turtles finally come together as brothers to fight the good fight and once again face the mysterious Foot Clan who have put their own ninja skills behind Winters' endeavors. As opposed to hiring just A-list actors TMNT is a nice eclectic mix of veteran voice-over artists who give the Turtles their voices and regular actors such as Gellar Stewart and Evans. Crouching Tiger Hidden Dragon’s Ziyi Zhang also gets in on the action providing the voice of the Foot Clan leader Karai who was once an enemy of the Turtles but now sees the value in what they do. Of course there isn’t a Robin Williams or Ben Stiller to laugh with but Kelly is pretty funny as Michelangelo who has had to resort to entertaining kids at birthday parties as “Cowabunga Carl ” a clown-for-hire in a “fake” turtle suit. It will all depend on whether those ninja-fightin’ pizza-eatin’ giant turtles still have a monetary appeal but methinks a new TMNT movie franchise has been born. The comic book was created in 1984 by Peter Laird and Kevin Eastman as a spoof to the superhero stories and quickly took off into merchandising heaven with a toy license and then a television series. The original 1990 live-action movie used state-of-the-art animatronics but somehow felt static and fake. Since the last TMNT movie in 1993 the whole Turtle phenomenon has sort of fallen off the radar at least in the U.S. so the time was ripe for a renovation. Using the innovative CGI we know and love this new TMNT--created by a team of animators from California and Hong Kong under the watchful direction of Kevin Munroe--gives the Turtles not to mention all the otherworldly monsters they have to fight a realistic look and feel. With this kind of freedom the film can focus on the action which is the best part of the TMNT lore. Though the demographics may skew male ages 8-11 (as well as those 8-to-11-year-old boys who loved it back in the day and are now grown men) TMNT is just your basic supercharged animated fun.