Lionsgate via Everett Collection
If the trailer for Scarlett Johansson's upcoming action film Lucy is any indication, her character is going to kick some serious butt. The director of Lucy, Luc Besson, is known for his high-octane action flicks, and is shifting gears by handing the leading role in this picture to a woman. Men have traditionally played the action hero in Hollywood films, but every now and then, a woman will come along to show them how it's done. Below are 10 of the most dangerous female action heroes that you must watch before Lucy hits theaters in August.
1. Hit Girl
Mindy Macready may be a sweet, innocent child, but her superhero alter-ego Hit Girl is a force to be reckoned with. Chloë Moretz owns the screen as the foul-mouthed fighter who can take on any grown man in Kick-Ass and Kick-Ass 2, two of the most innovative superhero movies of the 21st century. Below is a clip that demonstrates why Hit Girl is a champion.
2. Beatrix Kiddo
Quentin Tarantino's epic revenge fantasy Kill Bill Vol. 1 and Kill Bill Vol. 2 features arguably the most heroic, empowering action hero ever put on screen. Uma Thurman is Beatrix Kiddo, a.k.a. The Bride (a.k.a. Black Mamba), and her purpose is to kill the men and women who tried to murder her on her wedding day. Every fight scene is epic, but the clip below is especially awesome.
3. Yu Shu Lien and Jen Yu
Ang Lee's masterful Crouching Tiger, Hidden Dragon is noteworthy for having two women who can match any male soldier. Michelle Yeoh is Yu Shu Lien and Ziyi Zhang is Jen Yu, and in the scene below, both women go toe-to-toe in an attempt to assert their authority. I won't spoil the ending for those who haven't seen the film, but in this clip, the fight ends in a draw, so it's only fair to include both of them.
In Joe Wright's techno-pulp action film Hanna, Saoirse Ronan plays Hanna, a 15-year-old assassin who is being tracked down by a government agency. As the film progresses, we see how tough and lethal Hanna actually is. Below is a user-generated montage of the film that provides a glimpse of Hanna's dangerous grip.
5. Ryan Stone
If you're one of the few people in the world who hasn't seen Gravity, you owe it to yourself to marvel at Sandra Bullock's heroic performance as Ryan Stone, an astronaut who is lost in space and uses her strength to find her way back home. The clip below is one of the more moving scenes from the film that highlights Ryan's courage.
6. Clarice Starling
Long before the television series Hannibal, we had Jonathan Demme's The Silence of the Lambs, which introduced the world to Clarice Starling, a feminist action hero if ever there was one. Jodie Foster won her second Oscar for her performance as Clarice, a strong FBI agent who overcomes sexism in the agency to track down a serial killer. The scene below shows the lengths Clarice will go to save the day, as she has a conversation with the creepy Hannibal Lecter.
7. Princess Merida
In Pixar's Brave, Princess Merida challenges conventions by playing archery and doing all sorts of activities "respectable" women aren't allowed to do. Brave is a wonderful movie that should inspire young girls to follow their dreams despite the obstacles that are in their way.
8. Mallory Kane
We don't know much about Mallory Kane in Haywire, but we do know that she's a fighter. Gina Carano emerges as the next Steven Seagal and Jean-Claude Van Damme with her forceful star presence, proving that women can be iconic action stars as well. Below is one of the best scenes from the movie.
9. Sidney Prescott
Aside from being one of the best horror series in cinema history, Wes Craven's Scream franchise deserves credit for creating Sidney Prescott. Neve Campbell revises the "scream queen" trope with her performance as Sidney, a tough, no-nonsense teenager who refuses to be a victim. Unlike other slasher films with women at the center, Scream portrays its female protagonist as smart and sophisticated. Below is a clip that shows why Sidney is a unique, unprecedented female character in the slasher genre.
10. Foxy Brown
Pam Grier shines in this blaxploitation classic as Foxy Brown, a tough black woman who gets revenge on the mobsters who murdered her boyfriend. The blaxploitation films of the 1970s turned Grier into a star and sex symbol, and they inspired Quentin Tarantino to cast Grier in Jackie Brown, a modern revision of the genre. Below is a clip that shows why Foxy Brown is the coolest female action hero on this list.
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
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.
It’s been a long time since we’ve seen a decent ninja flick. When the Golden Age of Ninja Cinema (also known as the Dudikoff Era) ebbed at the close of the ‘80s the black-clad martial artists retreated to the shadows. This week director James McTeigue (V for Vendetta) aims to resurrect them with Ninja Assassin a hyperkinetic gorefest starring Korean pop star Rain.
But these ain’t your daddy’s ninjas. Though they boast the familiar wardrobe (black on black) and weapons (swords throwing stars etc.) the ninjas in this flick are thoroughly nasty buggers. Members of a super-secret international syndicate of assassins-for-hire they can dodge bullets turn invisible heal wounds and communicate telepathically. And for the low low price of 100 lbs of gold they’ll kill anyone you want no questions asked.
It’s that latter aspect that draws the scrutiny of law enforcement — specifically agents Mika Coretti (Naomi Harris) and Ryan Maslow (Ben Miles) of Europol (which appears to be a division of Interpol staffed exclusively with imbeciles). Fortunately for these hapless twits they find a potent ally in Raizo (Rain) a renegade ninja of unsurpassed ability who nurses a nasty grudge against his cruel former master Lord Ozunu (Sho Kosugi).
Fueled by childhood memories of the abuse he suffered while at Lord Ozunu’s ninja sleepaway camp Raizo will stop at nothing to bring the entire operation down. Which is good because his former chums are a persistent lot arriving in ever greater numbers to snuff out the powerful apostate.
McTeigue’s dizzying shaky-cam combined with the identical appearance of most of the ninja combatants makes the action difficult to follow at times in Ninja Assassin. It’s probably why he felt compelled to accentuate every fight scene with exaggerated bursts of CGI blood. Still as disembodied heads limbs and torsos fly across the screen in quantities not seen since Kill Bill it’s nigh impossible to determine who they belong(ed) to. Much easier to pinpoint are the glistening six-pack abs of Raizo a fighter so badass he can ward off his pursuers while wearing little more than a thin layer of baby oil.
It’s a pity Raizo couldn’t have applied his blade to the Ninja Assassin script which encumbers the first half of the movie with endless flashbacks gratuitous training sequences and pointless political squabbling. Or perhaps he could have imparted some of his skills at deception to McTeigue who exhibits all of the subtlety and unpredictability of a kamikaze pilot.
This is one ninja flick that should have remained in the shadows.