TriStar Pictures via Everett Collection
An hour and change into Pompeii, there's a volcano. You'd think there might have been a volcano throughout — you'd think that the folks inhabiting the ill-fated Italian village would have been dealing with the infamous volcano for the full 110 minutes. After all, volcano movies have worked before. Volcano, for instance. And the other one. But for some reason, Pompeii feels the need to stuff its first three quarters with coliseum battles, Ancient Rome politics, unlikely friendships, and a love story. But we don’t care. We can't care. None of it warrants our care. Where the hell is the volcano, already?
To answer that: it's off to the side — rumbling. Smoking. Occasionally spiking the neighboring community with geological fissures or architectural misgivings. Pretty much executing every trick picked up in Ominous Foreshadowing 101, but never joining the story. Not until Paul W.S. Anderson shouts, "Last call," hitting us with a final 20-odd minutes of unmitigated disaster (in a good way). If you've managed to maintain a waking pulse throughout the lecture in sawdust that is Pompeii's story, then you might actually have a good time with the closing sequence. It has everything you’d expect — everything you had been expecting! — and delivers it with gusto. Torpedoes of smoke running hordes of idiot villagers out of their homes and toward whatever safety the notion of forward has to offer. Long undeveloped characters rising to the occasion to rescue hapless princesses who thought it might be a good idea to set their vacation homes at the foot of a lava-spewing mountain. The whole ordeal is actually a lot of laughs. But it amounts to a dessert just barely worth the tasteless dinner we had to force down to get there.
TriStar Pictures via Everett Collection
To get through the bulk of Pompeii, we recommend focusing all your attentions away from the effectively bland slave/gladiator/hero Kit Harington — sorry, Jon Snow (he's actually called a bastard at one point) — and onto his partner in crime: a scowling Adewale Akinnuoye-Agbaje — sorry, Mr. Eko (he and Snow actually trade valedictions by saying "I'll see you at another time, brother" at one point) — who warms up to his fellow prize fighter during their shared time in the klink, and delivers his moronic material with a sprinkle of flair. Keeping the working man down is Kiefer Sutherland — sorry, Jack Bauer — as an ostentatious Roman senator, doling out vainglory in Basil Fawlty-sized portions. When he's not spitting scowls at peasants, ol' JB is undermining the efforts of an earnest local governor Jared Harris — sorry, Lane Pryce (he actually calls someone a mad man at one point) — and his wife Carrie-Anne Moss — sorry, Katherine O'Connell from Vegas (joking! Trinity) — and finagling the douchiest marriage proposal ever toward their daughter Emily Browning — sorry, but I have no idea what she's from.
But questionable television references and some enjoyably daft performances by Eko and Jack can't really make up for the heft of mindless dullness that Pompeii passes off as its narrative... until the big showstopper.
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In truth, the last sequence is a gem. It's fun, inviting, and energizing, and might even call into question the possibility that Pompeii is all about how futile life, love, friendship, politics, and pride are when even the most egregiously complicated of plots can be taken out in the end by a sudden volcanic eruption. But you have to wade through that egregious complication to get there, and you shouldn't expect to have too much of a good time doing so.
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Columbia Pictures via Everett Collection
Treading water at the very surface of RoboCop, there is an idea. A dense concept, ready and willing to provide no dearth of dissection for any eager student of philosophy, psychology, political science, physics — hell, any of the Ps. To simplify the idea on hand: What separates man from machine? It's a question that is not just teased by the basic premise of José Padilha's remake of the 1987 sci-fi staple, but asked outright by many of its main characters. And then never really worried about again.
We have principal parties on both sides of the ethical quandary that would place the security of our crime-ridden cities in the hands of automatons. Samuel L. Jackson plays a spitfire Bill O'Reilly who wonders why America hasn't lined its streets with high-efficiency officer droids. Zach Grenier, as a moralistic senator, gobbles his way through an opposition to the Pro-boCop movement. We hear lecture after lecture from pundits, politicians, business moguls (a money-hungry Michael Keaton heads the nefarious OmniCorp...) and scientists (...while his top doc Gary Oldman questions the nature of his assignments while poking at patients' brains and spouting diatribes about "free will"), all working their hardest to lay thematic groundwork. Each character insists that we're watching a movie about the distinction between human and artificial intelligence. That even with an active brain, no robot can understand what it means to have a heart. But when Prof. Oldman tempers his hysterical squawking and Samuel L. Hannity rolls his closing credits, we don't see these ideas taking life.
In earnest, the struggle of rehabilitated police officer Alex Murphy (Joel Kinnaman) — nearly killed in the line of duty and turned thereafter into OmniCorp's prototype RoboCop — doesn't seem to enlist any of the questions that his aggravated peers have been asking. Murphy is transformed not just physically, but mentally — robbed of his decision-making ability and depleted of emotional brain chemicals — effectively losing himself in the process. But the journey we see take hold of Murphy is not one to reclaim his soul, although the movie touts it as such. It's really just one to become a better robot.
Columbia Pictures via Everett Collection
Meanwhile, RoboCop lays down its motives, and hard: Murphy's wife and son (Abbie Cornish and a puckish young John Paul Ruttan) lament the loss of Alex, condemning his dehumanization at the hands of Raymond Sellars' (Keaton) capitalistic experiments, and sobbing out some torrential pathos so you know just how deep this company is digging. Weaselly stooges (Jay Baruchel, Jennifer Ehle, and Jackie Earl Haley) line the OmniCorp roster with comical wickedness. Overseas, killer combat bots take down peaceful villages, unable to work empathetic judgment into their decision to destroy all deemed as "threats." And at the top, figures of power and money like Sellars and Pat Novak (Jackson) speak the loudest and harshest, literally justifying their agenda with a call for all naysayers to "stop whining." Clearly, RoboCop has something to say.
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And when it's devoted to its outrage, RoboCop is terrifically charming. The buzzing political world is just a tiny step closer to ridiculous than our own; the pitch meetings at OmniCorp are fun enough to provoke a ditching of all the material outside of the company walls. And one particular reference to The Wizard of Oz shows that the movie isn't above having fun with its admittedly silly premise. But it loses its magic when it steps away from goofy gimmicks and satirical monologues and heads back into the story. We don't see enough of Murphy grappling with the complicated balance between his conflicting organic and synthetic selves. In fact, we don't see enough "story" in Murphy at all. First, he's a dad and a cop. Then, he's a RoboCop. But can he also be a RoboDad? With all of its ranting and raving about the question, the film doesn't seem to concerned with actually figuring out the answer.
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There is something particularly unnerving about demon possession. It's the idea of something you can't see or control creeping into your body and taking up residence eventually obliterating all you once were and turning you into nothing more than a sack of meat to be manipulated. Then there's also the shrouded ritual around exorcisms: the Latin chants the flesh-sizzling crucifixes and the burning Holy Water. As it turns out exorcism isn't just the domain of Catholics.
The myths and legends of the Jews aren't nearly as well known but their creepy dybbuk goes toe-to-toe with anything other world religions come up with. There are various interpretations of what a dybbuk is or where it comes from — is it a ghost a demon a soul of a sinner? — but in any case it's looking for a body to hang out in for a while. Especially according to the solemn Hasidic Jews in The Possession an innocent young person and even better a young girl.
The central idea in The Possession is that a fancy-looking wooden box bought at a garage sale was specifically created to house a dybbuk that was tormenting its previous owner. Unfortunately it caught the eye of young Emily (Natasha Calis) a sensitive artistic girl who persuades her freshly divorced dad Clyde (Jeffrey Dean Morgan of Watchmen and Grey's Anatomy) to buy it for her. Never mind the odd carvings on it — that would be Hebrew — or how it's created without seams so it would be difficult to open or why it's an object of fascination for a young girl; Clyde is trying really hard to please his disaffected daughters and do the typical freshly divorced parent dance of trying to please them no matter the cost.
Soon enough the creepy voices calling to Emily from the box convince her to open it up; inside are even creepier personal objects that are just harbingers of what's to come for her her older sister Hannah (Madison Davenport) her mom Stephanie (Kyra Sedgwick) and even Stephanie's annoying new boyfriend Brett (Grant Show). Clyde and Stephanie squabble over things like pizza for dinner and try to convince each other and themselves that Emily's increasingly odd behavior is that of a troubled adolescent. It's not of course and eventually Clyde enlists the help of the son of a Hasidic rabbi a young man named Tzadok played by the former Hasidic reggae musician Matisyahu to help them perform an exorcism on Emily.
The Possession is not going to join the ranks of The Exorcist in the horror pantheon but it does do a remarkable job of making its characters intelligent and even occasionally droll and it offers up plenty of chills despite a PG-13 rating. Perhaps it's because of that rating that The Possession is so effective; the filmmakers are forced to make the benign scary. Giant moths and flying Torahs take the place of little Reagan violently masturbating with a crucifix in The Exorcist. Gagging and binging on food is also an indicator of Emily's possession — an interesting twist given the anxieties of becoming a woman a girl Emily's age would face. There is something inside her controlling her and she knows it and she is fighting it. The most impressive part of Calis's performance is how she communicates Emily's torment with a few simple tears rolling down her face as the dybbuk's control grows. The camerawork adds to the anxiety; one particularly scary scene uses ordinary glass kitchenware to great effect.
The Possession is a short 92 minutes and it does dawdle in places. It seems as though some of the scenes were juggled around to make the PG-13 cut; the moth infestation scene would have made more sense later in the movie. Some of the problems are solved too quickly or simply and yet it also takes a while for Clyde's character to get with it. Stephanie is a fairly bland character; she makes jewelry and yells at Clyde for not being present in their marriage a lot and then there's a thing with a restraining order that's pretty silly. Emily is occasionally dressed up like your typical horror movie spooky girl with shadowed eyes an over-powdered face and dark clothes; it's much more disturbing when she just looks like an ordinary though ill young girl. The scenes in the heavily Hasidic neighborhood in Brooklyn look oddly fake and while it's hard to think of who else could have played Tzadok an observant Hasidic Jew who is also an outsider willing to take risks the others will not Matisyahu is not a very good actor. Still the filmmakers should be commended for authenticity insofar as Matisyahu has studied and lived as a Hasidic Jew.
It would be cool if Lionsgate and Ghost House Pictures were to release the R-rated version of the movie on DVD. What the filmmakers have done within the confines of a PG-13 rating is creepy enough to make me curious to see the more adult version. The Possession is no horror superstar and its name is all too forgettable in a summer full of long-gestating horror movies quickly pushed out the door. It's entertaining enough and could even find a broader audience on DVD. Jeffrey Dean Morgan can read the Old Testament to me any time.
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
Salt the propulsive new thriller from Phillip Noyce (Clear and Present Danger Patriot Games) has been dubbed “Bourne with boobs ” but that label isn’t entirely accurate. In the role of Evelyn Salt a CIA staffer hunted by her own agency after a Russian defector fingers her in a plot to murder Russia’s president Angelina Jolie keeps her two most potent weapons holstered hidden under pantsuits and trenchcoats and the various other components of a super-spy wardrobe that proudly emphasizes function over flash.
But flash is one thing Salt never lacks for. Its breathless cat-and-mouse game hits full-throttle almost from the outset when a former KGB officer named Orlov (Daniel Olbrychski) stumbles into a CIA interrogation room and begins spilling details of a vast conspiracy. Back in the ‘70s hardline elements of the Soviet regime launched an ambitious new front in the Cold War flooding the western world with orphans trained to infiltrate the security complexes of their adopted homelands and wait patiently — decades if necessary — for the order to initiate a series of assassinations intended to trigger a devastating nuclear clash between the superpowers from which the treacherous Reds would emerge triumphant.
The Soviet Union may have long ago collapsed (or did it? Hmmm...) but its army of brainwashed killer orphan spies remains in place and if this crazy Orlov fellow is to be believed they stand poised to reignite the Cold War. It’s a preposterous — even idiotic — scheme but no more so than any of our government’s various harebrained proposals to kill Castro back in the ‘60s. As such the CIA treats it with grave seriousness even the part that that pegs Salt who just happens to be a Russian-born orphan herself as a key player in the conspiracy.
Salt bristles at the accusation but suspecting a set-up she opts to flee rather than face interrogation from her bosses Winter (Liev Schreiber) and Peabody (Chiwetel Ejiofor). A former field agent she’s been confined to a desk job since a clandestine operation in North Korea went south leaving her with a nasty shiner and a rather unremarkable German boyfriend (now her unremarkable German husband). She’s clearly kept up her training during while cubicle-bound however and in a blaze of resourceful thinking and devastating Parkour Fu she fends off a dozen or so agents of questionable competence and takes to the streets where she sets about to clear her name and unravel the Commie orphan conspiracy before the authorities can catch up with her. That is if she isn’t a part of the conspiracy.
The premise which aims to resurrect Cold War tensions and graft them onto a modern-day spy thriller is absurdly clever — and cleverly absurd. But Kurt Wimmer’s screenplay isn’t satisfied with the merely clever and absurd — it must be mind-blowing. Salt is one of those thrillers that ladles out its backstory slowly and in tiny portions every once in a while dropping a revelatory bombshell that effectively blows the lid off everything that happened beforehand. No one is who they seem and every action every gesture no matter how seemingly trivial is imbued with some kind of grand significance. The effect of piling on one insane twist after another has the effect of gradually diluting the narrative. When anything is possible nothing really matters.
But spy thrillers by definition trade in the preposterous and the principal function of the summer blockbuster is to entertain. In that regard Salt more than fulfills its charge. Noyce wisely keeps the story moving at pace that allows little time for asking uncomfortable questions or poking holes in the film’s frail plot. And he has an able partner in the infinitely versatile Jolie who having already exhibited formidable action-hero chops in Wanted and the Tomb Raider films proves remarkably adept at the spy game as well.
It’s well-known that Jolie wasn’t the first choice to star in Salt joining the project only after Tom Cruise dropped out citing the story’s growing similarities to the Mission: Impossible films. But she’s more than just a capable replacement; she’s a welcome upgrade over Cruise not least because she’s over a decade younger (and a few inches taller) than her predecessor. Should Brad Bird require a pinch-hitter for Ethan Hunt he knows where to look.
Mariah Carey has booked a guest appearance on Fox's Ally McBeal on Jan. 7. In the episode, Carey will play a key figure in a lawsuit brought by (Jami Gertz's) Kimmy Bishop after she is given a refund by a matchmaking service and deemed unmatchable. Carey also will be featured warbling "Lead the Way" from her new album, "Glitter."
The movie memorabilia-themed restaurant Planet Hollywood filed for bankruptcy on Friday due to a drop in tourist business after Sept. 11. Planet's chief executive Robert Earl tells Reuters the Orlando-Florida based restaurant chain owes $133 million in debt against $121 in assets. Planet Hollywood, once valued at $3.5 billion on the day of its 1996 opening day, is struggling to find customers to fill its restaurants.
An Italian court has cleared Tenor Luciano Pavarotti of tax evasion charges, throwing out a state claim for up to $18 million, BBC News reports. Prosecutors argued that Pavarotti claimed to be a resident of the Italian town Modena, not Monaco, as claimed in his tax return between 1989 and 1995. In his defense, his lawyers said the tenor only visited Italy a few days each year to see friends and for the holidays. Otherwise, he lived "179 days a year" in the United States.
How's "Survivor" surviving? Not so well, apparently. The CBS reality show Survivor: Africa came in second to NBC's Friends last Thursday for the second week in a row. According to Nielsen ratings, Survivor has dipped its lowest levels since its June 2000 debut, having declined by 18 percent in total viewers (19.59 million vs. 23.84 million) and by 24 percent in adults (7.9 rating, 20 share vs. 10.4/23) from its premiere a week ago. . Friends was down 18 percent week-to-week in adults 18-24 to a season-low 12.2/32, but that's still 4 percent ahead of its fourth episode last season.
Prince Edward, Earl of Wessex, will stop making TV programs about royalty following controversy over his production company's filming of Prince William, BBC News reports. Adrent Productions has been criticized for not adhering to an agreement for all media not to intrude into William's life at St. Andrews University in Edinburgh, where he has just begin his first term.
Nicole Kidman and Anthony Hopkins will star in The Human Stain, based on a Philip Roth novel set against the backdrop of the 1998 Clinton impeachment scandal, Reuters reports. Robert Benton is set to direct the film, which is expected to begin shooting in March.
The Runner, an ambitious reality show developed by Ben Affleck and Matt Damon, has been put on hold until next season due to concerns over the national mood, Reuters reports. The series, previously set to premiere on Jan. 7, is a cat-and-mouse game in which pre-selected "agents" pursue "runners" cross-country According to ABC, security issues and concern about the show's arose after the Sept. 11 attacks. No word yet on what ABC will do with the 9 p.m. Monday slot come January.
Producers Harry Thomason, his wife Linda Bloodworth-Thomason and filmmaker Adam Friedman are set to begin filming a theatrical documentary based on the Joe Conason and Gene Lyons book The Hunting of the President: The Ten-Year Campaign to Destroy Bill and Hillary Clinton. According to the Hollywood Reporter, Hunting will document the efforts to discredit the couple from the time of Bill Clinton's governorship in Arkansas through his 1998 presidential impeachment trial. Production is scheduled to start during the next few weeks.
With the balloting for the Screen Actors Guild presidential and more than 40 offices up for election ending in Oct. 31, candidates can now send email messages to the 30,000 or so union members who have email adresses, Reuters reported. For 8 cents per message, the emails supposedly contain harsh criticism on the presidential race between Melissa Gilbert and Valerie Harper, who are seeking to replace the current SAG president William Daniels, who will not be running for a second two-year term.
Bad-ass Kid Rock is looking for a few fans to appear in his new video "Forever," the first off his Nov. 20 release Cocky. According to an Atlantic Records spokesperson, the Wayne Isham-directed video will be shot on Oct. 26 and 27 in Detroit, Mich. Details will be announced soon through local radio stations and Kid Rock's official Web site.