Columbia Pictures via Everett Collection
As grand as the themes of good and evil, needs and deservings, power and responsibility and such forth are, superhero movies are generally pretty straightforward in premise: hero stops villain from wreaking havoc. As off-putting as this kind of simplicity might sound, it's usually the right way to go. If you pack enough substance into your characters and adhere your plot to these linear margins, you can actually wind up saying a healthy amount (and having a lot of fun). The Amazing Spider-Man 2 gets half of this formula down pat. Although Andrew Garfield's Peter Parker is still a moreover undistinguished identity, his emotional magnitude (re: his relationship with Gwen Stacy) is enough to keep him valid through the storm of lunacy that is his second feature. And it's not even that lunacy that holds him back. The problem isn't how wild his conquests are, how silly some of the action sequences feel, or how absolutely bonkers his villains turn out to be. It's all the other stuff (and yes, if you can believe it, there's a ton more going on in this movie than what I've already mentioned — that's the issue). All the plot twists, tertiary mysteries, ominous flashbacks, abject reveals, and weightlessly sinister pawns in this brooding game that, save for its fun with the baddies, takes itself way too seriously. All that stuff that The Amazing Spider-Man 2 thinks is necessary to make Peter Parker matter? It actually does just the opposite.
Peter is at his best when he's playing Tracy and Hepburn with the girlfriend he's perpetually disappointing (the eternally charming Emma Stone), or trying to win back the favor of the only remaining parental figure from whom he's rapidly slipping away (Sally Field, reminding us why she's a household name), or angling to connect with the mentally unstable engineer who just wants people to notice him (Jamie Foxx working his comic shtick with a frightening zest). We have the most fun with Peter when he's playing the simplest games, and we connect best with him on similar ground. But Peter and company, at the behest of The Amazing Spider-Man franchise's Sandman-sized aspirations, spend so much time exploring new avenues: the secrets surrounding the death and work of Richard Parker, the behind-the-curtains operations of OsCorp, the nefarious goings on in the waterside penitentiary Ravencroft.
Columbia Pictures via Everett Collection
As a result of the grand stab at world building, there is just so much stuff that Peter has to wade through in this movie, dragging the likes of Gwen and his boyhood friend Harry Osborn (Dane DeHaan, mastering angst, menace, and upper-class privilege all at once) into the dark crevasses of narrative waste. With so many diversions into the emotionally vacant, deliberately joyless explorations of Parker family origin stories, secret brief cases, and underground subways — The Amazing Spider-Man 2 rivals Captain America: The Winter Soldier in complexity, but forgets the necessary ingredient of fun — we barely have enough energy left when the good stuff hits.
And in truth, the good stuff isn't really good enough to sustain us through all the duller periods. Garfield and Stone do have laudable chemistry. Foxx is a hoot as Peter's maniacal new foe, especially when paired with the grimacing DeHaan. And the action, while often straying from any aesthetic authenticity, is nothing shy of neat-o. It's all passable, occasionally worthy of a hearty smile, but rarely anything you'll be definitively pleased you took the time to see.
But beyond coming up short in the micro, the film's regal downfall is its scope. With so much to do, both in accomplishing its own necessary plot points and setting up for those to come in future films, The Amazing Spider-Man 2 doesn't seem to take time to make sure it's having fun with its own premise. And if it isn't having fun, we won't be either.
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In This Means War – a stylish action/rom-com hybrid from director McG – Tom Hardy (The Dark Knight Rises) and Chris Pine (Star Trek) star as CIA operatives whose close friendship is strained by the fires of romantic rivalry. Best pals FDR (Pine) and Tuck (Hardy) are equally accomplished at the spy game but their fortunes diverge dramatically in the dating realm: FDR (so nicknamed for his obvious resemblance to our 32nd president) is a smooth-talking player with an endless string of conquests while Tuck is a straight-laced introvert whose love life has stalled since his divorce. Enter Lauren (Reese Witherspoon) a pretty plucky consumer-products evaluator who piques both their interests in separate unrelated encounters. Tuck meets her via an online-dating site FDR at a video-rental store. (That Lauren is tech-savvy enough to date online but still rents movies in video stores is either a testament to her fascinating mix of contradictions or more likely an example of lazy screenwriting.)
When Tuck and FDR realize they’re pursuing the same girl it sparks their respective competitive natures and they decide to make a friendly game of it. But what begins as a good-natured rivalry swiftly devolves into romantic bloodsport with both men using the vast array of espionage tools at their disposal – from digital surveillance to poison darts – to gain an edge in the battle for Lauren’s affections. If her constitutional rights happen to be violated repeatedly in the process then so be it.
Lauren for her part remains oblivious to the clandestine machinations of her dueling suitors and happily basks in the sudden attention from two gorgeous men. Herein we find the Reese Witherspoon Dilemma: While certainly desirable Lauren is far from the irresistible Helen of Troy type that would inspire the likes of Tuck and FDR to risk their friendship their careers and potential incarceration for. At several points in This Means War I found myself wondering if there were no other peppy blondes in Los Angeles (where the film is primarily set) for these men to pursue. Then again this is a film that wishes us to believe that Tom Hardy would have trouble finding a date so perhaps plausibility is not its strong point.
When Lauren needs advice she looks to her boozy foul-mouthed best friend Trish (Chelsea Handler). Essentially an extension of Handler’s talk-show persona – an acquired taste if there ever was one – Trish’s dialogue consists almost exclusively of filthy one-liners delivered in rapid-fire succession. Handler does have some choice lines – indeed they’re practically the centerpiece of This Means War’s ad campaign – but the film derives the bulk of its humor from the outrageous lengths Tuck and FDR go to sabotage each others’ efforts a raucous game of spy-versus-spy that carries the film long after Handler’s shtick has grown stale.
Business occasionally intrudes upon matters in the guise of Heinrich (Til Schweiger) a Teutonic arms dealer bent on revenge for the death of his brother. The subplot is largely an afterthought existing primarily as a means to provide third-act fireworks – and to allow McGenius an outlet for his ADD-inspired aesthetic proclivities. The film’s action scenes are edited in such a manic quick-cut fashion that they become almost laughably incoherent. In fairness to McG he does stage a rather marvelous sequence in the middle of the film in which Tuck and FDR surreptitiously skulk about Lauren's apartment unaware of each other's presence carefully avoiding detection by Lauren who grooves absentmindedly to Montel Jordan's "This Is How We Do It." The whole scene unfolds in one continuous take – or is at least craftily constructed to appear as such – captured by one very agile steadicam operator.
Whatever his flaws as a director McG is at least smart enough to know how much a witty script and appealing leads can compensate for a film’s structural and logical deficiencies. He proved as much with Charlie’s Angels a film that enjoys a permanent spot on many a critic’s Guilty Pleasures list and does so again with This Means War. The film coasts on the chemistry of its three co-stars and only runs into trouble when the time comes to resolve its romantic competition which by the end has driven its male protagonists to engage in all manner of underhanded and duplicitous activities. This Means War being a commercial film – and likely an expensive one at that – Witherspoon's heroine is mandated to make a choice and McG all but sidesteps the whole thorny matter of Tuck and FDR’s unwavering dishonesty not to mention their craven disregard for her privacy. (They regularly eavesdrop on her activities.) For all their obvious charms the truth is that neither deserves Lauren – or anything other than a lengthy jail sentence for that matter.
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UPDATE: According to the lovely lady herself, she has indeed landed the role and not a moment too soon. I was beginning to think that Jennifer Lawrence would be the only person in the movie to sex things up. Banks should be able to help her shoulder the burden. My only complaint is that I won't know who to ogle over more when they're sharing the screen together. I lead a tough life, I know.
EARLIER: Elizabeth Banks can do virtually everything. Comedy or drama, film or TV, acting or producing: there's no job in the entertainment field she's incapable of mastering. And even though she's got a gaggle of projects of her own in the pipeline, she's now circling a role in Gary Ross' adaptation of Suzanne Collins' The Hunger Games (just like everyone else in the business these days). It would mark the first reunion between the director and star since 2003's Seabiscuit.
According to Variety, Banks is negotiating for the role of Effie Trinket, a "flighty bureaucrat who wrangles the young death-match contestants to their fates." If cast she would join Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Amandla Stenberg and Dayo Okeniyi in Lionsgate's future franchise hopeful. I have not read the novel yet, but my colleagues here at the Hollywood.com offices believe that Banks is a spot-on pick for Trinket.
As previously stated, I can watch Banks in anything and I'm a firm believer that she's one of the best talents we have in showbiz at this time, so her involvement in what's sure to be a huge hit is a great move for her and a major coup for the filmmakers.
The Hunger Games, the first film in a planned trilogy, is set to hit theaters on March 23rd 2012.
Dodgeball is the classic big guy vs. little guy
can-do tale featuring your least favorite P.E. activity. Peter La Fleur
(Vince Vaughn) is the irresponsible manager of Average Joe Gymnasium a
low-end workout center that is losing business to Globo Gym America Corp.
run by former fatty food fetishist White Goodman (Ben Stiller). Peter
discovers that he has 30 days to come up with $50 000 of payments or else he
will lose his gym to Goodman. With the help of the bank's lawyer Kate Veatch
(Christine Taylor) and a ragtag team of gym regulars Peter plans on
winning the Las Vegas International Dodgeball Open and its first place
prize money. Yes folks all of your favorite sports clichés are here: the
salty experienced coach (Rip Torn) with his inspirational
non-sequiturs the nerd with a girl to impress a love triangle between the two
rivals and of course pirates. What? You were expecting a high concept and clever plot twists perhaps? C'mon.
If you want character development go see the folks at Merchant-Ivory. This
is irreverent comedy folks. And truth be told it's nothing we haven't seen
before. Vince Vaughn hones his too-cool-for-school good-guy persona against
Ben Stiller's lycra-covered over-the-top overachiever with a '70s porn
moustache. Stiller's performance is colored with shades of the dim-witted
Zoolander and the granny-thrashing nurse from Happy Gilmore but it
works. The two actors play off of each other and their co-stars quite well.
(Stiller's codpiece alone deserves its own screen credit.) But like a good drummer carries a band the movie's costars are what keeps the audience's attention. And as always Rip Torn does crazy
like no one else as dodgeball manager Patches O'Houlihan. He
chews the scenery spouting nuggets of wisdom such as "If you can dodge a
wrench you can dodge a ball" before heaving a tool at one poor kid. As for the team of Average Joes Stephen Root Justin Long and Joel Moore keep the gags rolling as do the actors who make cameo appearances. This laugher has more guest stars than a
two-hour Love Boat special. With a list that includes David
Hasselhoff Chuck Norris Jason Bateman Hank Azaria I was almost expecting
Burt Reynolds and Dom DeLuise to show up in a red Ferrari. The
highlights? Well Gary Cole shines in his bow to the great Vin Scully but
nothing could beat Lance Armstrong who laid down the best guilt trip I've
seen since I moved to the dorms.
This is Rawson Marshall Thurber's first time out playing with the big boys.
Quite a burden for a Tinseltown newbie but Thurber pulls it off agreeably.
All of your favorite sports movies will be mocked and you will enjoy it.
Thurber uses everything he can to get a laugh. Whether he's clowning Tony
Robbins parodying '50s instructional videos or using pizza in a perverse
and unholy manner Thurber keeps his audiences attention with enough
breakneck shtick to make Mel Brooks proud. But most importantly he never
forgets the fundamental rule to slapstick comedy: hitting people with stuff
is very very funny especially if it's in the nether regions or some area
of the human body that could potentially hurt or bleed a whole lot.