Honey Dad, I think I shrunk myself and now I'm in the middle of a war between the forces of good and evil in the woods! And there's a talking slug!
Welcome to the newest trailer for Epic, a 3D animated fantasy adventure film from the creators of Ice Age and Rio. Do you like talking creatures? Very small humans? Alternative universes where things unseen keep the natural balance of the earth in order? Soldiers who parachute with leaves? Then Epic will be, well, epic, to you.
Featuring a seeming super-cast that includes Amanda Seyfried, Christoph Waltz, Aziz Ansari, Colin Farrell, Beyonce Knowles, Jason Sudeikis, Judah Friedlander, Josh Hutcherson, Pitbull, Steven Tyler and Blake Anderson of Comedy Central's Workaholics, there is probably someone you're a fan of in this film. Phew!
The film itself looks like the type of family-friendly fare that also dazzles the eyeballs (and eyeballs always love bein' dazzled) and also warms the heart cockles. The story itself centers around Mary Katherine (Seyfried), a young girl who gets accidentally shrunk (no word on Rick Moranis' involvement with that) and discovers the hidden world within the forest not normally seen by the human eye. And in her smaller state, she witnesses the ongoing battle between the forces of good and evil—fighting to keep the natural world alive. By banding together with a quirky team of characters (including Ansari playing a Rico Suave-esque slug) to save the world, she learns a lot about life and family and love and respect (I'm sure). It looks cute! It will be really big with moms.
Check out the trailer below or head over to Apple Trailers for the HD version.
[Photo Credit: 20th Century Fox]
Epic flies into theaters May 24, 2013.
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Vantage Point gives us just that--a birds-eyed view of an assassination/terrorist attack on the U.S. president. In Spain at a landmark outdoor summit on the global war on terror President Ashton (William Hurt) is shot and a bomb explodes killing hundreds of people. For the rest of the film we see the same 15 minutes over and over but from different points of view: There’s a CNN-like news producer (Sigourney Weaver) who is the first to witness the events; the Secret Service agents (Dennis Quaid and Matthew Fox) assigned to protect the president; an American tourist (Forest Whitaker) videotaping the historic event; a Spanish cop (Eduardo Noriega) who suspects what’s going down by the surreptitious actions of his girlfriend (Ayelet Zurer) at the rally; and most importantly the head terrorist (Said Taghmaoui) who orchestrates it all. Through each of these individual perspectives we learn the truth behind the assassination attempt--and as far-fetched as it is it still isn’t pretty. This is an all-out action thriller folks--quiet subtle performances are not required. Quaid goes full blast as the veteran Secret Service agent who has already taken a bullet for the president once before and is still a bit skittish about it. But his loyalty to the president never wavers and it’s through his determination to find out what happened that propels the story forward. Fox also plays it to the hilt much like he does as Jack on TV’s Lost but the actor has a certain movie-star quality to him; he could easily transition from TV to film. Whitaker unfortunately has to play the big schlub with a heart--which at this point seems a tad beneath the Oscar-winner--but he still gives it his all. Hurt’s Head of State is another one of those dream presidents we wish we had. Taghmaoui (The Kite Runner) and Zurer (28 Weeks Later) are adequately cold-hearted as the terrorists while Edgar Ramirez (Domino) effectively emotes as a reluctant member of the terrorist cell forced to do their bidding while his brother is being held captive. Did we mention that the terrorists were cold-hearted? Right. Vantage Point’s trio of film editors (Stuart Baird Sigvaldi J. Karason Valdis Oskarsdottir) must have either thought they’d died and gone to heaven or hell depending on how much of a pain it was to cut the film. Whatever the scenario together with newbie director Peter Travis they keep the action taut and suspenseful. Each character’s POV lends itself to more information as the plot unfolds piece by piece culminating with a whopper of a car-chase scene that should leave you clenching your teeth. The use of electronic devices in the attack is also noteworthy as the main terrorist basically accesses his PDA to 1) shoot the president 2) explode bombs and 3) send the pictures of the destruction to all his friends. OK he actually doesn’t do that last part but he certainly could with that handy device of his. The only drawback to the whole scenario is the implausibility of it all--and the lack of back story. Suspending disbelief we can do but in Vantage Point’s case a little explaining would have helped.
More than 10 000 people are smuggled into the United States for sexual exploitation per the nonprofit organization Free the Slaves. Inspired by a New York Times Magazine article Trade focuses on the attempts of traffickers to smuggle a group of women and children across the U.S.-Mexican border. Director Marco Kreuzpaintner wastes no time introducing us to the two victims he intends to follow from their kidnapping in Mexico to their auctioning off in the United States. Adriana (Paulina Gaitan) is snatched from the street as she rides the bicycle she just received from her brother Jorge (Cesar Ramos) for her 13th birthday. Single mother Veronica (Alicja Bachleda) arrives in Mexico City from Poland believing she’s there to meet with the people she’s paid to arrange her with safe and legal passage to the United States. Only she’s been duped by the traffickers. Adriana Veronica and a handful of other abductees then begin their terrifying journey to the United States under the watchful eye of trafficker Manuelo (Marco Perez). On their trail is Jorge who feels responsible for Adriana’s kidnapping. He risks life and limb to follow the abductees across the border. Once on U.S. soil Jorge crosses paths with Ray (Kevin Kline) a Texas cop who’s trying to break up the trafficking ring for personal reasons. Ray reluctantly pairs up with Jorge to track down Adriana before she and Veronica are sold off to the highest bidder via the Internet. More gentleman than action hero Kevin Kline’s not the obvious choice to portray a police officer hailing from the Lone Star State. Ray’s the kind of law-enforcement bloodhound Tommy Lee Jones can play in his sleep. Heck Kline only halfheartedly attempts a Texas drawl and even then he drops it minutes after his late entrance. This could be overlooked if Kline lent Ray some intensity. For someone on a crusade Kline strolls through Trade without a care in the world. As Trade reaches its inevitable showdown between the traffickers and their pursuers Ray’s faced with a life-or-death choice that would compromise all he stands for. Kline though looks about as conflicted as someone trying to decide what he wants for lunch. Luckily Kline’s presence doesn’t negate the fine work done by Ramos Gaitan and Bachleda. Ramos perfectly captures the guilt of a troubled young man—one embarking on a life of crime—whose ill-gotten gains has cost him dearly. If Ramos offers a study in redemption Bachleda goes to great pains to show the ease with which someone with so much grit and determination can bend and break under the most extreme of circumstances. Gaitan doesn’t endure as much abuse but she’s still one tough cookie. Perez refuses to allow Manuelo to be a mere profit-minded monster—he provides Manuelo with a conscience or what passes for one in his business. Trade is a tale of two countries. While in Mexico director Marco Kreuzpaintner examines the sex-slave trade in an incisive and uncompromising manner. He sheds light on how these trafficking rings acquire their slaves and smuggle them across the border. He puts us on edge the moment Adriana and Veronica fall in their captors’ hands. We’re never sure as to what will happen to them. We know they need to be kept alive. But in what condition? Many of the abductees are drugged beaten and raped. The violence isn’t exploitative—Kreuzpaintner just needs to show the cruelty inflicted upon these victims of the modern-day slave trade. And it only makes us fear more for Adrian and Veronica’s safety. Once Trade reaches the United States Kreuzpaintner and screenwriter Jose Rivera start pulling their punches. Yes there are some moments that make you sick to your stomach. But the moment Kline arrives on the scene Trade gets weak at the knees. There are too many coincidences for Trade’s own good. The sudden death of one character is forced and absurd. And Kreuzpaintner doesn’t know how to extricate Kline from the untenable situation he’s placed in during Trade’s climax. This all leads up to a pat ending one that even the Lifetime TV crowd would find unbelievably spineless.
Ignacio (Jack Black) has never been particularly adept at anything but he has great passion for the things that matter to him: cooking and wrestling. Growing up in a Mexican orphanage ‘Nacho’ always dreamt of becoming a “luchador”--the term for a Mexican wrestler--and he even had the paunch to boot but alas it was highly forbidden by the religious orphanage. Now grown up he works as a chef for the only home he has ever known. He’s subjected to constant criticism at the hands of monks for the slop he calls food but claims he isn’t paid enough for quality ingredients. So as he sees it his only solution for more money is to pursue the forbidden fruit of becoming a luchador. He picks up a rail-thin peasant (Hector Jimenez) along the way to form a tag-team duo. Together they’re so horrendous that fans line up just for a laugh. But that makes them underdogs and we all know the fate of underdog characters in movies.
Jack Black maybe the best comedic actor of his extraordinarily gifted generation is a sight to behold. In Nacho Libre his mere pose which invariably sees him showcasing his belly as if a trophy is enough to arouse laughter. But once he opens his mouth forget it! Nacho’s broken English-and-Spanish dialect is tailor-made for Black as is his character’s penchant to break into Tenacious D-style song to profess his love for a nun (Ana de la Reguera). The problems with Black are due to his improper utilization at times (see “direction”) not his performance which is about as flawlessly inane as verbal/physical comedy gets. He taps into mania with an ease that hasn’t been seen since John Belushi. As Nacho’s equally hopeless sidekick Esqueleto Jimenez garners his fair share of laughs thanks mostly to the wrestling scenes. But his high-pitched yelps forced ineptitude and blank expressions grow old quickly.
Director Jared Hess should’ve quit after his first feature Napoleon Dynamite. Only because expectations for his follow-up in this case Libre simply cannot be met. That said he doesn’t only make sophomore mistakes; there is promise and talent on full display here. For instance Hess again exhibits an ability to find and/or create the most outlandish characters from the star all the way down to the unknown Mexican extras. But even at just over 90 minutes long the film drags and seems like a hilarious skit stretched way too far. That’s because although conceptually hilarious the story (which Hess co-wrote with wife Jerusha and veteran Mike White) is as thin as Nacho is portly. And as Hess has learned the hard way with bigger budgets come bigger constraints such as not-so-subtle humor (fart jokes pratfalls) to appease the teen masses. Hess’ fatal flaw however despite what will again be an underrated offbeat effort was to not stray further from his trademark movie thus keeping the animal that is Black caged--albeit in a large cage.
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