If you were wondering what Hollywood will look like in the next five or 10 years, look no further than this talented group of young actors. Their impressive performances have put them on the map, and it doesn't look like they'll be going anywhere anytime soon. With a talent pool that includes film festival darling Ezra Miller, serious drama actor Dane DeHaan, and quirky ingenue Juno Temple, the future of film has never looked brighter.
Mackenzie FoyYou probably know her as Bella and Edward's half-human, half-vampire baby, Renesmee, from The Twilight Saga: Breaking Dawn, but Mackenzie Foy also appeared in this summer's The Conjouring with Patrick Wilson and Vera Farmiga. Next up, she'll star in the coming-of-age movie Wish You Well with Ellen Burstyn and Josh Lucas, and is signed on to voice a character in the film adaptation of French writer Antoine de Saint-Exupéry's famed novella The Little Prince. Not bad for a 12-year-old.
Dane DeHaanAfter churning out haunting and powerful performances in the supernatural thriller Chronicle and cop thriller The Place Beyond the Pines, Dane DeHaan is officially on our radar. He's also appeared alongside Hollywood heavyweights in Lawless and Lincoln. Currently, DeHaan is bringing his Beat Generation movie, Kill Your Darlings, to the film festival circuit. DeHaan plays darkly alluring musician Lucien Carr opposite Daniel Radcliffe as Beat poet Allen Ginsberg. Both the film and DeHaan's performance have earned rave reviews from critics. Next up, he'll star in Reese Witherspoon's dark murder drama Devil's Knot. We're sensing a theme for this talented young actor.
Bella ThorneAt just 15, Bella Thorne is already a seasoned pro in the industry. She's been making appearances on TV and in film since she was only 6 years old. Since 2010, she's starred on the Disney Channel dance show Shake It Up, which helped her score a record deal with Hollywood Records. Next up, she'll star in the film adaptation of popular kids book Alexander and the Terrible, Horrible, No Good, Very Bad Day alongside Jennifer Garner and Steve Carell.
Ezra MillerAfter his star-making performance in We Need to Talk About Kevin, everybody was talking about Ezra Miller. The movie was a hit at Cannes and Miller became an indie sensation overnight. He saw success again when he starred in last year's film adaptation of beloved teen novel The Perks of Being a Wallflower. Next up, you can catch Miller as Léon Depuis in Sophie Barthes's adaptation of Gustave Falubert's masterpiece Madame Bovary.
Juno TempleJuno Temple has had steady work since her childhood, appearing in acclaimed movies like Notes on a Scandal, Atonement, and The Other Boleyn Girl. Recent movies have shown that Temple is more than comfortable with her sexuality, such as Dirty Girl, Jack and Diane, a horror romance about two women who are lovers, and the Linda Lovelace biopic Lovelace, in which Temple plays Linda's best friend. Next up, Temple will appear in Malificent with Angelina Jolie, and the highly anticipated sequel Sin City: A Dame to Kill For.
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It is a bit of unfortunate irony that the film genre most reliant on shocks is wont to spit out the least surprising entries on the market. While a good horror movie is an unappreciated gem, most of them wind up conflated with its interchangeable brethren, difficult to distinguish in any way other than its headlining cast (and even there you're bound to see a ton of overlap). Most horror movies don't have a lot to show in the face of originality, which is why it is such a disappointment when one with actually venerable material shifts it to the sidelines in favor of the same old song and dance. The Conjuring, a culprit of this crime, doesn't know what kind of majesty it has in its team of exorcists: a spiritually-inclined, ghost-busting expert Ed Warren (Patrick Wilson) and his even more adept, albeit frequently ghoul-afflicted, wife Lorraine (Vera Farmiga), their eager lackey Drew (Shannon Kook), and a skeptical lawman who saddles up for the expedition at hand — the abolition of the evil inside the Perron household. But the real nightmarish infestation here: the Perrons.
While most of the scenes devoted to the crack team of demon hunters are scary, emotional, fun, or just plain interesting (a high point in the movie comes in the form of a somber, macabre montage that oversees the foursome upholding their routine of keeping peace in the haunted home), the film lends a good deal of its attention to the frightened civilians, Roger (Ron Livingson) and Cynthia (Lili Taylor) and their endless supply of daughters.
In the Perrons, we do get some charm, primarily from the talented young players — if we haven't already learned that Joey King is headed for greatness, the bright light she shines through the less interesting factions of The Conjuring will solidify this notion. But aside from some naturalistic family undercurrents, most of the Perrons' time onscreen is ensconced in worrisome gasps.
It's nothing you can't find in any other horror movie on the shelves... I mean, Netflix sub-menus. Meanwhile, the far more intriguing dynamic of the professional team brought in to absolve the family of their nightmares is swept under the rug.
But this might not be a problem for all. There's a reason that the horror genre feels like an assembly line of identical cogs: it works. People want a certain thing out of their scare flick, and that certain thing is delivered in all of the big box office winners and cult frenzies. As such, to all those seeking little more than a few jump scares and some haunting imagery, The Conjuring should satisfy. After all, nothing tops a freaky doll in the chills department. But if you're the sort of horror-goer who looks for something new — the sort who has seen the "based on a true story" advertisements and inventive marketing and thought, "Now this one looks different!" — you might in fact be in for a surprise. The not-so-great kind.
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If there's a cinematic alchemy award to be given this year director Bill Condon deserves to take it home after magically turning the tedious Twilight franchise into entertainment gold. 2011's Part 1 was a horror camp romp that turned the supernatural love triangle — the naval gazing trio of Bella Edward and Jacob — on its head. Breaking Dawn - Part 2 continues the madcap exploration of a world populated by vampires and werewolves mining even more comedy thrills and genuine character moments out of conceit than ever before. The film occasionally sidesteps back into Edward and Bella's meandering romance (an evident hurdle of author Stephenie Meyer's source material) but the duller moments are overshadowed by the movie's nimble pace and playful attitude. Breaking Dawn - Part 2 will elicit laughs aplenty — but thankfully they're all on purpose.
Part 2 picks up immediately following the events of the first film Bella (Kristen Stewart) having been turned into a vampire by Edward (Robert Pattinson) to save her life after the torturous delivery of her half-human half-vampire child Renesmee. She awakes to discover super senses heightened agility increased strength… and a thirst for blood. One dead cougar later Bella and the gang are able to focus on the real troubles ahead: Renesmee is rapidly growing (think Jack) and vampiric overlords The Volturi perceive her a threat to vampiric secrecy. Knowing the Volturi will travel to Forks WA to kill the young girl (a 10-year-old just a month after being born) The Cullens amass an army of bloodsucking friends to end the oppression once and for all.
Packed with an absurd amount of backstory and mythology-twisting plot points (some vampires can shoot lightning now?) Condon and series screenwriter Melissa Rosenberg mine revel in the beefed up ensemble of Breaking Dawn - Part 2 and thanks to a wildly funny cast it never feels like pointless deviation. Along with the usual suspects Lee Pace adds swagger to the series as a grungy alt-rock vampire Noel Fisher appears as a hilarious over-the-top battle-ready Russian coven member and Michael Sheen returns has Volturi head honcho Aro and steels the show. Flamboyant diabolical and a steady stream of maniacal laughter Sheen owns Condon's high camp vision for Twilight and he lights up the screen. There are a few throw away nations of vampires — the oddly stereotypical Egyptian and Amazonians sects are there mostly there to off-set the extreme whiteness — but the actors involved bring liveliness to a franchise known for being soulless. Even Stewart Pattinson and Taylor Lautner give personal bests in this installment — a scene between Bella and her dad Charlie (Billy Burke) is genuinely heartfelt while Jacob's overprotective hero schtick finally lands.
Whereas Breaking Dawn - Part 1 stuck mostly to the personal story relying on the intimate moments as Bella and Edward took the big plunge into marriage and sex Part 2 paints with broader strokes and Condon has a ball. Delving into the history of the vampires and the vampire world outside Forks is Pandora's Box for the director. One scene where we learn why kids scare the heck of the Volturi captures a scope of medieval epics — along with the bloodshed. Twilight might be known for its sexual moments but Breaking Dawn - Part 2 will go down for its abundance of decapitations. The big set piece in the finale is something to behold both in the craftsmanship of the spectacle and in its bizarre nature.
The Twilight Saga: Breaking Dawn - Part 2 had the audience hooting hollering and even gasping as it twisted and turned to the final moments. There's little doubt that even the biggest naysayer of the franchise would do the same. No irony here: the conclusion of Twilight is a blast.
It's easy to hate on the Twilight movies. They're the epitome of indulgent fan-servicing filmmaking alienating anyone on the outside of their cultish fanbase. With consistent navel-gazing screenplays by series screenwriter Melissa Rosenberg (adapted from the equally shallow source material from author Stephanie Meyers) there's little reason to think future installments could ever transcend their predecessors.
But whereas Twilight New Moon and Eclipse contently burrowed themselves under the forlorn faces and over-dramatic moping of stars Kristen Stewart Robert Pattinson and Taylor Lautner director Bill Condon (Dreamgirls Kinsey Candyman 2: Farewell to the Flesh) unearths a saving grace in The Twilight Saga: Breaking Dawn - Part 1: pure insanity from which blossoms color comedy and scares. The movie is one giant wink to the camera—and it serves the melodrama of Twilight tremendously.
The first half of the not-quite-epic Twilight conclusion kicks off with the wedding of Bella (Stewart) and Edward (Pattinson) a long-awaited event Condon manages to spin into an authentically nerve-wracking and touching sequence. Finally a Twilight movie with an obvious purpose—Bella and Edward have been waiting since Movie One to consummate their relationship (waiting until marriage) but lingering at the end of every daydream every loving gaze every sweet nothing is the gut-wrenching fact that Bella will give up her humanity. Breaking Dawn - Part 1 confronts this dead on with an overtness absent from the previous movies.
While the script is still committed to visualizing Bella Edward and Jacob's uncinematic inner monologues Condon peppers every scene with the zest of ridiculousness saving Breaking Dawn from ever dragging. Edward cracking a bed in half during his first sexual experience is just the beginning—the movie features everything from demon-fearing Brazilian housekeepers to body horror straight out of a Cronenberg film to corny CSI-esque shots of vampire venom jetting through bloodstreams. In one scene Jacob (Lautner) morphs into canine form to telepathically declare (in Lautner's brooding "tough guy" voice) that he is the true Alpha Male of the pack. The moment's hammy and trite but Condon shoots it with all the over-the-top machismo exuding from the wolfpack. Subtle no. Fun yes.
Breaking Dawn - Part 1 is far and away the best of the Twilight series. Sexy silly scary and stupid the movie's tonal balancing act amounts to an Evil Dead for tween romantics. There's gravity to the events we're witnessing on screen (Pattinson and Stewart even have a tense argument that results in an explosion of their previously-presumed non-existent emotions) but a self-reflexive lens keeps the normally-idiotic confessions of love and hushed prophetic warnings of the Cullen family in check. The operatic tale crescendos with buckets of blood and "tragedy" straight out of a high school Shakespeare production—completely in tune with the outlandish plot and a satisfying cliffhanger for Part 2. The movie is weighed down by the baggage that comes with a Twilight movie but the formula is shaken up just enough to inject the undead franchise with a little life.
She's a hip-hoppin' be-boppin' mean ol' nanny who whips a mean stew and your butt for not doing your homework—and now she's back! Alas we don't speak of the Mrs. Doubtfire sequel but rather that of Big Momma a.k.a. FBI Agent Malcolm Turner (Martin Lawrence). Agent Warner has cut ties with the FBI at the behest of Sherry (Nia Long)—who as you no doubt recall is the granddaughter of the real Big Momma—since she's pregnant with Malcolm's baby. But wouldn't you know that he gets sucked back in after a former colleague is killed. Posing as Big Momma he's hired as a nanny to a suburban family the deadbeat dad of which is involved in the murder and a crime plot. She does it all—cooks cleans dances and even runs down bad guys but it's a race against time to stop the potential national security crisis. That is a race against the film's (mercifully) short running time. Although Lawrence's resume includes some of the dregs of comedy it's hard to argue that he is truly blessed when it comes to physical comedy and comedic timing. He continues both trends here this time without the help of the breakthrough actors of the past two years Paul Giamatti and Terrence Howard who yes both starred in the first Big Momma's House. That means Lawrence's urban mania is truly on its own and absurd and juvenile as the film may be even film snobs can't hold back a few laughs at his Big Momma outlandishness. Longreturns for no more than a select few scenes and to provide a minor conflict in the story. The notable newcomer is CSI's Emily Procter as the sterile mother who hires Big Momma. She does a serviceable job as a suburban Petite Momma. Might she be the next Giamatti or Howard to bolt to bigger and better things in time for the next sequel? No.
Big Momma's House 2 is right up director John Whitesell's alley. He's the guy behind such misses—though not necessarily financially—as Malibu's Most Wanted and See Spot Run and he's right at home here. Whitesell doesn't hold back in (literally and figuratively) pulling the robe off Big Momma but he clearly knows that nothing is to interrupt Lawrence's antics not even the thin story line. Aside from that he knows quite well how to execute thinly veiled rip-offs of the aforementioned Mrs. Doubtfire as well as countless other hidden-motive comedies (i.e. Kindergarten Cop Houseguest et al). Because while the main guise is the Big Momma fat suit Whitesell parades the film about as a feel-good/family flick.
When ordered to fire a long-time janitor named Stavi (Luis Avalos) Steve Barker (Johnny Knoxville) softens the blow by hiring him to mow the lawn at his apartment complex. Steve didn't provide him with health insurance so Stavi naturally loses a few fingers in a mowing accident and now it'll cost thousands to save the digits. What's a guy to do? Why of course fix the Special Olympics—a suggestion of Steve's degenerate uncle Gary (Brian Cox) who's also in the financial dumps. Former track star Steve reluctantly goes along with the scam and competes in the Special Olympics. His competitors are quick to pick up on his ruse but they decide to help him after Steve explains his motive. He must also try not to disappoint Lynn (Katherine Heigl) the beautiful volunteer who doesn't know of his real identity. What's a guy to do? Take the high road of course. Certainly Knoxville—of Jackass infamy and debauchery—would have no moral trepidation about headlining offensive exploitative crap like The Ringer but stardom beckons him if he only he stops aiming so damn low! His performance here was probably not as easy as it'd seem but it's reasonable to think that Jackass stunts involving a bottle of absinthe and some paper cuts to the cornea quickly eliminated any butterflies. What Knoxville has in spades is that rare charisma to prevent him from ever looking uncool. Then there's Cox the latest revered journeyman to sell his soul on the cheap for a role completely beneath him. Mostly disabled actors round out the cast uttering any and all funny lines but there's something fundamentally wrong when the audience erupts in laughter before the lines are even delivered. Though the Farrelly brothers—directors of There's Something About Mary and Dumb & Dumber--only acted as executive producers of The Ringer their lowbrow stamp is smeared all over. Directing chores were handed over to Barry Blaustein prolific writer of comedies like Coming to America making his feature directorial debut. The Ringer delivers on its promise of frat-dude humor and Blaustein certainly knows how to make his leading man shine—but it does so in cheap sophomoric ways.
October 01, 2004 10:40am EST
As Ladder 49 opens Baltimore firefighter Jack Morrison (Joaquin Phoenix) gets trapped inside a blazing warehouse while rescuing a trapped civilian. With his escape routes either caved in or burned down Jack has to keep his wits as he waits for Fire Chief Mike Kennedy (John Travolta) and his fellow firefighters to rescue him. Lying in a bed of rubble Jack has rather vivid and detailed flashbacks of pivotal moments in his life including his first day at the firehouse the day he met his wife-to-be at the supermarket their wedding day the birth of their daughter and so on. While these flashbacks provide neat chronological accounts of his life they do very little to shape or build Jack's character because they are focused on his heroic antics rather than the man underneath the uniform. The film also works feverishly to showcase the brotherly bond between the men but doesn't extend beyond silly firehouse pranks including putting a goose in someone's locker or tossing a lit newspaper into an occupied toilette stall. The only thing missing from these tawdry sitcom-like moments is a laugh track. Third Watch the NBC drama following New York City police paramedics and firefighters on the 3-11 p.m. shift offers more character development and intrigue in a one-hour episode than this feature film dishes out in two hours.
Phoenix is both sweet and awkward in the role of Jack a rookie firefighter who can't hide his enthusiasm about his line of work. Jack's charming side is demonstrated in his relationship with his wife particularly in the intensely loving way Phoenix looks at his co-star Jacinda Barrett whether they're at a crowded birthday bash or riding on the back of the fire truck following their humble small-town nuptials. Phoenix's Jack also has a slightly dim-witted side which comes through in the "Aw shucks" way he reacts to being the butt of many firehouse pranks. But there's a third sadly missing dimension missing to Jack: He's a hero with no fire in his belly. Travolta on the other hand just isn't convincing in this blue-collar role of fire chief. Perhaps it's just that these characters are too damn perfect. Post 9/11 firefighters have become more than rescuers they are in the eyes of many Americans heroes and Ladder 49 adopts the biased notion that they are also faultless.
Director Jay Russell (Tuck Everlasting) visually captures the essence of this working class Baltimore neighborhood and its firehouse from Jack's cluttered wood-paneled home to Mike's utilitarian firehouse office. Production designer Tony Burrough paid meticulous attention to set details particularly in how the backdrops age over a decade; Jack's house becomes junkier and his gear gets dingier. The controlled fires on the set look incredibly real and feel equally oppressive--and this is where Russell's direction really shines. A scene in which Jack enters his first burning building for example adds to the film's authenticity: The probie (firefighter lingo for a new guy) runs up the stairs too fast and doesn't aim the hose high enough. These small details remind moviegoers what an exact line of work this really is. But while Ladder 49 effectively demonstrates the risky and altruistic work firefighters do it doesn't delve any deeper than its spectacular rescues. Throughout the film Jack is asked what motivates him to run into a burning building when everyone else is running out--a question scribe Lewis Colick never lets Ladder 49's characters answer.