Rock 'n' roll icon Bill Haley's guitarist Franny Beecher has died, aged 92. The Rock Around the Clock hitmaker passed away in his sleep on Monday (24Feb14), according to his daughter.
Beecher didn't play on Haley's Rock Around The Clock single but he was part of the rocker's band when he made his national television debut with The Comets.
The guitarist was part of the band until 1962. He also performed with jazz greats Buddy Greco and Benny Goodman.
The Philadelphia, Pennsylvania native reunited with the existing Comets and toured the world in the 1980s.
Despite boasting a couple of headliners who, at one point, might have sported enough gravitas as to pull the masses in to see any feature film, 2 Guns doesn't have a whole lot of draw. The well-worn buddy cop trope gets an interesting makeover with both parties playing undercover agents for independent organizations (Denzel Washington works for the DEA, while Mark Wahlberg is a Naval officer) unaware of the other's affiliation. Throughout, both parties manage performances that invite laughter, with Wahlberg's hybrid of badass and nebbish earning particular favor. But for some reason, the film just can't seem to muster up a full dish of appeal.
Maybe it's because 2 Guns seems to be, and proves to be, a film that sets the bulk of its attention on forwarding the criminal plotline. In this area, 2 Guns offers little in the new. Yes, the dramatic irony that both Washington and Wahlberg are officers of the law, and each under the impression that the other is a bona fide crook, is a twist with some flavor. But too heavily stocked with your standard cop movie tropes — inhabited by drug cartel baddie Edward James Olmos and sociopathic CIA man Bill Paxton — the film crumbles under its decision to take its story too seriously.
When it has fun, though, it has a good deal of it.
The high points of the film are not when Washington and Wahlberg are facing off with their laundry list of enemies — criminals, fellow lawmen, former allies, you name it... nobody likes these guys — but when the mismatched pair tustle verbally with one another.
Washington's Bobby Trench is a smooth, serious, acerbic would-be loner; Wahlberg's blathering Michael Stigman operates at peak energy and volume, wearing his lust for attention and friendship on his sleeve as he works tirelessly to win over his target/partner. Their chemistry, while nothing unprecedented in the buddy cop genre, is endearing, helping to pass the hour-and-a-half occupied by 2 Guns with just enough chuckles.
So if you're already there, having wandered accidentally into the wrong theater or affixed against your will to a diehard Denzel fan's idea of a perfect night out, buck up — the comedic scenes will get you through it. But if you're on the fence, they're not quite worth heading out to the theater for.
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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.