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.
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.
Poor Shrek (Mike Myers). The irascible ogre just can’t catch a break. First he has to leave his beloved swamp to rescue Princess Fiona (Cameron Diaz). Then he marries her and has to go meet the in-laws. NOW he’s stuck in Far Far Away as its de facto ruler after the frog king croaks. Oh and he finds out Fiona is pregnant too. All this throws the great green one into a tailspin because 1) impending fatherhood scares the bejeezus out him and 2) he believes he has no business being king. So Shrek sets out with his pals Donkey (Eddie Murphy) and Puss in Boots (Antonio Banderas) to fetch Artie aka Arthur (Justin Timberlake) Fiona’s cousin and next in line for the throne. Thing is Artie’s just a teenager—and kind of a loser one at that; he really doesn’t want to be king either. Meanwhile on the home front Fiona and her merry band of princesses have to defend the castle against the vain Prince Charming (Rupert Everett) who’s hell bent on getting revenge and taking over Far Far Away. And so the high jinks ensure. But it’s OK it all works out in the end. Certainly part of Shrek’s charm is its vocal talent. Myers Diaz and Murphy are all old pros by now—which is actually a good and bad thing. They are definitely more comfortable with their roles but Shrek isn’t nearly as charmingly irritable as he once was and Fiona not as feisty. Guess they are growing up. And Murphy used to get all the best lines as the jittery Donkey. Now that job has been delegated to the likes of Banderas as Puss as well as side characters such as the Gingerbread Man (Conrad Vernon) Pinocchio (Cody Cameron) and the Three Little Pigs (also Cameron). Also adding to the humor are the various princesses especially SNL alums Amy Poehler as the sardonic Snow White and Maya Rudolph as turncoat Rapunzel plus Amy Sedaris as the dimwitted Cinderella. Timberlake is sweetly goofy as Artie while Brit comic legend Eric Idle voices the New Age-y on-the-verge-of-a-nervous-breakdown Merlin the magician with aplomb. It’s these characterizations that make Shrek the Third zing. Much like Shrek 2 this third installment ultimately comes off as a retread. They just haven’t been able to recapture the magic created in the original. Instead the filmmakers regurgitate the same comic set ups and in some cases the same jokes. Maybe they won’t ever be able to reach that same plateau. But you’ve still got to give the Shrek franchise props for being the granddaddy of fairy-tale spoofs. Even if the sequels don’t measure up the Shrek phenomenon on the whole has set the bar creating a certain charisma in the let’s-make-fun-of-traditional-lore milieu. Shrek the Third highlights include: Worcestershire High School where Artie goes to school which is full of John Hughes teenagers talking in medieval oh-thou-di’nt-just-say-that speak; Charming being relegated to doing third-rate dinner theater; Pinocchio trying to talk his way around not lying and more. Oh who cares what us dumb critics say anyway. Kids are going to love Shrek the Third regardless of whether it hits the mark or not.
The possibility that Rupert Murdoch's News Corp might add Hughes Electronic's DirecTV to his worldwide satellite-to-home operation appeared increasingly dubious following News Corp's decision to cut the cash component of its bid by around $1 billion, according to the London Sunday Observer. General Motors, Hughes' parent, is due to consider the revised bid on Tuesday. The newspaper quoted David Kestenbaum of international investment bank ABN Amro as saying: "If GM gets less cash from Murdoch, then they're less enticed to do the deal. ... There's still a chance that Murdoch wins, but we're pretty negative on it."
DirecTV operator Hughes Electronics said Friday that it plans to lay off about 10 percent of its workforce. "It's a really sluggish economy and we're heavily into consumer businesses,'' Hughes spokesman Richard Dore told Bloomberg News. "DirecTV has not been getting the number of new subscribers it has in the past and we just need to get our costs under control." The move is also expected to strengthen the hand of Hughes, which is currently involved in merger talks with Rupert Murdoch's News Corp and rival satellite operator EchoStar.
Breaking his recent silence over negotiations with General Motors for Hughes Electronics, operator of DirecTV, Rupert Murdoch said Thursday that speculation in the press about his proposals to GM were "widely off the mark" and sometimes "dead wrong." Although news reports had quoted Hughes shareholders as expressing dismay that Murdoch was not offering a premium beyond the current net worth of the stock, Murdoch said Thursday, "The deal under discussion includes a healthy premium as well as synergies no other company could match." Murdoch made his remarks as he spoke to reporters during a telephone news conference after News Corp reported a net loss of $265 million during the last quarter. Much of the loss was attributed to a write-down of the Australian telephone company One.Tel. Murdoch noted that while he was pleased with the success of the 20th Century Fox summer releases Planet of the Apes and Dr. Dolittle 2, he was not bullish about News Corp's advertising-dependent print and broadcast properties. "The advertising market is weak, so much of the revenue we are enjoying is in relatively short-term bookings," he said.
News Corp does not intend to raise its bid to acquire Hughes Electronics, the operator of DirecTV, Bloomberg News reported Saturday, citing people familiar with the media company's plans. In a report filed from Sydney, the headquarters of the Rupert Murdoch-owned company, Bloomberg also said that it does not plan to make terms of its bid public until after an agreement with General Motors, which owns Hughes, is reached. Last week, analysts speculated that News Corp would be faced with having to top a $31-billion bid by DirecTV rival EchoStar for Hughes. Meanwhile, the London Financial Times reported Monday that General Motors has started formal discussions with EchoStar, a sign, said the newspaper, that GM now takes EchoStar's offer more seriously.
EchoStar chairman Charlie Ergen has reportedly thrown in the towel in his battle with News Corp's Rupert Murdoch over control of Hughes Electronics' DirecTV, according to the Wall Street Journal. The news came following a report by CNBC's David Faber that General Motors, Hughes' parent, had already informed Ergen that it had decided to accept a deal proposed by Murdoch.
After months of negotiations, News Corp and Hughes Electronics, a division of General Motors, appear to be still far apart in their negotiations to bring Hughes' DirecTV into News Corp's Sky Global Networks satellite operation. In a conference with Australian fund managers, News Corp chairman Rupert Murdoch indicated Thursday that legal and tax questions continue to stand in the way of a deal. Meanwhile, DirecTV CEO Eddy Hartenstein told Bloomberg News: "This is an extremely complex (transaction) and we won't do a deal for the sake of doing one unless it's right."
Rupert Murdoch is apparently narrowing the focus of his Sky Global holding company as part of his strategy for acquiring Hughes Electronics' DirecTV from its parent company, General Motors, the London Financial Times reported Wednesday. According to the newspaper, Murdoch is pulling out News Corp's stake in Gemstar TV Guide and the TV software company NDS so that GM will not be hit with a giant tax bill when the deal is completed. Sky Global would presumably be left with stakes in its home satellite services, which presently cover most of the world, except for the U.S. The maneuver, the FT commented, was "the latest development in a long and ever more complicated deal."