Warner Bros. Pictures via Everett Collection
With only a week and change having passed since the release of The Amazing Spider-Man 2, we no doubt feel the question living fresh in our minds: can we ever judge a remake without considering its predecessors? The conversation about the stark contrast in critical favor between Marc Webb's release and Sam Raimi's trilogy (the second installment of his franchise in particular) buzzed loudly, and we imagine the volume will keep in regards to Gareth Edwards' Godzilla. But it'll be a different sound altogether.
The original Godzilla, a Japanese film released in 1954, reinvented the identity of the monster movie, launched a 30-film legacy, and spoke legions about the political climate of its era. The most recent of these films — Roland Emmerich's 1998 American production — is universally bemoaned as a bigger disaster than anything to befall Tokyo at the hands of the giant reptile. With these two entries likely standing out as the most prominent in the minds of contemporary audiences, Edwards' Godzilla has some long shadows cast before it. And in approaching the new movie, one might not be able to avoid comparisons to either. It's fair — by taking on an existing property, a filmmaker knowingly takes on the connotations of that property. But the 2014 installment's great success is that it isn't much like any Godzilla movie we've seen before. In a great, great way.
This isn't 1954's Godzilla, a dire and occasionally dreary allegory that uses the supernatural to tell an important story about nuclear holocaust. A complete reversal, in fact, first and foremost Edwards' Godzilla is about its monsters. Any grand themes strewn throughout — the perseverence of nature, the follies of mankind, fatherhood, madness, faith — are all in service to the very simple mission to give us some cool, weighty, articulate sci-fi disaster. Elements of gravity are plotted all over the film's surface, with scientists, military men (kudos to Edwards for not going the typical "scientists = good/smart, military = bad/dumb" route in this film — everybody here is at least open to suggestion), doctors, police officers, and a compassionate bus driver all wrestling with options in the face of behemoth danger. The humanity is everpresent, but never especially intrusive. To reiterate, this isn't a film about any of these people, or what they do.
Warner Bros. Pictures via Everett Collection
The closest thing to a helping of thematic (or human) significance comes with Ken Watanabe's Dr. Serizawa, who spouts awe-stricken maxims about cryptozoology, the Earth, and the inevitable powerlessness of man. He might not be supplying anything more substantial than our central heroes (soft-hearted soldier Aaron Taylor-Johnson, dutiful medic and mom Elizabeth Olsen, right-all-along conspiracy theorist Bryan Cranston), but Watanabe's bonkers performance as the harried scientist is so bizarrely good that you might actually believe, for a scene or two, that it all does mean something.
Ultimately, the beauty of our latest taste of Godzilla lies not in the commitment to a message that made the original so important nor in the commitment to levity that made Emmerich's so pointless, but in its commitment to imagination. Edwards' creature design is dazzling, his deus ex machina are riveting, and the ultimate payoff to which he treats his audience is the sort of gangbusters crowd-pleaser that your average contemporary monster movie is too afraid to consider.
In fairness, this year's Godzilla might not be considered an adequate remake, not quite reciprocating the ideals, tone, or importance of the original. Sure, anyone looking for a 2014 answer to 1954's game-changing paragon will find sincere philosophy traded for pulsing adventure... but they'd have a hard time ignoring the emphatic charm of this new lens for the 60-year-old lizard, both a highly original composition and a tribute in its way to the very history of monster movies (a history that owes so much to the creature in question). So does Godzilla '14 successfully fill the shoes of Godzilla '54? No — it rips them apart and dons a totally new pair... though it still has a lot of nice things to say about the first kicks.
Oh, and the '98 Godzilla? Yeah, it's better than that.
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It's a good hour into The Wolf of Wall Street, following a deep dive into Jordan Belfort's early days in the stock market game — that being the most appropriate word for it — and festive indulgence in the most carnal manifestations of human desire, that we're hit with the title card, "18 months later..." Here, it is solidified that the years we have spent inside Martin Scorsese's world of toxic capitalism have all been, up to this point, set-up. Fuel. This brief flash of text, the longest instance of silence in the cacophonous sewer system that is Belfort's story, is the first real sign that a fire is coming.
By this time, Scorsese's willful defiance of the "show, don't tell" method has introduced us to every one of the doe-eyed crook's countless vices. He has no qualms stealing from those who can't afford it, lying to those who trust him, cheating on his wife, cramming every substance known to modern science into his bloodstream, and wholeheartedly endorsing (to his adoring audience) all of the above. All the while, we bound between delight and disgust. The delight comes not so much in the material victories of Belfort and his cronies — that has the latter effect, in fact, as every antic is so vividly laced with Sodom-level depravity — but in watching them like zoo animals. In fact, The Wolf of Wall Street's principal undoing might be that it is simply too much fun.
For that, we have to thank Leonardo DiCaprio. DiCaprio had managed terrific performances all his career, but this is one of the first in years to actually surprise us. Opening his tale as an ambitious and firm-shouldered young buck, the likes of which you'd find in any Horatio Algers novel, and devolving into the Financial District's answer to Beetlejuice, the actor exhibits corners of his performing ability that we have always dreamed we'd see. In the months leading up to DiCaprio's turn as the dastardly dandy Calvin Candie in last year's Quentin Tarantino picture Django Unchained, fans anticipated an unprecedented kookiness that never seemed to show. Turns out, DiCaprio was saving that mania for Wolf of Wall Street, in which he lambasts justice and judgment in the form of an elastic child at his most tempered and a rabid kangaroo on those nights of the especially hard partying.
And of course, there's that scene with the Quaaludes. Without giving too much away — although the experience is so visceral that all the contextual spoilers wouldn't rob the scene of its emphatic humor — DiCaprio manages a feat of physical comedy so extensive, demanding, and gutterally f**king hilarious that you'll wonder tearfully what might have been had the rising star shirked Titanic for a career in slapstick. But the surplus joys derived from this scene might, in fact, be Wolf's undoing. In a story that is meant to lather on the horrors inherent in the human's propensity for self-serving greed and gluttony, it can soften the blow when we're allowed to take a break from our disgust to spend a few moments in vivid, unabashed delight. Yes, the scene in question involves drug abuse, intoxicated driving, criminal activity, and a near-death experience. But it's so damn funny that we're kept from toppling down into what might have been the darkest crevasse of the film's story and enduring the pathos that might come with it.
The dilution of Wolf's message comes at the hand of its comedy (with no affair a bigger culprit than the one described above) and its tendency to meander. Although Scorsese works to shove the very idea of "excess" down our throats with seemingly endless scenes of Belfort and his pals harassing flight attendants and dehumanizing little people, the ad nauseum effect doesn't always hit home as powerfully as imagined, instead allowing the viewer to fizzle out from time to time through Wolf's three-hour tour. We're drowned, slowly and steadily, in Belfort's tragic pleasures while, as the "18 months later" interstitial suggests, we keep expecting to combust with them.
It's always a risky endeavor for a film or television show to indict crooked characters not through narrative penalties but through a tacit communication of their behavior or psychology as bad news. The risk comes in the form of audiences challenging artists for letting their villains get off scot-free, or even for glorifying undesirable lifestyles. Ultimately, while Belfort does get some semblance of his comeuppance, he wins in his nefarious game. The Belfort we leave at the end of our journey adheres to the tenets he spouts from the beginning, reveling in a legion of former colleagues beaming at him in collective awe and new students of his self-centric theology zealously eating up his every word in hopes of becoming the very same kind of demigod. To Scorsese, and to any an audience member willing to estrange him or herself from the bounties of wicked humor, this is just the fire we were promised. Belfort's image is ignited by the instances of theft, deceit, betrayal, substance abuse, sexual crime, and a spiralling descent into sub-human madness. But there are a few too many laughs along the way to keep the flames from reaching their full, hottest potential.
But hey, when you're complaining about a movie for being too much fun, you've got a pretty good movie on your hands.
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| Follow @Hollywood_com
Like Maggie Simpson and the baby with the unibrow, many fans of The Simpsons have long considered fans of Family Guy their mortal enemy. Speaking as an early Simpsons purist, it always felt as though the animated Fox rival is a sub-par rip-off that uses broad, lowbrow humor to appeal to the masses and lacking the brains, sharp wit, and heart of The Simpsons. Even more distressing, as the quality of The Simpsons has declined over the past few years, Family Guy — and its ubiquitous creator and future Oscar host Seth MacFarlane — seemed to only to get more popular and part of the cultural dialogue.
That's not to say MacFarlane and Family Guy haven't taken their fair share of hits from the animation community in the midst of all this. In the classic episode of South Park titled "Cartoon Wars" which skewered the fellow button-pushing comedy, Eric Cartman cried "Don't you ever compare me to Family Guy", while The Simpsons made an even louder statement by quite literally making Peter Griffin a Homer Simpson clone during a Treehouse of Horror episode. But while South Park may be standing strong on their stance about Family Guy and its writers room full of manatees, The Simpsons might be calling a truce for good.
Fox has confirmed to Hollywood.com that Family Guy's MacFarlane will voice a role on The Simpsons during the Season 25 premiere in 2013. In an interview with Entertainment Weekly, who originally reported the news, The Simpsons executive producer Al Jean explained, "We wanted to come together in a bipartisan way to make Fox Sunday night rock." The episode titled "Dangers on a Train," MacFarlane will reportedly play a married man who attempts to woo Marge. (Good luck, she's already turned down the advances of bowling instructor Jacques and her obsessed high school prom date Artie Ziff!)
Though a Simpsons/Family Guy peace offering is actually nothing new (Dan Castallaneta aka Homer Simpson, once cameo'd on Family Guy), it's hard to say if the same can be said for the fans. Twitter reactions from fans have ranged from zingers ("'Family Guy' creator Seth MacFarlane will guest star on 'The Simpsons. He'll play a guy who comes to Springfield and steals everything," wrote @MancowMuller) to discouraged sentiments. (As one EW commenter griped, "Just when I thought The Simpsons couldn't sink any lower...") It all feels a little bit like Springfield is making peace with Shelbyville but the townsfolk are all still a little too mad about that lemon tree to be nice. After all, it was ours first and you tried to take it as your own. Maybe its just remaining bitterness about a Simpsons long since past, or its MacFarlane getting a taste of his own medicine. In this case, the medicine tastes like turnip juice.
Will you watch Seth MacFarlane's appearance on The Simpsons? Or is the Family Guy creator and all things Family Guy as welcome to Simpsons fans as Lyle Lanley in North Haverbrook?
[Photo credit: Fox]
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French composer Jacques Loussier filed a copyright infringement lawsuit in a Manhattan court Thursday claiming Eminem and his record label Interscope Records stole one of his tunes, the Associated Press reports. The suit, which seeks unspecified damages, accuses the Grammy-winning rapper and his label of lifting parts of Loussier's jazz fusion work "Pulsion" for Eminem's "Kill You" which appears on his best-selling album The Marshall Mathers LP. Loussier, 67, gained fame by fusing classical music and jazz with his Play Bach Trio. According to the suit, Loussier has released more than a dozen albums, selling six million copies worldwide.
Talk show host Oprah Winfrey declined an offer from President Bush to join an official U.S. delegation to tour Afghanistan's schools because of her busy schedule. According to the AP, the White House has since postponed the trip, which was to celebrate young girls' return to school after the fall of the Taliban regime. It is not clear whether the delegation will replace with another celebrity. The trip was to feature Bush advisor Karen Hughes and possibly National Security Adviser Condoleezza Rice.
Richard Gere has canceled a planned appearance before the German parliament's human rights committee, the AP reports. Gere, a committed Buddhist, did not give an explanation for the cancellation. He was invited to a meeting of the panel in Berlin on April 17 because he is considered "knowledgeable about the political situation " in Tibet, the head of the parliament committee told German magazine Der Spiegel last month.
Former Spice Girl Geri Halliwell is going to have laser surgery to remove two tattoos on her back, UK's the Mail on Sunday reports. The singer will reportedly visit Cher's doctor in California to discuss the procedure. "I've changed," she told the paper. "It's time to get rid of them and move on." The tattoos include an eight-pronged star between her shoulder blades and a black jaguar on her lower back.
Kylie Minogue has reportedly turned down a $1.7 million offer to pose nude for Playboy magazine. The singer told The News of the World: "I don't think I'll take it up. I'd never pose topless because it's not me." Minogue however is contemplating an offer from the Sultan of Brunei to sing at a private birthday party for his son, the paper reports.
In-flight publication SkyMall will distribute the first of 10 celebrity versions of the catalogue starting in April, the AP reports. The debut catalog, which will be distributed in the seatbacks of 24 airlines, will feature George Segal and Wendie Malick who star in the NBC comedy Just Shoot Me. The company said the stars were chosen because Segal, whose character Jack Gallo is a magazine publisher, is depicted as a SkyMall fan.
Clarkston District Court Judge Gerald McNally refused to disqualify himself in the crotch-rubbing case against shock rocker Marilyn Manson. Prosecutor Kenneth Frazee had asked McNally disqualify himself from the case because the judge had indicated he would likely charge Manson $4,000 without hearing all the facts. McNally says that his knowledge of some of the facts does not warrant his removal, the AP reports.
Iggy Pop, Perry Farrell and Ben Harper have reportedly been dumped by EMI's Virgin Records. According to the New York Post, the record company is experiencing a shake-up amid the arrival of new label head Matt Serletic and new EMI chief Alain Levy. The paper also claims Virgin insiders said Paul McCartney and Mick Jagger (as a solo artist) just missed the ax. EMI recently paid Mariah Carey $50 million to back out of her $100 million contract, and the label also announced 1,800 layoffs.
AMC Entertainment Inc. has completed the purchase of GC Companies, the parent company of General Cinemas. According to an AMC press release, the acquisition, which was approved by the U.S. Bankruptcy Court in Delaware on March 18, includes 66 theaters with 621 screens in the United States. AMC is one of the survivors of a wave of cinema bankruptcies in recent years that include United Artist Theater Co., Edwards Cinemas, Carmike Cinemas and General Cinemas.
On the [Crime] Scene
Following reports that a plea bargain deal had been struck in PR princess Lizzie Grubman's road rage trial, one of the victims is speaking out. "I want the truth to come out, " the victim told the New York Post on the condition of anonymity. "I do want to see her stand trial. It's not fair to just see her walk away." Grubman, you may recall, was charged with assault and leaving the scene of an accident after she plowed down 16 people outside a Southampton's club last July. Grubman, a close friend of actress Tara Reid, represents a long list of clients, including Jay-Z.
Author Ray Bradbury, who wrote the classic science fiction novel The Martian Chronicles, will receive a star on the Hollywood Walk of Fame Monday. The ceremony, which will be attended by Los Angeles Mayor Jim Hahn and actor Charlton Heston, will kick off the month-long reading campaign called "One Book, One City L.A." with residents being urged to read Bradbury's Farenheit 451. The book is about a futuristic firefighter who must burn books for a living.
Ed Turner, the man who helped establish CNN as a major respected news source, died at George Washington University Hospital in Washington, D.C., Saturday after a long battle with liver cancer. He was 66. One of the first professionals brought into the company in 1980, he was nicknamed "No Relation" Turner because he coincidentally shared the last name of founder Ted Turner, the AP reports.
Comedian and scriptwriter Barry Took died Sunday morning at a nursing home in London after suffering from cancer. He was 73. Took, who helped create the classic radio comedy Round the Horne, was responsible for bringing the Monty Python team to the BBC. He was also a successful TV and radio presenter, hosting Points of View and The News Quiz.
The man found dead in actor Art Malik's swimming pool Friday was his daughter's boyfriend, Daniel Williams, Reuters reports. Williams had attended the woman's 21st birthday and was later found unconscious in the pool. Malik, who starred in Passage to India and Jewel in the Crown, said: "Dan was a very special person and we very much considered him part of our family. He had been Jessica's boyfriend for seven months and they were very happy together." Williams' death is not being treated as suspicious.