While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]
In This Means War – a stylish action/rom-com hybrid from director McG – Tom Hardy (The Dark Knight Rises) and Chris Pine (Star Trek) star as CIA operatives whose close friendship is strained by the fires of romantic rivalry. Best pals FDR (Pine) and Tuck (Hardy) are equally accomplished at the spy game but their fortunes diverge dramatically in the dating realm: FDR (so nicknamed for his obvious resemblance to our 32nd president) is a smooth-talking player with an endless string of conquests while Tuck is a straight-laced introvert whose love life has stalled since his divorce. Enter Lauren (Reese Witherspoon) a pretty plucky consumer-products evaluator who piques both their interests in separate unrelated encounters. Tuck meets her via an online-dating site FDR at a video-rental store. (That Lauren is tech-savvy enough to date online but still rents movies in video stores is either a testament to her fascinating mix of contradictions or more likely an example of lazy screenwriting.)
When Tuck and FDR realize they’re pursuing the same girl it sparks their respective competitive natures and they decide to make a friendly game of it. But what begins as a good-natured rivalry swiftly devolves into romantic bloodsport with both men using the vast array of espionage tools at their disposal – from digital surveillance to poison darts – to gain an edge in the battle for Lauren’s affections. If her constitutional rights happen to be violated repeatedly in the process then so be it.
Lauren for her part remains oblivious to the clandestine machinations of her dueling suitors and happily basks in the sudden attention from two gorgeous men. Herein we find the Reese Witherspoon Dilemma: While certainly desirable Lauren is far from the irresistible Helen of Troy type that would inspire the likes of Tuck and FDR to risk their friendship their careers and potential incarceration for. At several points in This Means War I found myself wondering if there were no other peppy blondes in Los Angeles (where the film is primarily set) for these men to pursue. Then again this is a film that wishes us to believe that Tom Hardy would have trouble finding a date so perhaps plausibility is not its strong point.
When Lauren needs advice she looks to her boozy foul-mouthed best friend Trish (Chelsea Handler). Essentially an extension of Handler’s talk-show persona – an acquired taste if there ever was one – Trish’s dialogue consists almost exclusively of filthy one-liners delivered in rapid-fire succession. Handler does have some choice lines – indeed they’re practically the centerpiece of This Means War’s ad campaign – but the film derives the bulk of its humor from the outrageous lengths Tuck and FDR go to sabotage each others’ efforts a raucous game of spy-versus-spy that carries the film long after Handler’s shtick has grown stale.
Business occasionally intrudes upon matters in the guise of Heinrich (Til Schweiger) a Teutonic arms dealer bent on revenge for the death of his brother. The subplot is largely an afterthought existing primarily as a means to provide third-act fireworks – and to allow McGenius an outlet for his ADD-inspired aesthetic proclivities. The film’s action scenes are edited in such a manic quick-cut fashion that they become almost laughably incoherent. In fairness to McG he does stage a rather marvelous sequence in the middle of the film in which Tuck and FDR surreptitiously skulk about Lauren's apartment unaware of each other's presence carefully avoiding detection by Lauren who grooves absentmindedly to Montel Jordan's "This Is How We Do It." The whole scene unfolds in one continuous take – or is at least craftily constructed to appear as such – captured by one very agile steadicam operator.
Whatever his flaws as a director McG is at least smart enough to know how much a witty script and appealing leads can compensate for a film’s structural and logical deficiencies. He proved as much with Charlie’s Angels a film that enjoys a permanent spot on many a critic’s Guilty Pleasures list and does so again with This Means War. The film coasts on the chemistry of its three co-stars and only runs into trouble when the time comes to resolve its romantic competition which by the end has driven its male protagonists to engage in all manner of underhanded and duplicitous activities. This Means War being a commercial film – and likely an expensive one at that – Witherspoon's heroine is mandated to make a choice and McG all but sidesteps the whole thorny matter of Tuck and FDR’s unwavering dishonesty not to mention their craven disregard for her privacy. (They regularly eavesdrop on her activities.) For all their obvious charms the truth is that neither deserves Lauren – or anything other than a lengthy jail sentence for that matter.
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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.
The Producers Guild of America will give out awards tonight, with the teams behind A Beautiful Mind, Moulin Rouge and Shrek among those in contention for its top honor. The producers of Harry Potter and the Sorcerer's Stone and Lord of the Rings: The Fellowship of the Ring are also in the running for the Darryl F. Zanuck Producer of the Year Award.
The honor is similar to the motion picture academy's best picture prize, and the winner is considered a near shoo-in for Oscar gold. The 1,500-member Producers Guild has correctly predicted the best picture Oscar winner 10 out
of the last 13 years.
A Beautiful Mind, Lord of the Rings and Moulin Rouge are
nominated for both the PGA award and best picture Oscar. But the guild opted for box office hits Shrek and Harry Potter for its other two slots,
while the Academy chose the indie critic faves In the Bedroom and Gosford Park.
The Producers Guild will also hand out awards in three television categories, with such shows as The West Wing and The Sopranos among those in the running.
The teams behind CSI: Crime Scene Investigation, Law & Order, Six Feet Under, The Sopranos and The West Wing are nominated for the Norman Felton Producer of the Year Award in episodic television-drama.
Contenders for the Danny Thomas Producer of the Year Award in episodic television-comedy are Frasier, Friends, Malcolm in the Middle, Sex and the City and Will & Grace.
The nominated producers of Frasier include the late David Angell, who was aboard one of the hijacked planes that crashed on Sept. 11.
Among the David L. Wolper Producer of the Year Award in longform television nominees are some well-known names--Billy Crystal for HBO's 61*, and Tom Hanks and Steven Spielberg for HBO's Band of Brothers.
Husband-and-wife actors Bradley Whitford of The West Wing and Jane Kaczmarek of Malcolm in the Middle will host the guild's 13th annual ceremony at the Century Plaza Hotel & Spa.
Formed in 1950, the Producers Guild has about 500 active members and 1,000 affiliated members.
Here is the full list of nominees:
Darryl F. Zanuck Theatrical Motion Picture Producer of the Year Award in Motion Pictures
A Beautiful Mind, Brian Grazer and Ron Howard
Harry Potter and the Sorcerer's Stone, David Heyman
Lord of the Rings: Fellowship of the Ring, Barrie M. Osborne, Peter Jackson and Fran Walsh
Moulin Rouge, Martin Brown, Baz Luhrmann and Fred Baron
Shrek, Aron Warner, John H. William and Jeffrey Katzenberg
Norman Felton Producer of the Year in Episodic Television-Drama
CSI Crime Scene Investigation, Jerry Bruckheimer, Ann M. Donahue, Carol Mendelsohn, Anthony Zuiker, Jonathan Littman, Sam Strangis, Danny
Cannon, Cynthia Chvatal and William Petersen
Law & Order, Dick Wolf, Barry Schindel, Jeffrey L. Hayes, Lewis H. Gould and Kati Johnston
Six Feet Under, Alan Ball, Robert Greenblatt, David Janollari and Alan Poul
The Sopranos, David Chase, Brad Grey, Mitchell Burgess, Robin Green, Ilene S. Landress and Terence Winter
The West Wing, John Wells, Aaron Sorkin, Thomas Schlamme, Llewellyn Wells, Christopher Misiano, Alex Graves and Michael Hissrich
Danny Thomas Producer of the Year Award in Episodic Television-Comedy
Frasier, David Angell, Peter Casey, Kelsey Grammer, David Lee, Dan O'Shannon, Mark Reisman and Maggie Blanc
Friends, Kevin S Bright, Marta Kauffman, David Crane, Shana Goldberg-Meehan, Scott Silveri, Andrew Reich, Ted Cohen and Todd Stevens
Malcolm in the Middle, Linwood Boomer and James S. Simons
Sex and the City, Michael Patrick King, Cindy Chupack, John P. Melfi and Sarah Jessica Parker
Will & Grace, James Burrows, Jeff Greenstein, Max Mutchnick, David Kohan and Tim Kaiser
David L. Wolper Producer of the Year Award in Longform Television
61*, Billy Crystal and Ross Greenburg
Anne Frank, Hans Proppe and David R. Kappes
Band of Brothers, Tom Hanks, Steven Spielberg and Tony To
Life With Judy Garland: Me and My Shadows, Craig Zadan, Neil Meron, Robert Allan Ackerman and Lorna Luft
Wit, Cary Brokaw
Actor Sir Nigel Hawthorne (1996 Oscar nominee for The Madness of King George) died of a heart attack last Wednesday at his home in London. Hawthorne, 72, had been battling pancreatic cancer for two years.
Liz Hurley and Matthew Perry will not be making the film Servicing Sara--the two actors have been deemed "too fat" by producers, according to the UK's Sky.com.
On Christmas Day, the daughter of Clint Eastwood was forced to jump from the roof of her home in British Columbia due to a house fire. She suffered only minor burns on her hands.
When you watch Robert Altman's new film Gosford Park, try to imagine Robert Downey, Jr. in the lead, not Ryan Phillippe, who landed the role. Altman originally argued for Downey to star, and also lobbied for an R rating, citing the need for more coarse language, according to PageSix.com.
Pamela Anderson's latest boy toy--rapper Kid Rock--has vowed to stop wearing his famed fur coats due to Anderson's pro-animal-rights stance, according to USA Today.
MAD magazine's number-one "Dumb Person of the Year" is Rev. Jerry Falwell, who drew the media's ire for stating that the Sept. 11 tragedy was caused in part by "abortionists, feminists, gays and lesbians."
According to Reuters, ex-Beatle Paul McCartney is reinforcing his plea to ban fox hunting with dogs in his home country of England. The practice is a leading cause of foot-and-mouth disease.
You won't be seeing ABC's Funkhausers this spring. Instead, the sitcom--formerly a directorial project for Danny DeVito, who has since dropped out--will air in the fall of 2002. The delay stems from the need for additional creative input, according to The Hollywood Reporter.
Actor Kevin Costner is now proud to call himself a successful restaurateur, as late last week he celebrated the six-month anniversary of the opening of his Santa Barbara eatery Epiphany.
According to a recent Kaiser Family Foundation poll, both celebs and parents agree that the TV ratings system--ranging from TV-G to TV-MA--do not affect what audiences watch. Dick Wolf, producer of NBC's Law & Order, told Variety, "Nobody cares. Take a poll, and see if anyone even knows how to activate their V-chip."
Actor Charlton Heston's loyalties are with the U.S. military and its campaign to rid the world of terrorism. According to the BBC, Heston told U.S. troops, "Stay with it. Keep the course. We will win."