In just about every one of Kevin Hart's scenes in Ride Along, there's a joke that is just aching to find its way out of the diminutive, rascally comic actor. Hart is a small-scale physical comedian — of the same ilk as Jack Black — who puts nuclear-degree energy into his facial contortions, anatomical outbursts, and the delivery of every gag in general. If only he had material that was crafted with the same energy.
Unfortunately, nothing else about Ride Along seems at all "hard at work." Not the script, which pads a lifeless story with lazy comedy, and certainly not his screen partner Ice Cube, whose only stage direction seems to be "frown, and be taller than Kevin Hart." So lifeless is Ice Cube that even his machismo-obsessed straight man bit doesn't really work. Instead of the virile and intimidating "bad cop," he comes off as a disapproving middle aged dad without much to show for his own life.
But the script pairs the wily, overzealous high school security guard and video game junkie Ben (Hart) with no-nonsense lawman James (Ice Cube) on the titular ride along, with the scrappy cop-wannabe hoping to prove to the force veteran that he's good enough to marry the latter's younger sister. In earnest, he's not. Ben never puts any respectable effort into learning the tools of the trade, insisting on employing his amateur style and controlling the radio despite his proclamations that he wants, and deserves, James' trust. And James is no saint either — he's irresponsible on crime scenes, violent with perps, and disgruntled to the point of being unable to work with anybody else on the force. These are not good police officers... of course, you'll say, this is a comedy. But where are the laughs, then?
They're not absent entirely, you just have to look for them. In a movie so focused with big, broad humor, it's the smaller comedy that actually lands best. Hart's background mutterings and fumblings, his emoticon-laden texts to girlfriend Angela (Tika Sumpter, whose only stage direction seems to be "smile, and never wear a full outfit of clothing"), and a bizarre repetition of the word "weird" from supporting player John Leguizamo. All good for unexpected chuckles, while jokes like Hart facing off with a pre-teen or being blown backwards into a brick wall after firing a large gun are all lazy, familiar, and flat.
Structurally, the script is a mess. Ride Along spends far too much time on set up — we get it, Hart and his soon-to-be-brother-in-law Ice Cube don't get along — and far too much time on wrap-up — there's a gigantic, dramatic warehouse shootout that, in any other movie, would be the climax, but there's plenty more to go after that — without any cohesive middle to make the movie feel like... a movie.
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Hart, who leaps at every comic opportunity like a kangaroo (wallaby would be more appropriate), is suited just right for a buddy cop comedy, but he needs something fresh with which to work — a real character, an interesting story, actually funny jokes. Even just one of these would be fine!
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The genesis of Universal's 47 Ronin is almost as tragic as the actual history that the movie is culling from. As the story goes, Universal saw the sprigs of talent sprouting from fresh faced director Carl Rinsch, whose previous experience was limited to just a couple of commercials and a nifty short film. The studio decided to ease the new director into feature filmmaking by cutting him what amounts to virtually a blank check, and giving him charge over a multi-national samurai fantasy epic. Almost impossibly, the film isn't a complete disaster. It's just a minor one.
47 Ronin follows the classic story of the titular team of warriors, a group of disgraced samurai who band together to seek revenge against a merciless warlord that betrayed and killed their master. But this isn't your grandfather's version of the story. 47 Ronin is an international affair, and it's covered with a veneer of Japanese mysticism and a thick coating of Hollywood lacquer, but east meets west rather uncomfortably, and it's mostly due to Keanu Reeves. Reeves' character is clearly crowbarred into the story that has no room for him, and it's plainly obvious where the seams of the story were stretched in order to patch him into the narrative. Reeves plays Kai, a half Japanese, half English orphan who is adopted by the samurai clan. His character serves no real purpose beyond being white, slicing things until they die, and playing the male lead of the most superfluous love story of the year. Rinsch simply can't make the inclusion of the character feel organic in any way, and "Kai" ends up feeling like a calculated studio move. It's a shame that the film spends so much time on Reeves when the real star is clearly Hiroyuki Sanada, who plays off the stoic samurai most believably among the rest of the cast.
It's also shame that with all the mysticism pumped into the story, there's no magic in the actual center of the film, the ronin themselves. The only personality trait a samurai is allowed to possess seems to be unerring stoicism, and between all 47 ronin, there are probably only three distinct samurai with any discernible character traits beyond an intense need to brood, and you'll probably only remember those three by the time the credits roll, only to promptly forget about them only a few hours later. Thankfully, Rinko Kikuchi's slinky and treacherous witch adds some much needed camp and personality to the mostly forgettable human characters.
And that's the issue with 47 Ronin. It's largely forgettable. When your film takes on a historical legend like the tale of the 47 ronin, a story that has been told and told again ad nauseum over the years, you really need to justify your own version. There are reels and reels of film dedicated to this story, and 47 Ronin doesn't manage to add anything significant to the canon. It promises to weld myth and history together, but does so clumsily, and while some of the action scenes are exciting, especially a particularly inspired set piece that involves the ronin noiselessly breaking into a heavily guarded fortress, the film is a bore when it's not clanking swords together.
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47 Ronin is a film with many stories. As much as it is a tale about the revenge of four dozen masterless samurai, it's also the tale of an inexperienced filmmaker swallowed up by the enormity of blockbuster filmmaking. Most of all though, It's proof that you shouldn't cram Keanu Reeves into a movie that doesn't really need Keanu Reeves. What you're left with is a dull and bloated samurai epic that has its moments, but feels largely unnecessary.
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.
Gossip Girl will be reaching its hundred-episode landmark next week with the wedding of Blair and Prince Louis. One hundred episodes over five seasons says something about the CW series' staying power. But a big question persists: how much longer can the show last? Fans might hope to see Blake Lively, Leighton Meester, Penn Badgley and company on screen for years to come. But executive producer Josh Safran and star Ed Westwick are both vying for a timely conclusion: specifically, at the end of a possible sixth season, which would premiere in the fall of 2012.
The main cast's contracts will be up after Season 6, which would free up disinterested parties (such as Westwick) from continuing on if the show exists beyond. However, talk has sprouted about working toward's the show's ending in time for the sixth season finale.
While Safran seems to think a six season run would be ideal, he is not opposed to a continuation of the show beyond that: "I'm hoping it goes another year and then I think if it were to end then, it'd be OK. If it were to continue, I'd be super happy as well." In terms of the writers' plans for a Gossip Girl endgame, Safran remarked, "[Ideas] just keep shifting. Of course there are some loose ends that we'd like to tie up for sure...I'm not saying that Josh [Schwartz] and Stephanie [Savage] don't [have an endgame in mind,] but I don't want to think about an endgame because when you think about where you want them to go then it's done in my head and it's still living for me. That's not to say that it won't end exactly the way that half the audience wants it to."
However, Westwick, who plays the series' bad boy, Chuck Bass, is much more closed off to the idea of anything beyond six seasons of Gossip Girl. After having infamously expressed his diminishing interest in playing the character in 2011, Westwick continued to voice his hope that Gossip Girl reaches its end in the near future. "I feel like I've done everything! But I don't write the show, so if they come up with something where I'm reading it and go, 'Oh wait! We can do this. He can fly!' then who knows." Sure, it may seem like he's being optimistic, but if flying is what it takes to keep Westwick invested in his character, I'd say we won't be seeing much more of Chuck.
So, with Gossip Girl in talks for a Season 6 conclusion, what "loose ends," as Safran puts it, does the show still need to wrap up?
Gossip Girl's 100th episode, "G.G.", airs Monday, Jan. 30 at 8 p.m. ET/PT on the CW.
Source: E!, TVGuide
The catwalk beauty and her boyfriend Vladimir Doronin placed the winning bid on the artwork, named New Providence Island, during the Maybach Night at the New World Symphony Orchestra building in Miami, Florida at the weekend (04-05Dec10).
Former model Stephanie Seymour's husband, publishing mogul Peter Brant, also opened his wallet for the sale, snapping up Schnabel's Grand Cayman to Haiti Including Jamaica photo for $250,000 (£166,670), according to the New York Post's Page Six gossip column.
All proceeds were donated to the J/P Haitian Relief Organization, which was founded by Penn and Schnabel and raises money to rebuild the nation following the devastating earthquake in January (10).
Alex Michel, star of ABC's The Bachelor, may be content with the girl of his choosing (Amanda) after Thursday's two-hour finale, but ratings indicate audiences are drooling for more.
According to Nielson Media Research, 18.2 million viewers tuned in to find out which woman Michel would choose, making the show second only to CBS' CSI: Crime Scene Investigation. But don't worry, ABC is getting ready to tie the knot on part two of The Bachelor. And the guys won't get to have all the fun--a network source revealed that ABC is casting Bachelorette as well. No word on when the shows will air.
Although Baretta star Robert Blake couldn't post bail to get himself out of jail while awaiting the trial for the murder of his wife Bonny Lee Bakely, he did manage to free his bodyguard, Earle Caldwell. The Associated Press reports Blake posted $1 million bail on Friday for Caldwell, who has pleaded innocent to one charge of conspiracy to murder Bakely.
The BBC reports Catherine Zeta-Jones joined singer Charlotte Church and former cricket player Ian Botham for the last two miles of a 229-mile, 9-day walk for charity in Wales on Saturday.
Dennis Quaid (The Rookie) must really like sports in the movies. The AP reports he's slated to star as Lee Petty, father of NASCAR record-winning champ Richard Petty, in an as-yet-untitled biopic of the driver.
Chicago police are still unsure if sex tapes allegedly featuring R&B singer R. Kelly and a woman who was not his wife involved any lawbreaking, but if new reports are true Kelly could be in some pretty hot water. On April 3, Sparkle, a singer who made the 1998 hit "Be Careful" with Kelly, identified the unknown woman in the tape as her 14-year-old niece to radio DJ Adimu of the Beat (KKBT), SonicNet Music reports. Police won't confirm if there is any truth to Sparkle's story.
Australian pop princess Kylie Minogue kicked off her European tour in Wales on Friday night with a futuristic show, the BBC reports, as she emerged from a Terminator-style robot wearing her signature thigh-high silver boots. You go, girl!
Rockers Mick Jagger and Keith Richards of The Rolling Stones and singers Tom Petty, Elvis Costello and Lenny Kravitz will all appear together on one upcoming episode of The Simpsons, the BBC reports. No word on when the show will air.
The irreverent VH-1 talk show Late World with Zach will air its final original episode Thursday at 11 p.m., CNN reports. Although it has only been on air since March 4, viewership was lower than expected.
Sean Penn presented Kevin Spacey and Warren Beatty with awards Thursday night at the 45th San Francisco International Film Festival, the AP reports. Spacey took home the Peter J. Owens Award for "brilliance, independence and integrity as an actor," and Beatty was given the Akira Kurosawa Award for lifetime achievement in directing.
Singer Michael W. Smith won six awards at the 33rd Annual Dove Awards for Christian music, CNN reports. The show took place Thursday night at the Grand Ole Opry House in Nashville, Tenn.
Valentine's Day is all about hearts, and yesterday's first annual "Love Rocks" concert, where U2 singer Bono received the "Heart of Entertainment" award for his philanthropic work, was no exception.
Several big name celebrities--including Tom Cruise, Kevin Spacey, Sean Penn, Ray Romano, Drew Carey, No Doubt, Lauryn Hilland R.E.M.--turned out at Hollywood's Kodak Theater Thursday for the event, which benefited cardiovascular research.
During the concert, R.E.M. performed the '60s classic "I Got You Babe," and one of the song's original performers, Cher, of Sonny & Cher, made a surprise visit to the stage for a duet with R.E.M. lead singer Michael Stipe. It was Cher's first time performing the song without Sonny.
Later, Bono joined R.E.M. on vocals as they performed U2 ballad "One."
During the V-Day love fest, the compliments were flying. Stipe described Bono as a "singer, songwriter, statesman, fashion plate," and Tom Cruise said of Bono, "[he] makes us all proud to be human."
When he made his own speech, Bono challenged his celebrity audience to not only remember those who suffer in the world but to do something about it.
He also proudly dubbed himself "a thorn in the shoe" of President Bush's administration for urging American legislators to alleviate poorer countries' suffering.
Bono, whose given name is Paul Hewson, has been a political activist for the two decades that U2 has been in the musical limelight, working with groups like Greenpeace and Amnesty International and helping to increase public awareness of large-scale Third World tragedies like AIDS and debt.
Hollywood.com staffers Stephanie Marcucci and Leigh Johnson contributed to this story.
Sean Penn (I Am Sam), who’s known for his tough-guy attitude and less-than-heartwarming movie roles, to theage.com.au:
"I'm not somebody you'd want to go to most American movies with. I'd really upset you. I get crazy. I feel like they're--the film makers and the Hollywood system--all up there saying, 'You're an idiot! You're an idiot!'"