The Amazing Spider-Man would prefer if you didn't call it the fourth Spider-Man movie. See this ain't the Spider-Man your older brother knew from ten years ago — it's a reboot. The latest adventure to feature the comic book webslinger throws three movies worth of established mythology straight out the window swapping the original cast with an ensemble of fresh faces and resetting the franchise with a spiffy new origin story. "New" in the loosest sense of the word — the highlights of ASM mainly a sleek new design and spunky reinterpretation of Peter Parker (Andrew Garfield) and gal pal Gwen Stacey (Emma Stone) are weighed down by overpowering sense of familiarity. Nearly a beat for beat replica of the 2002 original with some irksome twists of mystery thrown in Amazing Spider-Man fails to evolve its hero or his quarrels. The film has a great sense of cinematic power but little responsibility in making it interesting.
We're first introduced to Peter Parker as a young boy watching as his parents rush out of the house in response to a hidden danger. Mr. and Mrs. Parker leave their son in the care of his Aunt May (Sally Fields) and Uncle Ben (Martin Sheen) who raise him into Andrew Garfield's geeky cool spin on the character. Parker's a science whiz but faces the challenges of every day life — passing classes talking to girls the occasional jock with aggression issues — but all of life's woes are put on hold when the teen discovers a new clue in the mystery behind his parents' disappearance. The discovery of his dad's old briefcase and notes leads Peter to Dr. Curt Connors (Rhys Ifans) a scientist working for mega-conglomerate Oscorp and his Dad's old partner. When they cross paths Connors instantly takes a liking to the wunderkind and loops him into the work he started with his father: replicating the regeneration abilities of lizards in amputee humans (Connors is driven to reform his own missing arm). But when Parker wanders into Oscorp's room full of spiders (a sloppily explained this-needs-to-be-here-for-this-to-happen device) he receives his legendary spider bite that transforms him into the hero we know.
Director Marc Webb (500 Days of Summer) desperately wants Amazing Spider-Man to work as a high school relationship movie but with the burden of massive amounts of plot and mythology to introduce the movie sags under the sheer volume of stuff. Stone turns Parker's object of affection Gwen Stacey into a three-dimensional character. Whenever they happen upon each other an awkward exchange in the hallway a flirtatious back-and-forth in the Oscorp lab (where Stacey is head…intern) or when the two finally begin a romantic relationship the two stars shine. They're vivid characters chopped to bits in the editing room diluted by boring franchise-building plot threads and routine action sequences. Seriously Amazing Spider-Man another mad scientist villain who uses himself as a test subject only to become a monster? And another bridge rescue scene? Amazing Spider-Man desperately wants to disconnect from the original trilogy but it's trapped in an inescapable shadow and does nothing radical to shake things up. Instead it settles for the same old same old while preparing for inevitable sequels instead of investing in its dynamic duo.
There's a sweet spot where the film really hits his stride. After discovering his spider-abilities Peter hits the streets for the first time. He's superhuman but still a headstrong teen full of obnoxious quips and close calls with shiv-wielding thugs. The action is slick small and playful Webb showing us something new by melding his indie sensibilities with big scale action. If only it lasted — the introduction of Ifans reptilian half The Lizard implodes Amazing Spider-Man into incomprehensible blockbuster chaos. A gargantuan beast wreaking havoc around New York City promises King Kong-like escapades for the friendly neighborhood Spider-Man but the lizard man has other plans: to rule the world! Or something. Whatever it takes to get Lizard and Spider-Man fighting on the top of a skyscraper over a doomsday machine — logic be damned.
Amazing Spider-Man peppers its banal foundation with great talent from Denis Leary as Gwen's wickedly funny dad and the police captain hunting down Spider-Man to Fields and Sheen as two loving adults in Peter's life to Garfield and Stone whose chemistry demands a follow-up for the sake of seeing them reunited. But it's all at the cost of putting on the most expensive recreation of all time with new demands imposed by the success Marvel's other properties (except that franchise teasing worked). Amazing Spider-Man introduces too many ideas that go nowhere undermining the actual threat at hand. No one wants to be unfulfilled but that's the overriding difference between the original movie and the update. You need to pay for the sequel to know what the heck is going on in this one.
Oscar/Tony winner Marcia Gay Harden will appear on the next season of Royal Pains.
The Mystic River actress will star in a multi-episode arc as Dr. Elizabeth Blair, “a surgeon, board member of Hamptons Heritage Hospital, and an adversary-turned-mentor to Jill” (Jill Flint), according to Entertainment Weekly.
Season 2 of the Hamptons-set series premieres June 3 on USA, and Harden will be featured right from the get-go.
This smart remake/update of a 70 year-old play and movie may not win any Oscars but it turns out to be as gorgeously entertaining as its title indicates. Based on the play and 1939 movie of the same name that skewered upper society women of the era writer/director Diane English has kept the bones intact but updated it all to include women of various places in life. Women who are still trying to find love and happiness and above all else female friendship. In their world life seems to revolve around Tanya (Debi Mazar) the gossipy manicurist at the Saks Fifth Avenue Beauty Salon who spills the beans to magazine editor Sylvie (Annette Bening) that her best friend Mary’s (Meg Ryan) Wall Street tycoon husband has been catting around with voluptuous perfume “spritzer girl” Crystal Allen (Eva Mendes). Deciding in tandem with Mary’s other pals--the housewife Edie (Debra Messing) and writer Alex (Jada Pinkett Smith)--to tell Mary Sylvie sparks an incident that sets off fireworks in all their lives with betrayals career crises pregnancy retreats revenge and forgiveness all figuring into the male-less proceedings. The Women’s entire ensemble cast is pure pleasure and it’s exclusively made up of some of the best comedic actresses around. Even all the extras are women but then that’s sort of the joke of the whole premise. Estrogen flows freely in this group led by Meg Ryan as the victimized wife and mother whose husband plays around on her and whose own father fires her from her job. Talk about a tough week! With money lines like her declaration of sexual prowess “I can suck the nails out of a board ” Ryan has some of her best moments in recent years playing nicely off co-star Bening. As Mary’s best friend she’s the workaholic but aging editor of a women’s magazine that’s on the edge of change she can’t seem to keep up with. Bening beautifully reflects the quandary of a career woman who has to watch her back at every moment. Messing and Pinkett Smith round out the fearsome foursome and each gets some choice comic material to play particularly Messing’s histrionics as the pregnant Edie. Suffice to say the inevitable but riotously funny delivery scene is well worth waiting for. Mendes plays the vamp bit for all it’s worth stunning in all her cunning. Mazar though is a bit too laid back as the manicurist with all the secrets. Cloris Leachman delivers some prize one-liners as Mary’s loyal housekeeper and Tilly Scott Peterson is very funny as the Uta the nanny. Carrie Fisher as a gossip columnist and Bette Midler as a tough-talking Hollywood agent make the most of their brief screen time as well but it’s English's Murphy Brown star Candice Bergen who steals the show as Mary’s wise but plastic surgery-addicted mother. A post face-lift scene with Bergen counseling Ryan is priceless stuff. Writer/director Diane English says she spent 14 frustrating years trying to bring this sassy update of Claire Booth Luce’s creation to the screen. Timing is everything and now with female bonding films all the rage The Women circa 2008 could be just the ticket. Certainly it’s strength is the comic savvy of English who spent several seasons on Murphy Brown honing her skills. It pays off here with a talented cast delivering her snappy lines with expert comic timing. Sure even updated as it is The Women still has the creakiness of a vehicle that peaked in 1939 but for whatever reason the old-fashioned craftsmanship still works even in an era where women have gone on to achievements not dreamed about when Luce wrote the play. As a director English is all about protecting her script and it’s the tight pacing of one amusing sequence after another that makes this little trifle sail by right down to the final sight gag. See it.
As Love Actually begins we are told that perhaps the world isn't such a dire and hateful place that "love actually is all around." Around London anyway. The film explores no less than seven different romantic scenarios within the bustling British capital--all of which interconnect and eventually resolve on Christmas Eve. There's the newly elected dashing Prime Minister (Hugh Grant) who is smitten with his secretary the earthy Natalie (Martine McCutcheon); Karen (Emma Thompson) whose husband Harry (Alan Rickman) has strayed with his seductive secretary Mia (Heike Makatsch); Sarah (Laura Linney) the American wallflower who has a crush on her colleague Carl (Rodrigo Santoro); Jamie (Colin Firth) who falls for his pretty Portuguese housekeeper Aurelia (Lucia Moniz)…there are lots more but you get the gist. As love goes things may not get tied up neatly in brightly colored packages for everyone but there's still enough good cheer to spread around.
Showcasing some of Britain's finest actors Love Actually doesn't have a bad banana in the bunch. Floppy-haired Hugh Grant turns in an endearing performance and proves there isn't a romantic comedy he can't handle. He has an uncanny knack for connecting with any actress he happens to be romancing; in this case it's the adorable McCutcheon best known for the hit British TV drama EastEnders. Rickman and Thompson are quite good as the couple whose long-term marriage is beginning to crack; Thompson especially does a nice job trying to hide her pain while being a happy mom. Linney too shines as Sarah who glows with excitement when she finally gets what she so ardently wished for. Veteran stage and film actor Bill Nighy (Underworld) however steals the show as a carefree aging rock star desperate for a comeback. His Billy Mack smacks of Mick Jagger Keith Richards and Rod Stewart all rolled into one.
"I'm worried that we don't have the word 'massacre' in the title " writer/director Richard Curtis fretted to Entertainment Weekly referring to how horror-loving American audiences might not take to his new romantic comedy that is already a huge hit in Britain. True perhaps a romantic comedy starring a multitude of A-list British actors might not bring in the required masses. But who cares about the money (did I just say that)? Curtis who has written some of the best romantic comedies of the last decade including Four Weddings and a Funeral Notting Hill and Bridget Jones' Diary steps behind the camera for the first time here and is able to give each story a unique point of view from the lovesick to the wacky. There actually may be too many stories in Love Actually but it's a small gaffe. Love Actually is a refreshing good old fashioned warm and gushy movie that takes your mind off the bad things for the holiday season and Curtis should feel confident about his directing debut.
Leave it to Pixar to come up with another clever story. We are introduced to a thriving monster metropolis where Monsters Inc. employs an elite group of big bad guys to go into children's closets and gather the city's energy supply--the children's screams. But lately there has been an energy crunch; it seems kids are not getting as scared as they used to. Enter top Kid Scarer Mr. James P. Sullivan a.k.a. Sully (voiced by John Goodman) a big blue fuzzy monster who along with his assistant Mike Wazowski (voiced by Billy Crystal) a green one-eyed wisecracker gets potent screams from the kiddies. Unfortunately the one thing Sully Mike and the others are deathly afraid of is the children themselves. And when one child Boo (voiced by Mary Gibbs) makes her way through the closet door into the monster world things get decidedly complicated for Sully who learns kids aren't so scary after all.
Honestly how could you go wrong with the vocal talents of John Goodman Billy Crystal Steve Buscemi and James Coburn? In Monsters Inc. they absolutely shine. Oscar-winning Coburn brings the head of Monsters Inc. Mr. Henry J. Waternoose a crablike spidery monster vividly to life. Buscemi as the evil Randall Boggs a slimy serpent monster who can camouflage himself to blend with anything plays the perfect foil to Sully a monster with grand plans who rivals the big guy in the quota for kids' screams. Crystal is hysterical as Mike with enough neuroses and wild antics to offset the sweet Sully--without stealing the show. Even the little girl Boo comes across convincingly as a two-and-a-half-year-old especially when she sings in the bathroom. It's Goodman who makes the movie complete--his Sully is one big galoot you can wrap your arms around.
Pixar Animation must constantly search high and low for the cream of the crop in animation and story development; they never settle for second best. The studio has the Midas touch when it comes to computer-animated films--its three features so far Toy Story Toy Story 2 (still one of the best sequels ever made) and A Bug's Life have grossed nearly a billion dollars worldwide. Yes Dreamworks may have given Disney a run for its money with its spectacular summer blockbuster Shrek but Pixar isn't going to roll over that easily. Monsters Inc. is a wonderfully inventive film especially in its creation of such otherworldly settings as the factory and its assembly line of closet doors. The movie combines all the right elements--there's a good guy a funny sidekick a slimebag a climactic chase scene and an adorable reason for things to end happily.