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.
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.
WHAT IT’S ABOUT?
Ronnie Barnhardt is a kickass shopping-mall head-security guard with severe delusions of power. He meets his match when a cynical police detective is called in to take care of business after Ronnie and his crew fail to stop a parking lot flasher and can’t foil a jewelry-store robbery. Determined to prove his worth in the trade and in his personal life Ronnie applies for a job as a cop pursues a cosmetics salesgirl and tries to solve some crimes using his own unorthodox methods.
WHO’S IN IT?
Tailor-made for the considerable comic talents of Seth Rogen Barnhardt is a funny Travis Bickel a guy with severe self-worth issues who carries on a dialogue with himself in his head. Unlike Paul Blart this is a mall cop out to maul first and ask questions later. Rogen fits the bill and singlehandedly makes it all worth seeing. Anna Faris as his prospective girlfriend is given lots of opportunities to overact — and takes all of them. Still she’s quite funny in a drunken dinner scene that ends with her passed out in the bedroom under Rogen’s huge girth. Ray Liotta pretty much walks through his role as the pro detective who thinks Barnhardt is a total joke. Michael Pena is strong as another security guard while twins John and Matt Yuan and Jesse Plemons are hilarious as their dim-witted mall cop colleagues. Although he only has a couple of scenes Aziz Ansari steals them both as a smart-aleck hanger-on. Celia Weston and Rogen as mother and son have some wonderfully droll moments together but it’s first-time actor Randy Gambill as the flasher who gets the real comic workout and exposes himself as one to watch (hopefully with his clothes back on next time).
A cynical acerbic attitude rules the day here and the idea of putting a real wacko in the mall-cop position has more bite than the PG-13 Blart a movie that was blessed with the likable presence of Kevin James but suffered major credibility lapses.
Writer/director Jody Hill had a great idea but too often goes for the easy joke or gross-out gag when he should have drifted straight into hell with this character and really let Rogen loose. It’s hilarious in parts but the overall tone is wildly uneven and not totally satisfying.
The final confrontation between Rogen and the flasher has to be seen to be believed and on its own more than enough to merit the film’s well-deserved restricted rating.
SHOULD THERE BE A SEQUEL?
Yes and it should pair Blart vs. Barnhardt in a food-court showdown. It could be the best thing since Godzilla vs. Mechagodzilla.
After the death of their parents Rashad (Tip "T.I." Harris) and his younger brother Ant (Evan Ross) have to fend for themselves. Trying not to think about his pending high school graduation Rashad works as a janitor for his stingy uncle (Mykelti Williamson) and hangs out with his friends practicing for the Skate Wars competition at their local roller rink. Ant however approaches life differently after he hooks up with Marcus (Big Boi) a big-time drug dealer in the area. Marcus recruits Ant to do his dirty work and the kid gets himself tangled up in the harsh world of drugs money and violence. It’s up to his older brother to get him out of it and finally steer him in the right direction. ATL proves some rapper-turned-actors can indeed be in a movie not based on their real lives. Known as “The King of the South” in the rap world T.I. displays some notable acting skills. Born and raised in the ATL (that’s Atlanta to us lay folk) his southern slang and cool demeanor lend credibility. As well Big Boi (half of the Atlanta-based hip-hop group OutKast) does a nice job giving his drug lord character multi-layers. He plays it smooth recruiting high school kids and promising them more money then they have ever seen. When they don’t pay up he then turns on a dime and becomes quite menacing. And watch out for Evan Ross the youngest son of the legendary Diana Ross. In his debut performance as Ant he tugs at your heart even when you’re hoping Rashad will smack him for the bad choices he makes. Music video director Chris Robinson makes his feature directing debut with ATL a story loosely based on ATL producers Dallas Austin and Tionne “T-Boz” Watkins’ (of TLC fame) experiences growing up in Atlanta. With many of the hottest hip-hop artists coming out of Atlanta Robinson--along with first-time screenwriter Tina Gordon Chism--impressively incorporates the music without focusing on it. Sure the soundtrack crunks it up but this is not a film about a wannabe rapper trying to make it out of the ‘hood and into the spotlight. There aren’t any lengthy shootouts and no one dies. Instead ATL interweaves compelling themes of family dynamics rich vs. poor--and even a roller skating motif which seems to come out of left field but provides some fun moments. ATL is a breath of fresh air for a hip-hop movie that isn't about hip-hop.
Set in 1984 Josey Aimes (Charlize Theron) returns to her ice-cold hometown in Northern Minnesota after fleeing from an abusive husband. In order to care for her two young kids she needs a job--and for most of the townsfolk including her distant dad (Richard Jenkins) that means working in the local iron mines. Problem is not too many women work there and those who do are subjected to continual harassment by their male coworkers. Josey lands a job anyway and starts to get her fair share of sexual innuendos. One day her former high-school sweetheart also a mine employee takes it way too far with her. Although met with strong resistance of course a lawsuit ensues that results in a groundbreaking decision for women’s rights in the workplace. Ah what an Oscar can do for a career. It wasn't that long ago Theron wouldn’t even have been considered for such a dramatic role. But with deserved recognition she gets to strut her stuff in North Country. She's no Monster but she's no supermodel either--and while it's impossible to erase her beauty its glare has been reduced. A second-consecutive Oscar win? Maybe not but a nomination wouldn't be out of the place. Co-star Frances McDormand might also be in line for a nod of her own. She plays Glory a woman who gets Josey the job and encourages her to fight the good fight something that seems visceral for McDormand. Woody Harrelson is also solid as Josey's attorney though his Midwest-stoner drawl gets in the way of the northern accent he's supposed to be selling. New Zealand director Niki Caro mightily impressed us with Whale Rider a poignant mixture of grief and vigor and with North Country she continues to impress. As more an observer than anything else Caro lets the true story tell itself--of what happened in this small town with its frigid denizens and sexist behavior. And the film is definitely a period piece á la Norma Rae in that it's from a specific period albeit a recent one and pertains to a specific region. But it's kind of slow going. There’s a lot of weeping and dramatic speeches. Still Caro makes up for it by including several Bob Dylan songs who rarely grants the use of his songs in films. Perhaps he felt a certain a kinship to this film since it takes place in the desolate cold Northern Minnesota where he comes from--and so resents.