This is going to be painful. Lady Gaga is slated to be the celebrity voice coach on American Idol next week as the top four sing classics written by Jerry Leiber and Mike Stoller ("On Broadway" or "Chapel of Love" for example). While these songs are wildly un-Gaga, that's not my biggest worry. If you thought Sheryl Crow's overblown overtures of praise to the top five last week were ridiculous, just wait until Lady Gaga has a crack at it. I think I'm going to line up shots for every time she says someone was "born this way" or that there's a light inside of them and it needs to come out in the form of dinosaur bones on their faces.
I know she's got quite a few fans who'll be happy to see her, but it's not like she's performing. When she's performing, I'll shut up. She puts on a good show. It's when she's talking that I have issue. Let's add to her already haughty demeanor that she'll be giving out advice as a wise and accomplished pop singer and the result is sure to be purely obnoxious. Even so, I'll be watching, trying to keep my eyes from rolling out of my head.
Source: American Idol Twitter via Vulture
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.
Who’s fine? No one really but we all knew that right? Where does politeness stop and uncomfortable truth begin and what are the considerations we make before burdening someone with the unvarnished truth? Everybody’s Fine ponders these things in a somber and intelligent way that belies its generic holiday movie poster.
Robert De Niro plays Frank an aging widower who spends his lonely days keeping his empty nest tidy and its surrounding foliage immaculate in the way the retired tend to do. He feels intensely the absence of his four grown-up children since the recent death of his wife and when they all back out of a planned holiday gathering at the family home he decides to pack up his bag and travel across the country to see each one as a surprise. As he goes from home to home he begins to realize some uncomfortable truths about the relationship he has with them and even worse that there’s a bigger secret they’re all hiding.
This is a remake of a 1990 Italian film Stanno Tutti Bene the follow-up to director Giuseppe Tornatore’s triumphant Best Foreign Language Film Oscar winner Cinema Paradiso. The American interpretation is written and directed by Kirk Jones who previously showed a knack for arty yet accessible films with Waking Ned Devine which like Everybody’s Fine manages to successfully navigate that oh-so-thin line between saccharine sentimentality and genuine emotional resonance. Unlike Devine Everybody’s Fine has no comedic spoonful of sugar to make the discomfort of an all-too-real family dynamic go down.
De Niro’s portrayal of Frank comes almost as a relief. After a lifetime of loud and brusque characters he settles into the retiree part like a comfortable old pair of slippers. Frank is easily as conflicted as any other person De Niro has played but in a much quieter way -- a dad sorta way. De Niro so entirely and naturally becomes Frank that it’s hard not to project your own feelings toward your father onto him. And I suppose that is the point.
Frank’s children are played by Kate Beckinsale Sam Rockwell and Drew Barrymore who are given just enough development to explain their estrangement from their father -- but that’s all the roles require. They’re loosely defined enough for the audience to hopefully identify with at least one of them but only in the service of laying familial guilt at our own feet. It’s De Niro's eyes the audience sees through; it’s his movie and he owns it.
Everything eventually leads to that question of whether or not to trouble the ones we love with our bad news. Everybody’s Fine is relatively taciturn with its conclusions but offers an important suggestion to consider the matter more closely in the audience’s own lives. And isn’t that what good art should do? This may not be the most uplifting film one could see this holiday season but it is one of the more thoughtful ones. Between the simple effectiveness of De Niro’s performance the lovely cinematography of Henry Braham (it is sort of a road-trip movie) and the interesting questions it raises Everybody’s Fine is a terrific choice for those who want something more in-depth from their Xmas viewing than tinsel and tired sentimentality.