Though ostensibly successful 2009’s The Final Destination represented to many a horror franchise on its last hackneyed legs. Rote uninspired and humorless it scored a (modest) hit only by virtue of the novelty -- and added ticket price -- of its 3D transfer. Two years later Final Destination 5 arrives with a slightly tweaked formula a beefed-up storyline actors you might actually recognize and genuine honest-to-goodness 3D. It’s still schlock mind you -- but artful schlock and a marked improvement over the preceding entry.
The story begins in familiar fashion with a cursory introduction to the characters followed by a grisly premonition that sees them perish wholesale. An assortment of cubicle-dwellers at a paper factory are being bused to a corporate retreat when one of them Sam (Nicholas D’Agosto perpetually bug-eyed) dreams of a massive bridge collapse in which he and his co-workers are impaled beheaded bisected crushed by cars singed by tar -- however many ways a suspension bridge can kill a person the film’s opening set-piece explores it gruesome detail. Sam awakens duly horrified and demands the bus be evacuated. Seconds later the employees watch in horror from the sidelines as Sam’s vision comes to fruition.
You know what happens next. One-by-one death stalks the survivors who meet their fate in a series of elaborately-staged incidents. Some are relatively straightforward; others involve fiendish head-fakes and red herrings. The range of victims is older and more colorful than in previous Final Destination films in which death preyed exclusively on attractive nubile teenagers but the end result is invariably the same. (Not to give anything away but those considering acupuncture or laser eye surgery would be wise to avoid the film entirely.) As death’s scheme becomes achingly evident Sam his lachrymose girlfriend Molly (Emma Bell) and his increasingly unhinged buddy Peter (Miles Fisher) become increasingly desperate. Enter the ever-ominous Tony Todd returning to the franchise after (wisely) taking the previous film off offering a potential way out. But is it genuine or just another of death’s cruel tricks?
Director Steven Quale a James Cameron protege hired principally for his 3D expertise takes full advantage of the added dimension delivering some of the most vivid and immersive 3D sequences in recent memory. Unlike The Final Destination which seemed little more than a amalgam of crude one-liners Final Destination 5 feels like a real movie one with a discernible plot an element of suspense and a handful characters who are more than just punchlines. Most of the actors are surprisingly competent save for Fisher a credible doppelganger for Tom Cruise (he parodied him 2008’s Superhero Movie) who imbues every line with couch-jumping intensity.
Final Destination 5 ends with a twist that while genuinely unexpected feels like a Hail Mary for a franchise that can’t forestall its inexorable descent into stale irrelevance despite the best of efforts from Quale. Its trademark formula has simply lost its potency -- a problem no amount of cosmetic upgrades however welcome can fix. That the film is bracketed by two pointless and time-consuming montages -- the first an animated sequence that hurtles various hazardous objects at the audience the second a greatest hits compilation of memorable kills from previous Final Destination films -- is a telltale sign that the saga’s creativity is on life support. Perhaps it’s time to pull the plug.
Victoria and David Beckham welcomed their baby girl yesterday morning at Cedar Sinai Hospital in Los Angeles. They named her Harper Seven Beckham, and she weighed a healthy 7 pounds and 10 ounces. David wrote on Facebook, "Victoria is doing really well and her brothers are delighted to have a baby sister." "Seven" could be a tribute to their lucky number, but it is most likely something really disgusting, like most British things. - Access Hollywood
Prince William and Kate Middleton have officially left the country. After arriving in Los Angeles on Friday afternoon, they went to a Consular-General Reception at the Beverly Hilton Hotel meet a few businessmen and politicians to discuss U.K. trade and investment. Then on Saturday, Prince William led his team to victory during a polo match at the Santa Barbara Polo Club that benefited the American Friends of Prince William and Prince Harry's foundation. On Saturday night they attended the BAFTA awards dinner at L.A.'s Belasco Theatre, where they met Tom Hanks, Jennifer Lopez and Nicole Kidman. On Sunday, they attended an event to support Tusk USA, which raises money to protect African wildlife and later in the day, they visited Inner-City Arts in Los Angeles' famous Skid Row, which gives underprivileged children by allowing them to express themselves through art. Their last appearance was on Sunday, which was an event meant to help servicemen and women. They're now probably back in their palace, talking about how stupid we look when do things with bandanas. - E! Online, ABC
Eric Dane and Rebecca Gayheart are expecting their second child. They already have 16 month-old Billie Beatrice, and they're looking forward to welcoming their second baby later this year. On his daughter, Dane has said, "I like watching her laugh. Seeing this kid laugh when you put her on the swing, or slide down the slide with her, it's just. She owns me." - Showbiz Spy
Initial reports suggested the prince and Catherine, the Duchess of Cambridge would only meet little-known, up-and-coming stars at the Brits to Watch bash on Saturday (09Jul11) in Los Angeles.
And the party looked like a flop when William's celebrity pal David Beckham revealed he wouldn't be able to make the get together.
But now E! Online blogger Marc Malkin reveals the party will be a big deal after all.
Lopez and her husband Marc Anthony will attend, as will movie heavyweights Kidman and Hanks.
Kristin Chenoweth, dancer Derek Hough and actresses Ginnifer Goodwin and Dana Delany are also on the guest list for the soiree at the Belasco Theater in downtown Los Angeles.
WHAT IT’S ABOUT?
It’s 1979 the world is changing economically and culturally and an outbreak of Lyme disease turns 15-year-old Scott Bartlett’s life inside out just as his parents — including a workaholic father Mickey and doting mom Brenda — are about to get divorced and his brother Jimmy is shipping off to fight in the Falklands war. Making life even more complicated during this time of turmoil he has fallen for his next-door neighbor Adrianna whose mother Melissa is carrying on a not-so-secretive affair with Scott’s dad as her husband Charlie is feeling the devastating effects of a bout with Lyme's.
WHO’S IN IT?
A superb ensemble cast navigates co-writer/director Derick Martini’s emotionally tricky and somewhat autobiographical screenplay in style delivering sharp-edged substantive portrayals of suburbanites in a state of flux. Rory Culkin shines as the confused but likeable Scott stuck in a coming-of-age nightmare of conflicting feelings and discovery. His virginal love scene with the wonderful Emma Roberts playing girlfriend Adrianna is poignant real and quite funny. As his father Mickey Alec Baldwin stands out in one of his best performances and his marital dustups with Jill Hennessy playing wife Brenda are blistering in their raw force. Cynthia Nixon as Melissa plays uptight and needy about as well as anyone and Timothy Hutton has some nice moments as her rather hapless Lyme-stricken hubby. Culkin’s actual brother Kieran is around as the older bro and does nice work with his real-life sibling.
Martini manages to recreate a specific time and place with ease and captures a difficult time when society was trying to adapt to an unknown new world of change. What makes it really work is the sardonic sense of humor he manages to work into the proceedings. Lymelife is edgy dark and memorable a movie that may make you uncomfortable at times but one you will have a hard time shaking off.
The relatively brief running time precludes actually developing some backstories and character arcs making some of the film feel a little rushed at times but mostly it’s solidly paced and engrossing all the way.
Developed with the help of the Sundance Institute and premiered at the 2009 festival Lymelife has indie cred up the kazoo and shows that even with close to no budget you can make a smart drama for adults.
NETFLIX OR MULTIPLEX?
Give these filmmakers some support and see it in a theater. Perhaps its success will inspire others to make challenging film fare in the future.
August 29, 2003 11:06am EST
Jeepers Creepers which was released in 2001 established some basic facts about the winged monster the most important being that it eats every 23rd spring for 23 days. This sequel however is not set in 2024 but on the last of the 23 days and parallels the events of the first film on the dreaded East 9 Highway in Poho County: On the same stretch of road a bus carrying high school students returning home from a championship game become stranded when two tires on the vehicle blow out. It's not an accident but the work of the Creeper (Jonathan Breck) who then returns to the crippled bus to feast on its passengers. After the driver and coaches get picked off the kids like savory sardines in a tin box are left to fend for themselves. The only clue they have as to what's going on is through cheerleader Minxie (Nicki Lynn Aycox) who has a dream in which Darry (Justin Long)--the lead character from the first film--warns her of the Creepers intentions. The group's only salvation is a local farmer (Ray Wise) looking to avenge his son's demise at the hands of the Creeper. Fraught with fright flick clichés Jeepers Creepers 2 is not as intelligent as the first and the elements that made the original so compelling--the suspense drama and the emotional investment in its characters--are definitely lacking in this sequel.
Jeepers Creepers 2 follows a busload of basketball players and cheerleaders as well as a farmer and his son in a concurrent storyline. The problem is there are so many characters here that none of them ever get a chance to fully develop. As the film opens attention is focused on Jack Taggert (Ray Wise) as the Creeper snatches his son in a cornfield. As an actor with great range Wise best known for his stint as Leland Palmer in David Lynch's cult series Twin Peaks isn't taken full advantage of here. He's bitter about the loss of his son but the movie gets that across to the audience by intermittently showing Wise's character frantically crafting a giant spear gun. But because the film doesn't devote enough time to the character we don't share his hatred for the Creeper. Breck reprises his role here as the winged beast and if the film spawns into a successful horror movie franchise could gain cult stardom as the Creeper. Because the Creeper is more prominent than in the first film Breck gets a chance to play with the character a little more and even infuses a bit of personality into the monster. The cast of teenage characters including Aycox Lena Caldwell and Garikayi Mutambirwa all give respectable performances but sadly get lost in the mix and never become anything more than disposable targets.
When it was released in 2001 director Victor Salva's Jeepers Creepers grossed $37.9 million at the box office--commercial success for a small horror genre flick. It had a lot going for it especially compared to most slasher pics; a good story with an even more intriguing villain but its appeal rested in Salva's visual approach. The director used subtle effects to mount suspense including what he describes as a "Hitchcock reveal " where the audience is given details that the characters aren't like a shot of the Creeper in a car's rearview mirror. But in Jeepers Creepers 2 Salva overuses this effect and it becomes almost irritating. What's more the tension that came with delaying the Creepers reveal in the first film is now gone. Moviegoers see him in the first scene followed by longer glimpses with each exposure--and the more we see of him the less scary he becomes. This film does have a few things going for it one of them being Bennett Salvay's musical score. Salva does not drown the film in pyrotechnics and screeching sound effects but instead uses the musical compositions to convey the mood of the entire production. In one scene Salva provides the audience with a bird's-eye-view of the group of teens running to safety across a vast field and accompanied by the heightened score resemble a herd of wildebeest on the run. But while the film is visually interesting it ultimately fails to get the audience to care for its whole host of characters making their fate and the action inconsequential.
February 18, 2003 10:38am EST
At the tender age of 12 Matt Murdock (Ben Affleck) was splashed in the eyes with radioactive waste and lost his sight--but his other four senses developed with superhuman sharpness. He grew up to become a bleeding-heart lawyer running a law practice with his best friend Foggy Nelson (Jon Favreau) and chasing beautiful women including the bright and fearless Elektra Natchios (Jennifer Garner). By night he is the masked vigilante Daredevil using his incredible senses and abilities to defend the downtrodden in New York City's Hell's Kitchen. Daredevil the movie stays true to all the elements that are pervasive in the Marvel Universe: drama love action violence revenge a spiteful police department and best of all the probing reporter on a quest for the truth. Here moviegoers will become familiar with events that become catalysts in Daredevil's crime-fighting career including the death of his father (David Keith) at the hands of the mob and the victimization of those close to him. The villainous underworld figure Wilson Fisk a.k.a. Kingpin (Michael Clarke Duncan) and his hired hand the psychotic killer Bullseye (Colin Farrell) are also introduced as Daredevil's foes--and the battle between good and evil is born in this gritty urban borough.
Daredevil's appeal is that he does not possess any superpowers which made Affleck (Sum of All Fears) a good choice to portray this rather vulnerable crime fighter. While he beefed up for the role Affleck still retains that guy-next-door quality that makes both Murdock and Daredevil so relatable. His love interest in the film Elektra is played by Garner better known as Sydney Bristow on ABC's Alias. Elecktra is as brawny as she is brainy and Garner is the perfect fit for the character: she's gorgeous in a non-Hollywood kind of way and convincing as skilled fighter. Playing Murdock's lifelong friend and partner Foggy Favreau's (Made) role here is the most low-key of the bunch but he delivers some comic relief with some really funny lines. As far as villains go no one could be better suited for the role of Kingpin than the larger-than-life Duncan (The Scorpion King). This massively muscled character had to be played by someone with a powerful presence and sophisticated intellect making Duncan the ideal candidate. Rounding out the malefactors is Farrell (The Recruit) who churns out a powerful performance as the psychotic killer Bullseye complete with the nervous twitches and shifty eyes.
The decision to place Mark Steven Johnson at the helm of Daredevil was a little surprising. His 1998 directorial debut Simon Birch and his screenwriting credits Grumpy Old Men and the astoundingly bad Jack Frost hardly seemed on a par with an action adventure feature like this. The fact that Johnson hasn't worked extensively with digital effects becomes apparent in some of the film's action sequences that include a CGI Daredevil running upside walls and taking giant leaps from rooftop to rooftop. The completely animated version of Daredevil doesn't behave naturally and lacks details such as muscles texture highlights and shadows. But Daredevil didn't have a huge budget (compared to Spider-Man at least) and what it lacked in f/x it made up for with a gripping and gritty story line. Daredevil's mission is to rid Hell's Kitchen--not the universe--of as much crime as he can and his vendettas are personal--and grotesquely violent. More importantly Johnson's screenplay stays true to the comic book characters and their attributes. Fans of the comic book will appreciate his truthful touches such Bullseye's maniacal talents which include being able to turn a paperclip into a deadly weapon and Kingpin's ritualistic removal of his blazer before pounding the snot out of adversaries.