Hollywood has a difficult relationship with science fiction. Whether they're translating classic sci-fi stories into brainless action movies or too caught up in the otherworldly details there's always something they can't seem to get right about the imaginative genre.
Looper defies the odds by fleshing out a unique future world while honing in on a specific story with real people at the center — a balance that defined works by greats like Bradbury Asimov and Dick. Joe (Joseph Gordon-Levitt) is a Looper an assassin for the mob bosses of the future who use illegal time travel to send back their targets for disposal. It's an easy lucrative life — one that affords him a party lifestyle of fancy cars and drops (drugs taken through the eye) albeit with the added knowledge of a definite grisly end. Eventually the mob "closes the loop" on its employees finding the Looper in the future and sending them back to be offed by… themselves. When it's Joe's turn to end his own life he's outsmarted his future self (Bruce Willis) escaping Joe's grasp. Driven to fulfill his duties as a Looper Joe goes on the hunt to kill himself.
Director Rian Johnson's Kansas City of 2044 feels appropriately lived in and extended from present day. When Joe's not blasting people away shrouded by the stalks of a cornfield he's dining on steak and eggs at a local diner. It's only the casual presence of hovercycles mutant telekinetics and the occasional visitor from the future that would give away the action of Looper isn't happening today. The realism gives Joe and the metropolis around him a necessary grit — there is danger and violence and pain in this world and when Johnson rouses up an action sequence there's something on the line.
Looper's greatest flaw is that it steps away from the confrontation between Young and Old Joe sending the two in different directions as they pursue answers to the film's spoilerific MacGuffin. On a farm away from the city Young Joe crosses paths with single mother Sara (Emily Blunt) who may hold the key to what Old Joe needs to survive. After being introduced to an ensemble of delightfully wicked characters — including Looper coordinator Abe (Jeff Daniels) Young Joe's sleazy coworker Seth (Paul Dano) and hotshot marksman Kid Blue (Noah Sagan) — plus Young Joe's stripper with a heart of gold confidant Suzie (Piper Perabo) Looper takes a sharp left turn leaving most of the cast in the dust. The interesting sci-fi mosaic slows down and enters a new chapter and it's rarely as engrossing as the first half.
When Willis and Gordon-Levitt are at odds Looper is simply magic. Nathan Johnson's industrial score pounds away as the two fight to stay alive all while grappling with the implications that come with glimpsing into your own future. One riveting sequence follows the timeline that played out before Old Joe tinkered with the space-time continuum a roller coaster through the years after the events of the film that see Gordon-Levitt evolve into Willis. The montage is a playground for Johnson's visual style. He never misses a beat.
For sci-fi nuts Looper corrects the past with an understanding of what makes the genre more than just an array of tropes and iconography. There are shaded characters duking it out in Looper's chaotic web of time travel logic and while their arcs fizzle out without much pay off they're a joy to watch.
What do you think? Tell Matt Patches directly on Twitter @misterpatches and read more of his reviews on Rotten Tomatoes!
This Friday, the uplifting true story Big Miracle comes to theaters, instilling the message that everybody, no matter who they are, loves whales. In celebration of the movie, whales, miracles, love, everybody, and all things big, we have assembled a collection of clips from the upcoming film, which stars Drew Barrymore and John Krasinski as headliners of a pretty terrific cast. Check out the clips and just try and deny your innate cetaceophilia.
Just in case we aren't sure why we love whales (which, need I remind you, we do), Rachel (Barrymore), an adamant animal rights activist, gives us plenty of reasons in this first clip from the film. They're beautiful, vulnerable, relatable creatures who need and deserve our help. I think she manages to convince Adam (Krasinski) pretty efficiently.
Just because everyone is on the same team, it doesn’t mean they all get along. Rachel doesn’t take too kindly to Adam’s co-reporter Jill Jerard (Kristen Bell), whom she thinks is in the whale-saving game simply to get ratings.
The effects of Rachel’s mission extends much further than just the immediate lives of the Alaska-based activist and one or two ratings-hungry reporters. Col. Scott Boyer (Dermot Mulroney) unites with Kelly Meyers (Vinessa Shaw) to discuss some sort of “Plan.” Perhaps a plan that has something to do with whale-saving?
Everyone—we mean everyone—loves whales. Even oil drilling jerks like J.W. McGraw (Ted Danson), who forms an unexpected bond with the majestic creatures.
Even though she’s in it for the whales, Rachel finds out that some people are worth loving too. Her arch nemesis McGraw actually turns out to be not such an evil guy after all. Whales have that effect on people.
Sure, we all love whales…but I guess some of us appreciate them a little more than others, as indicated by this clip wherein a man who truly seems to understand the spirit of the whales tries to pass off this appreciation to a younger boy…who doesn’t seem to really be in on the whole trend of whale-loving.
And as we can see, all this whale-loving DOES pay off! After the tireless efforts of Rachel, Pat (Tim Blake Nelson), and everybody else involved, the trapped whales do finally begin to pick up and move. But how will the story end?
Find out what happens to these whales and the people who love them this Friday, Feb. 3, when Big Miracle, directed by Ken Kwapis, hits theaters!
Every few years Hugh Grant comes out of hiding to wince and stammer his way to a paycheck occasionally serving up a pleasant surprise like About a Boy but more often churning out forgettable rom-coms like Music and Lyrics and Two Weeks Notice. His latest film Did You Hear About the Morgans? a fish-out-of-water rom-com co-starring Preakness runner-up Sarah Jessica Parker belongs steadfastly in the latter category -- and it might just be the worst of the lot.
Bearing a perpetually pained expression Grant literally suffers through the film as Paul Morgan a Londoner-turned-Manhattanite whose marriage to Meryl (Parker) a posh high-achieving real-estate agent is set adrift after his recent infidelity. He’s keen on reconciliation; she’s firmly against it. So are we for that matter after witnessing a few minutes of their strained and utterly futile attempts at creating chemistry. But I digress...
Prospects for the Morgans’ marriage appear grim but their destinies abruptly align again when they unwittingly witness a murder of a high-level FBI informant. Fearing for the unhappy couples’ safety the government whisks Paul and Meryl away to a tiny rural town in Wyoming where they’re forced to live under the same roof deprived of the modern conveniences of their upscale New York lifestyle.
The Morgans eventually reunite of course but not before subjecting us to a truly torturous gauntlet of bland bits each involving a predictably disastrous experiment with horseback riding wood chopping cow milking or other stereotypically rural activity. Our suffering is occasionally mitigated by the periodic witty comment from Grant whose ability to deliver wry one-liners with expert precision is still very much intact. After Did You Hear About the Morgans? however his career may not be.
When infamous outlaw Ben Wade (Russell Crowe) gets captured in late 19th century Arizona the plan is to transport him to a train en route to Yuma prison(leaving at 3:10 of course). But in the 1800s bringing someone to justice is as arduous as it sounds especially since horses are the only mode of transportation and their carriages the only place to house a prisoner. Across “town ” rancher Dan Evans (Christian Bale) is struggling mightily to support his wife (Gretchen Mol) and kids (Logan Lerman and Benjamin Petry) following a drought and needs to build a well for his family. So when he receives a nominal financial offer to help transport the notorious felon he jumps at it dutifully and desperately. While on the trail that leads to the train station no amount of physical or verbal threat is too much for Wade to break free of with ease. But when it comes to the law-abiding rancher for whom Wade has a certain respect his escape becomes much more complicated than getting out of handcuffs. 3:10 to Yuma’s pairing of Batman and Cinderella Man is perfect in concept and execution and watching the two stars is more than a sight to behold—it is transfixing like watching any two longtime professionals make something difficult look easy. It’s the first of two such powerhouse pairings for Crowe this fall—he co-stars with Denzel Washington in November’s American Gangster—and if this small sample size is any indication big-name costars bring out the best in him. Crowe evokes the kind of real humanistic villain that could only exist in a Western and by playing Wade with equal parts amiability and evil the Oscar winner turns in what is probably his most purely charismatic performance to date. Bale’s character on the other hand—and per usual—is loath to crack a smile a quality the actor has mastered. The Yoda of dialect Welsh-born Bale also has no difficulty switching over to Ol’ West speak but it’s the way he conveys the rancher’s stoicism and will that makes him even more credible. Among the supporting turns Ben Foster (Alpha Dog) stands out as a cranked-up trigger-happy member of Wade’s gang and stalwart Peter Fonda is perfectly cast as a tough ‘n’ gruff bounty hunter. When director James Mangold turned Johnny Cash’s life story into Walk the Line it was the romantic version of a much darker tale. For 3:10 to Yuma a remake of the beloved 1957 Glenn Ford-starrer Mangold gives the Western the same treatment. In attempting to reel in today’s action-happy audience Mangold waters down the drama and speeds up the pace. Minor tweaks for this modern update equal a bit of a departure from true Western style with the dialogue for example as snappy as one of today’s action comedies. But it’s all in good fun. The Old West looks completely authentic and the unforgettable ending is perhaps made possible by the director’s innocuous first two acts. Even so his efforts and those of the screenwriters (Derek Haas Michael Brandt and Halstead Wells who wrote the original) aren’t enough to perform CPR on the Western—not that it’s fair to rest the fate of entire dying genre in their hands.
Ricky Bobby (Will Ferrell) has been hotdoggin’ since the day he was born--when legend has it his momma (Jane Lynch) popped him out of her belly in the back seat of a car. Now grown up and living his dream as a NASCAR driver he takes his swagger out onto the tracks with mixed results. Even though he and lifelong friend Cal (John C. Reilly) usually end up in first and second place respectively his owner deems him a financial liability after he finishes a race in reverse. Consequently a prim proper and gay French F-1 driver (Da Ali G Show’s Sacha Baron Cohen) is recruited as a new investment and Ricky gets in a horrific crash trying to beat him winding up paralyzed…in his mind. After a long road back--which sees Cal steal Ricky’s lady (Leslie Bibb) and limelight and Ricky reunite with his estranged racer dad (Gary Cole)--Ricky learns to leave showmanship homophobia and pyrophobia (fear of fire) in his dust and just drive the damn car! Ah...Will Ferrell in his total element--it’s a beautiful thing and one we haven’t much seen since SNL. Until now. In Talladega Ferrell brings his energy satire and out-of-the-blue pop-culture references to new highs in his best post-SNL performance yet. And if you close your eyes and listen to Ferrell’s faux South-speak you can hear his great George Dubya send-up of yore. Matching Ferrell scene for scene--in quality not quantity--is Reilly. With his role as a tractable doofus with a good heart Reilly has now completed the whole spectrum of roles and can be unequivocally branded an acting chameleon. Oddly he seems best fit a tractable doofus but that’s merely a testament to his abilities. Cohen’s biggest mainstream role to date is also a hit as he applies equal parts Ali G’s Borat and hyperbolic French stereotype for often hilarious results. And Amy Adams stars as Ricky’s neglected assistant; it’s a role so small that she must’ve signed on before Junebug took her to the Oscars. If after his hit ‘70s San Diego news show Ron Burgundy were to have done something to necessitate placement in a witness protection program it’s not inconceivable that he could've relocated to the South found his true calling as a pompous NASCAR driver and taken the fake-sounding name Ricky Bobby. That’s no coincidence: Talladega like Anchorman is written by Ferrell and Adam McKay who also directed. But the two have filled in the blanks from their previous collaboration for a more well-rounded effort. The duo best complement one another when it comes to Ferrell’s sense of humor; it is at its core drier than most care to realize but the co-writers manage to moisten it in such a way for all to thoroughly enjoy. What really separates this film from its predecessor though is the action--the racing scenes will surprise! And to that end McKay uses the NASCAR angle to reel in its massive contingency as well as Ferrell/comedy fans all of whom should go home happy.
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.