Warner Bros. Pictures via Everett Collection
With only a week and change having passed since the release of The Amazing Spider-Man 2, we no doubt feel the question living fresh in our minds: can we ever judge a remake without considering its predecessors? The conversation about the stark contrast in critical favor between Marc Webb's release and Sam Raimi's trilogy (the second installment of his franchise in particular) buzzed loudly, and we imagine the volume will keep in regards to Gareth Edwards' Godzilla. But it'll be a different sound altogether.
The original Godzilla, a Japanese film released in 1954, reinvented the identity of the monster movie, launched a 30-film legacy, and spoke legions about the political climate of its era. The most recent of these films — Roland Emmerich's 1998 American production — is universally bemoaned as a bigger disaster than anything to befall Tokyo at the hands of the giant reptile. With these two entries likely standing out as the most prominent in the minds of contemporary audiences, Edwards' Godzilla has some long shadows cast before it. And in approaching the new movie, one might not be able to avoid comparisons to either. It's fair — by taking on an existing property, a filmmaker knowingly takes on the connotations of that property. But the 2014 installment's great success is that it isn't much like any Godzilla movie we've seen before. In a great, great way.
This isn't 1954's Godzilla, a dire and occasionally dreary allegory that uses the supernatural to tell an important story about nuclear holocaust. A complete reversal, in fact, first and foremost Edwards' Godzilla is about its monsters. Any grand themes strewn throughout — the perseverence of nature, the follies of mankind, fatherhood, madness, faith — are all in service to the very simple mission to give us some cool, weighty, articulate sci-fi disaster. Elements of gravity are plotted all over the film's surface, with scientists, military men (kudos to Edwards for not going the typical "scientists = good/smart, military = bad/dumb" route in this film — everybody here is at least open to suggestion), doctors, police officers, and a compassionate bus driver all wrestling with options in the face of behemoth danger. The humanity is everpresent, but never especially intrusive. To reiterate, this isn't a film about any of these people, or what they do.
Warner Bros. Pictures via Everett Collection
The closest thing to a helping of thematic (or human) significance comes with Ken Watanabe's Dr. Serizawa, who spouts awe-stricken maxims about cryptozoology, the Earth, and the inevitable powerlessness of man. He might not be supplying anything more substantial than our central heroes (soft-hearted soldier Aaron Taylor-Johnson, dutiful medic and mom Elizabeth Olsen, right-all-along conspiracy theorist Bryan Cranston), but Watanabe's bonkers performance as the harried scientist is so bizarrely good that you might actually believe, for a scene or two, that it all does mean something.
Ultimately, the beauty of our latest taste of Godzilla lies not in the commitment to a message that made the original so important nor in the commitment to levity that made Emmerich's so pointless, but in its commitment to imagination. Edwards' creature design is dazzling, his deus ex machina are riveting, and the ultimate payoff to which he treats his audience is the sort of gangbusters crowd-pleaser that your average contemporary monster movie is too afraid to consider.
In fairness, this year's Godzilla might not be considered an adequate remake, not quite reciprocating the ideals, tone, or importance of the original. Sure, anyone looking for a 2014 answer to 1954's game-changing paragon will find sincere philosophy traded for pulsing adventure... but they'd have a hard time ignoring the emphatic charm of this new lens for the 60-year-old lizard, both a highly original composition and a tribute in its way to the very history of monster movies (a history that owes so much to the creature in question). So does Godzilla '14 successfully fill the shoes of Godzilla '54? No — it rips them apart and dons a totally new pair... though it still has a lot of nice things to say about the first kicks.
Oh, and the '98 Godzilla? Yeah, it's better than that.
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You don’t have to be a Shakespeare buff to enjoy Joss Whedon's modern adaptation of Much Ado About Nothing. Filmed at Whedon’s house in only 12 days with a cast of his friends from various past projects, the movie stays true to the playwright's comedy, but places his prose in a more relatable setting. Unlike another Shakespeare adaptation that keeps the original language but uses a modern setting, Baz Luhrmann's Romeo + Juliet, Whedon's black-and-white interpretation is more casual and subtle.
Although the dialogue may be a bit hard to follow for those who aren't familiar with the play, the actors deliver their lines in such a way that makes their intent clear. You can understand when they are teasing, when they are fighting, and when they are being sarcastic (and there is a lot of sarcasm). They aren't giving dramatic performances on a stage; they are having normal conversations with each other that just happen to be spoken in flowery language.
As it turns out, many of today's romantic comedy tropes are found in the 400-year-old text. Full-of-himself playboy Benedick (Alexis Denisof) and independent, quick-witted Beatrice (Amy Acker) despise each other and are constantly bickering. Even if you haven’t read the play, I think you can guess what happens between them. The plot also includes a called-off wedding between Beatrice's cousin Hero (Jillian Morgese) and Claudio (Fran Kranz). Of course, there are elements of the story that wouldn't make sense in contemporary society, like Hero faking her death due to some big blow-up that arose because she might not be a virgin. But while there isn't always a happy ending in Shakespeare, for this rom-com, it's basically a given.
Much of the cast was already quite familiar with Shakespeare, because Whedon has hosted many readings of his plays over the years (one of which inspired this version of Much Ado). It's as though the audience was invited to one of Whedon's get-togethers... only there are also trapeze artists there for some reason. For Whedon fanatics, it's fun to see who the director rounded up to star in the film. (Look, it's Wesley! And Mal! And Agent Coulson!) Denisof and Acker pull off some physical comedy as they eavesdrop on conversations about each other, and Nathan Fillion is great in a small part as police officer Dogberry. It's obvious that the cast, as well as Whedon, have a sincere appreciation for Shakespeare's original work, but also had a fun time giving it their own twist.
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Fun Size may be the only production from kid-centric studio Nickelodeon to also feature underage drinking (complete with red solo cups) and boob groping. The murky demographic for the movie ends up hurting the well-intentioned Halloween flick — it's not quite suitable for the young ones nor is it funny or wild enough for the Gossip Girl crowd which director Josh Schwartz (creator of the show) knows well. Instead we get a floundering trick or treat adventure that reduces the colorful twisted holiday to a meandering situational comedy.
Nick TV grad Victoria Justice (Victorious) stars as Wren a high school "geek" who finds herself unable to bag the guy of her dreams (who adores her) but finds a glimmer of hope in the big cool kids' Halloween party. Ready for a night out with her best friend April (Jane Levy) Wren thinks life is finally going her way until her Mom (Chelsea Handler) sticks her with her troublemaking little brother Albert (Jackson Nicoll) for the night. If chaperoning Albert wasn't already the worst thing in the world Wren finds herself in an even bigger dilemma when her brother wanders off into his own night of mischievous debauchery.
The "one crazy night" formula fits perfectly with Halloween but Fun Size struggles to find interesting material for its eclectic ensemble. Unlike many of the young actresses who have previously collaborated with Schwartz Justice seems unable to crack his voice and comedic style. She's too hip to too aware to play someone struggling with high school. The material doesn't serve her or Levy either; off-color jokes and a bizarre sense of entitlement turn them into two people you don't want to see succeed. Luckily for the audience during their sweeping search for Albert Wren and April cross paths with two true nerd-looking boys: Roosevelt (Thomas Mann) and Peng (Osric Chau) who along with feeling like real teenagers actually land a joke or two.
Interwoven into this speedy adventure — Fun Size clocks in at a little over 75 minutes giving little time to flesh out our teenage heroes — is Albert's encounter with a convenience store clerk named Fuzzy. The adults of Fun Size see the ten-year-old Albert as a parter-in-crime rather than a lost little boy. Fuzzy recruits him for a raid on his ex-girlfriend's house; after running away he meets a lady who brings him to a nightclub. At one point a sleazebag kidnaps Albert and locks him in his bedroom. If Fun Size were madcap it may all make sense. Instead things just happen — and it's not hilarious scary or even deranged.
Nick's '90s sitcom Pete & Pete created an amazing sense of weirdness and heart in its exploits of two teenage brothers. Anyone could watch and enjoy it. Fun Size has a beautiful look (the colors of Halloween are mesmerizing) and Schwartz as always has impeccable soundtrack tastes but when it comes to telling a story that feels both relatable and wonderfully weird — what Pete & Pete did so well — the movie falls flat. It's stereotype humor (the movie packs many a fat and gay joke) doesn't cut it — when paired to Nick's best efforts the movie lives up to the title: a bite-size portion of a bigger better cinematic sweet.
James Marsden of X-Men and Straw Dogs fame will be making an undoubtedly awesome guest appearance on the wonder that is 30 Rock. Tina Fey's series may be a bit past its prime days, but it is still one of the funniest things on TV, and still not without hard-hitting episodes. Marsden is on board for a six-episode arc during 30 Rock's upcoming sixth season. Such a lengthy stay for a guest star indicates that his character will be pretty significant. Perhaps he'll play a love interest (ill-fated, of course) for Liz Lemon? A potential replacement for Jack Donaghy as he begins to focus his time more on raising his daughter? Or someone from Kenneth's mysterious past. Any of these would be fine. 30 Rock will return to NBC as a mid-season replacement in 2012. -THR
New Girl has a very interesting philosophy to wrangle in viewers—get awesome people to be in it. It's kind of unorthodox, but I'll give them the benefit of the doubt. Joining the must-be-hiding-a-dark-secret-because-NO-one-can-be-that-likeable star Zooey Deschanel is Party Down's super-snarker Lizzy Caplan. The mighty Caplan will enjoy a three-episode arc on New Girl as a cool, intelligent academic who wins the affections of Nick (Jake Johnson). New Girl airs Tuesday nights at 9 p.m. ET/PT on Fox. -TVLine
ABC's sinfully underappreciated six-friends-with-nothing-to-do comedy Happy Endings will be roping in a guest actress to play an ex-girlfriend to one of the central characters. It's not Brad, not Dave, not even Jane (who made mention of an extensive "experimental phase in college" last week). It's actually Max (Adam Pally), who fans of the series know is gay. We've gotten enough glimpses into Max's past to know that he didn't completely come to terms with his sexuality until some time in or shortly after college, so it makes sense that his high school days might have involved a girlfriend or two. Playing Max's ex will be Riki Lindhome (Gilmore Girls, Million Dollar Baby). Happy Endings airs Wednesday nights at 9:30 p.m. ET/PT on ABC. -Vulture
Better With You was a romantic comedy series on ABC that ran for one season, terminating in May of 2011. The series starred JoAnna Garcia, and was created by Shana Goldberg-Meehan. ABC is in talks with the duo for another project: a series (again, starring Garcia and created by Goldberg-Meehan) about a newly married woman who moves in with her husband and his family. The network has agreed to produce the pilot, which, like Better With You, will be a multiple camera-style sitcom. JoAnna Garcia has had a pretty hefty sum of success in television acting: she might be best remembered for her roles on Reba and Party of Five, but two of her most awesome exploits were with Freaks and Geeks and Are You Afraid of the Dark? Goldberg-Meehan worked as a writer and producer for Friends and its spinoff Joey. -Deadline