2012 was a heated year for Presidential politics, with Barack Obama and Mitt Romney vying for the position of Commander-in-Chief and the battle of ideologies dominating every facet of pop culture. Movies and television also did their fair share of respectful homage-ing to the Head of State, with Daniel Day-Lewis' stirring portrayal of Abraham Lincoln in Spielberg's Lincoln (and the vampire-hunting alternative), Jordan Peele finding room to mock our sitting Prez in Key and Peele, and Bill Murray finding the swinger side of America's only four-termer, Franklin Delano Roosevelt, in this weekend's Hyde Park on the Hudson. History teachers across the country have never been prouder of what they do than in the last 365 days.
Presidents were this year's hot item on the big and small screens, but pop culture has always been obsessed with dressing up actors to look like the men who fill our text books. Inspired by 2012's trend, Hollywood.com has combed through cinematic history to whip up this handy infographic, chronicling decades of Presidential appearances in pop culture. In the end, one thing is clear: Futurama did a lot in the name of presidential representation.
Check below the image for the key, revealing the actor assigned to each president.
Click to EnlargeDavid Morse as George Washington in John AdamsWilliam Daniels as John Adams in 1776Nick Nolte as Thomas Jefferson in Jefferson in ParisBurgess Meredith as James Madison in Magnificent DollMorgan Wallace as James Monroe in Alexander HamiltonAnthony Hopkins as John Quincy Adams in AmistadCharlton Heston as Andrew Jackson in The President's LadyNigel Hawthorne as Martin Van Buren in AmistadDavid Clennon as William Henry Harrison in Tecumseh (1994)John Tyler in FuturamaJames K. Polk in FuturamaJames Gammon as Zachary Taylor in One Man's HeroMillard Fillmore has never been portrayedFranklin Pierce in FuturamaJames Buchanan has never been portrayedDaniel Day-Lewis as Abraham Lincoln in LincolnDennis Clark as Andrew Johnson in The ConspiratorKevin Kline as Ulysses S. Grant in Wild Wild WestJohn DiMaggio as Rutherford B. Hayes in FuturamaFrancis Sayles as James A. Garfield in The Night RidersMaurice LaMarche as Chester A. Arthur in Futurama Pat McCormick as Grover Cleveland in FuturamaRoy Gordon as Benjamin Harrison in FuturamaPat McCormick as Grover Cleveland in FuturamaBrian Keith as William McKinley in Rough RidersRobin Williams as Theodore Roosevelt in Night at the Museum: Battle of the SmithsonianWalter Massey as William Howard Taft in The Greatest Game Ever PlayedBob Gunton as Woodrow Wilson in Iron Jawed AngelsWarren G. Harding in FuturamaCalvin Coolidge in FuturamaHerbert Hoover in FuturamaBill Murray as Franklin D. Roosevelt in Hyde Park on the HudsonGary Sinise as Harry S. Truman in TrumanTom Selleck as Dwight D. Eisenhower in Ike: Countdown to D-DayBruce Greenwood as John F. Kennedy Thirteen DaysRandy Quaid as Lyndon B. Johnson in LBJ: The Early YearsDan Hedaya as Richard Nixon in DickDick Crockett as Gerald Ford in Pink Panther Strikes AgainDan Aykroyd as Jimmy Carter in Saturday Night LiveJames Brolin as Ronald Reagan in The ReagansJames Cromwell as George H. W. Bush in W.Dennis Quaid as Bill Clinton in The Special RelationshipTimothy Bottoms as George W. Bush in That's My Bush!Jordan Peele as Barack Obama in Key and Peele
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[Photo Illustration by Hollywood.com; Photo Credits: Comedy Central (12); HBO (4); Columbia Pictures (2); Warner Bros (2); DreamWorks (2); 20th Century Fox (3); NBC(2); Touchstone Pictures; Universal Pictures; Turner Pictures; Paramount Pictures; Orion Pictures; Roadside Attractions; Republic Pictures; TNT; Buena Vista Pictures; Focus Features; A&E; New Line; United Artists; Showtime; Lionsgate; iStockphoto]
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Jay Roach’s political comedy couldn’t have come at a better time. Just as the U.S. is beginning to suffer from the fatigue that comes with enduring the final months of the heated presidential campaign between Mitt Romney and President Barack Obama Will Ferrell and Zach Galifianakis give us exactly what we need: a good laugh.
The Campaign stars Ferrell as Conservative Senate shoe-in Cam Newton who gets himself in a bit of a campaigning pickle – if you can call a widely publicized sexual slip-up a pickle – and prompts the powers that be (an evil duo courtesy of the always fantastic John Lithgow and Dan Aykroyd) to bring in a ringer: Marty Huggins (Galifianakis). Huggins is flanked by his two trusty pugs and spends his days giving empty trolley tours of his tiny North Carolina town – a naïve happy existence that flummoxes his former political operator of a father (Brian Cox). But once Marty’s appointed campaign manager gangster Tim (a ruthless and surprisingly hilarious Dylan McDermott) Pretty-Womans the grinning familial misfit into a standard cutthroat political candidate the messy misinformation-driven games begin.
Everything we’ve ever feared or discovered about our shiny politicians during campaign season is magnified for the sake of this 90-minute cathartic joke. Right as Romney and Obama are getting headlines for the underhanded loosely regulated practice that is the campaign commercial Ferrell and Galifianakis’ characters take the seemingly lawless practice to a wonderful hyperbolic place where having a mustache makes you a friend of Sadam Hussein and splicing quotes to blaspheme your opponent is kosher. Oh wait that last part is actually true.
This story from frequent Ferrell collaborator Adam McKay along with Chris Henchy and Shawn Harwell plays on the clichés of the campaign trail and dresses them up with baby-punching and butt-licking. Right out of the gate we’re treated to Ferrell cheating on his wife with a squealing harlot in a porta-potty. The writers have no mercy for the political world and coincidentally neither do most of us. And even as the film stretches the limits of our ability to stomach schlocky gross gags it’s not entirely uncalled for. In fact this over-the-top flick is practically an extension of the way many of us view the idea of campaigning in the U.S. – the key is abject cynicism.
Raunchy gags are the name of the game but The Campaign doesn’t shirk the necessary weight of its source material. Sure Ferrell’s requisite nude scene merits a few giggles but it’s the moments that are centered on speeches and strategy that really make the film. They’re rife with spot-on frustrated commentary about the emptiness of political speeches and promises and draped in the hilarious inflections of the films’ funnymen.
But beyond the parts that make us laugh hard enough to eke out a sideways tear The Campaign actually has something that most raunchy Ferrell comedies only purport deliver: a heart-warming gooey center. We can chalk this up to Galifianikis’ Marty who represents the political fantasy we try to believe in every election: the existence of a truly honest well-meaning politician. He’s the guy who runs on the platform that “Washington is a mess” and he actually believes he can clean it up. When Cam is running his mouth about loving America Marty is the one who actually offers up idealistic solutions. To some extent Marty is a character we’ve seen before but he’s this bright spot that keeps The Campaign from becoming a long-form rant.
In addition to Galifianakis’ lovable Marty we find gems in the form of McDermott – whose phantom-like presence throughout the film is always worth a laugh – and newcomer Katherine La Nasa as Rose Cam’s gut-wrenchingly opportunistic Barbie of a wife. Oddly enough a big name like Jason Sudeikis receives low-billing this time around and perhaps it’s because his role is a rather mild one for a man who’s solidified himself as the overgrown frat-boy du jour. Still it’s Galifianakis who carries the film and Farrell’s usual shtick that provides the platform for his character’s unavoidable goodness.
The Campaign is a surprising oddly adorable summer comedy combining the disgusting cringe-worthy visuals we’ve come to expect from a Will Ferrell flick with the brains we hope for any time we see the word “political” tied to a film.
Since Edgar Rice Burroughs' novel A Princess of Mars was published nearly 100 years ago his otherworldly tale story has been subsequently been reworked and riffed on by nearly every sci-fi book or movie to follow. Star Wars Dune Avatar—sift through filmmaker interviews and it's easy to find threads tying their inspiration back to Burroughs. Which makes John Carter the big screen adaptation of Princess of Mars particularly surprising. The film's epic presentation of Martian races colliding in battle could feel stale but instead blossoms with color imagination and fun. Director Andrew Stanton (Finding Nemo Wall-E) has a strong sense of what makes "adventure" adventurous helping John Carter encapsulate everything about a great time at the movies.
John Carter (Taylor Kitsch) a Civil War veteran with the entire Confederate army on his tail finds himself mysteriously transported via a magic cave (or alien technology? If you get caught up in these details John Carter may not be for you) to smack dab in the middle of a Martian desert. As Carter overcomes the planet's gravity a physical difference that allows him to leap tall structures in a single bound (sound familiar?) he runs into one of Mars' many races: the eight-foot tall four-armed green Tharks. As their prisoner/friend/specimen John Carter takes a back seat to the unique world of the Thark world full of clockwork architecture and airships archaic customs and political strife. The Tharks are in the midst of a 1 000 year battle with the humanoids of Zodanga led by the villainous Sab Than (Dominic West) who is in turn manipulated by the occasionally-invisible shapeshifter Matai Shang (Mark Strong). The Tharks have teamed up with the residents of Helium including the stunning scientist warrior Dejah Thoris (Lynn Collins) but doom is impending and quickly the Spartacus-esque Thark fighter Tars Tarkas turns to Carter for help.
Unlike Avatar which introduced its fantastical world using the safety net of a simple archetypical story John Carter has no reservations bombarding its audience with plot and intrigue. At times the specifics of the world's complex societies and strifes are complicated and confusing but similarly to info-heavy scripts—think the recent Michael Clayton or Margin Call or heck Shakespeare—Stanton Mark Andrew and Michael Chabon's screenplay feels assured of its own drama confident that no matter your understanding the theatrics will sway you. The human element of John Carter exists behind even the most CG-ified alien creature and that's what keeps us on board.
If there's any misstep it's in the casting of Kitsch a fully capable action hero unconvincing as survivor of the Civil War. Kitsch feels pulled from present day but John Carter needs to be a Confederate soldier in more than name. Kitsch is up to the task of ripping up white apes with giant steel blades or jumping over armies of raging Tharks but in scenes of introspection or humorous back-and-forths he loses footing. The real star is Collins as Dejah Thoris who nails the epic qualities of reciting enjoyably ridiculous Martian-speak. She stands out even in the blinding desert sun and even when decked out in over-the-top boobage costuming manages to deliver a compelling and rousing performance. Doesn't hurt that she knows her way around a swordfight or two.
With John Carter moving at lightning speed investing in the film's handful of characters becomes a difficult task but talented folk like Willem Dafoe and Samantha Morton bring zest to characters on par with James Cameron's Avatar creations. And with such a strong background in animation it's no surprise that Woola John Carter's scrappy space dog sidekick is as realized and tangible as the rest of the gang. The scrappy six-legged critter adds humor to John Carter born completely out of the moment. Don't confuse this with the Star Wars prequels—nothing cutesy or ham-fisted here.
A streamlined John Carter would have really popped but as a first live-action effort for Stanton the fill is still something to behold. With breathtaking design sweeping action and a score by Lost Star Trek and Pixar vet Michael Giacchino that finds perfect balance between Lawrence of Arabia and Indiana Jones the film works as an immersive cinematic experience that will have you "ooo-ing" and "aaa-ing." If you step into John Carter you'll likely find yourself transported to another world—it beats trying to find a magic cave.
Based on newspaper columnist John Grogan’s best-selling book about his life Marley & Me is a study of a married couple who happen to own one of the more destructive Labradors known to the canine species. From the minute newlyweds John (Owen Wilson) and Jenny Grogan (Jennifer Aniston) pick out Marley from a pen of cute Lab puppies they realize something’s up when the seller says they can have him for a discounted price. Soon it becomes very apparent Marley is un-trainable as he proceeds to jump and climb and chow down on anything he can. Still John and Jenny fall for the mutt and as their family begins to grow as they change jobs have babies move to new places Marley remains a constant fixture. For better or worse. This marks a sort of comeback for its stars. For Jennifer Aniston it’s a way to clear up all her past movie mistakes. Her portrayal of a woman coping with job marriage kids -- and dog who barks at the garbage truck waking up her napping young children at the wrong times -- shows just how mature she has gotten as an actress. Owen Wilson too has matured and proves he’s good at his craft playing John with equal measures bemusement and joy at how his life turned out. And the two are genuinely convincing as a married couple without any of the clichés. Wilson and Aniston have both had to take a hard look at themselves personally but they seem to have come out stronger on the other side. Also good is Grey’s Anatomy’s Eric Dane as John’s journalist buddy Sebastian an investigative reporter John envies at times. As for the 22 or so dogs who played Marley well director David Frankel (The Devil Wears Prada) should get a medal handling all that canine behavior. He manages to manipulate the camera to get the just the right “worst dog in the world” moments with Marley. Or he may have just pointed the camera at the dog and let the dog handler yell “Go for it!” Either way the dog tugs at your heartstrings. But audiences should know Marley & Me isn’t just a movie about the life and times of an adorable dog contrary to how the studio is marketing it. This is about a marriage and family and all the ups and downs that entails -- and how a beloved pet can be an integral part. If you plan on bringing young kids be warned it might not be a life lesson they need to learn just yet.
Say have you heard the one about the troubled family that forsakes the trials and tribulations of city life for a bucolic new life on a rustic farm out in the middle of nowhere? It’s never a good idea to move into a house when the previous residents of said farm vanished without a trace—and it’s still not a good idea here. Soon teenager Jess (Kristen Stewart) and her three-year-old brother begin seeing ominous apparitions invisible to everyone else. When those specters become violent Jess' sanity is questioned--a double jeopardy for the tormented teen. Stewart Jodie Foster’s endangered daughter in Panic Room is appropriately moody and plucky as the terrorized teen whom no one believes. Penelope Ann Miller and Dylan McDermott are both suitably dense as Mom and Dad with twins Evan and Theodore Turner suitably spooky as the wide-eyed baby brother who can see everything. X-Files regular William B. Davis sans cigarette drops in a couple of times as the local real-estate agent and a grizzled John Corbett plays a shotgun-toting farm hand who the family hires with surprisingly little hesitation. There’s only so much the actors can do with the material and they pretty much do it. Directors Danny and Oxide Pang veterans of such popular Asian scarefests as The Eye and Ab-normal Beauty know their way around a scare and The Messengers has some decent jolts along the way. Ultimately however the peskiest of all problems – the plot – tends to get in the way. As the story pieces fall into place the film itself tends to fall apart. In addition this is yet another horror film that has been given a box-office-friendlier PG-13 rating (in the February issue of Fangoria co-star Corbett makes his displeasure known about this issue). This is the Pang brothers’ first stateside project and despite their stylistic touches there’s an unmistakable sense of selling out.
Joe Bowers (Luke Wilson) is about as average as one can get. He’s an electrician working for the Army doesn’t have any family. In other words he is perfect for playing a guinea pig in the government's new Human Hibernation Project. Joined by Rita (Maya Rudolph) a street-smart hooker who needs to hide out for a while they are to be kept on ice and revived a year later. But when they awaken they find out that they're almost a thousand years into the future. The project was forgotten and scrubbed their hibernation pods became landfill--and now Bowers is the smartest man on Earth. They meet Dizz (Dax Shepard) who's addicted to a lounge chair a bungling doctor (Justin Long) and the president/pro-wrestler (Terry Crews). Guess this means prognosticators--hoping for a better more intelligent future--are dead wrong.. Idiocracy effectively becomes a bunch of one-liners spliced together which really doesn’t do any of the comic talent justice. Still all the performers play rather believable idiots. Wilson turns on his easy-going charm as the least dim-witted bulb in the bunch (but never quite gets what Rita does for a living). The affable actor always shines brighter in a movie that doesn’t have “romantic comedy” in its description. Rudolph does her usual Saturday Night Live shtick while Long (Accepted) as the doctor who checks people in and out as if they were in a Jiffy Lube is hysterical even if the one-note hospital gag gets a tad tiresome. Crews is also pretty clever in his role as the dunderhead president who can't figure out how to save his planet from starvation. Why haven't you heard about this movie? Well that's the true Idiocracy. Fox seems to have rushed this little gem out failing to promote it in anyway much like they did with the cult hit Office Space. Ironically both are directed by Mike Judge (of Beavis and Butthead fame). Judge has put his finger on the pulse of what's wrong with this world and gives a bleak social commentary about our future. For example his version of the classic film of the future is a giant naked butt expelling intermittent gas every few minutes. That kind of fart film is the wave of this future run by live-action Beavis and Buttheads. Maybe Judge means to say that the people of Idiocracy’s future--who watch the Masturbation Channel and Fox News (yes that survives) and shop at stores bigger than small cities--are the descendants of those who run the studios today. Or maybe not.