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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In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
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.
The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.
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.