As devourers of pop culture we're quick to categorize our entertainment for our own safety. Comedy drama thriller sci-fi horror—everything we have the chance to consume has a label to ensure that we know exactly what we're getting.
Occasionally a movie defies classification. While not a revolutionary piece of cinema 50/50 is especially gratifying simply because of its abandonment of genre and the baggage that comes with owning one. The movie starts with a simple inciting incident: one day 27-year-old Adam (Joseph Gordon-Levitt) learns that he has a life-threatening tumor growing on his spine. Of course the news doesn't sit well with the public radio producer who's in the middle of work on an exciting piece for his station just adjusting to living with his girlfriend Rachael (Bryce Dallas Howard) and sees his life as a lengthy exciting prospect. Adam never smokes he waits to cross the street he always tucks his shirts in and keeps his sweater vests tidy—what did he do to deserve this?
But Adam doesn't go on a quest to find his true self or spend days writing a bucket list. He lives his life—and its friends and family who feel the tremors of his disease. Rachael quickly finds herself off balance and unable to cope with Adam's situation while his mother Diane (Anjelica Huston) tries to coddle him finding a new opportunity she never found with her Alzheimer's-stricken husband. His co-workers throw him a guilt-induced party.
At a total loss Adam finds comfort in his pal Kyle (Seth Rogen essentially playing himself) who uplifts his spirits through dedication marijuana and loose women. Nothing seems to out-weigh the punch-in-the-gut feeling of losing his hair to chemotherapy or barely being able to walk around his house without feeling winded but Adam stays afloat thanks to Kyle's incessant goofiness and a newfound friendship in his therapist Katherine (Anna Kendrick). Equally out of water in her new job the two bond over their discovery of humanism in the scientific process of beating cancer and while the growth of their relationship is one of the few things in the film that feels remotely contrived it gives Adam hope in the face of his possibly-fatal surgery.
50/50 isn't sugar sweet nor is it stone cold serious. Director Jonathan Levine allows the events to unfold in a unique and reserved realism allowing the movie to bounce from laugh-out-loud funny (thanks in a large part to Rogen's star talent in a supporting role) to tearjerker drama without any broad segues. Gordon-Levitt has established himself as one of modern cinema's best watchers the type of actor who can float through a picture without making too much a ruckus but who's identifiable and helps us understand his surroundings. But he fits right in to the Apatow-style comedy Rogen and Levine conjure up throughout the movie. In one scene Adam chows down on some pot brownies courtesy of his elderly chemo-mates (Philip Baker Hall and Matt Frewer) leading him to groove around the hospital hall spaced out and loving it. It's an uproarious moment but poignant too—finally Adam can let go of a bit of his grief.
Providing a foundation for 50/50's minimalist tactics are the supporting cast. Howard once again proves her versatility turning an unsympathetic character into a dimensionalized presence. What Rachael does in the film isn't admirable but thanks to Howard's performance not entirely unreasonable. Huston and Kendrick are strong and grounded enough that when Adam begins to check out of life as surgery looms they don't disappear from the film. But it's Rogen who really steals the show perhaps because his friend and 50/50 writer Will Reiser based the movie on their real life experiences but the comedy-first actor steps up later in the film when the weight of reality starts to bring everyone down.
50/50 isn't a comedy or a drama but a portrait of real people surviving real hardships. Shedding a few tears over the course of the film is perfectly acceptable—the jokes are that funny and the emotion that powerful.
Source: Production Weekly
When Stanley Kubrick comes up in conversation, one thinks fondly of the iconic characters and twisted narratives he conjured during his long spanning career that ironically produced just a dozen features. But what if there was a 13th film from the uncompromising auteur? Sadly, we'll never know what Lunatic at Large would have been had Kubrick set out to adapt pulp author Jim Thompson's treatment from the 1950's, but thanks to a pair of 2010's biggest stars, the lost project may actually get made.
Production Weekly reports that Sam Rockwell and Scarlett Johansson are in early negotiations to topline the film as Johnnie Shephard and Joyce, respectively, an ex-carnival worker with serious anger-management issues and a nervous, attractive barfly he picks up. According to the trade, Kubrick's son-in-law Philip Hobbs unearthed the misplaced treatment in 1999 when rummaging through items from the late filmmaker's estate. It has been in development since then, with various producers (including American Psycho & Wall Street's Edward R. Pressman) taking stabs at getting it off of the ground.
Now, with the stars of this summer's sure hit Iron Man 2 attached to the project, it may actually happen, though the most important element of the production - a competent director ready to handle the dark material - is still missing. We'll be following this project as it makes its rounds through the business this year, but in the meantime, whet your appetite with this 2006 description of the script:
Set in New York in 1956, it tells the story of Johnnie Sheppard, an ex-carnival worker with serious anger-management issues, and Joyce, a nervous, attractive barfly he picks up in a Hopperesque tavern scene. There’s a newsboy who flashes a portentous headline, a car chase over a railroad crossing with a train bearing down, and a romantic interlude in a spooky, deserted mountain lodge.
The great set piece is a nighttime carnival sequence in which Joyce, lost and afraid, wanders among the tents and encounters a sideshow’s worth of familiar carnie types: the Alligator Man, the Mule-Faced Woman, the Midget Monkey Girl, the Human Blockhead, with the inevitable noggin full of nails.
Playing second fiddle to a more famous sibling can be rough. Just ask Fred Claus (Vaughn) a regular guy who has had to grow up under the shadow of his little brother Nicholas Claus (Paul Giamatti) aka Santa. That’s a big shadow to say the least both figuratively and literally. As an adult Fred has pretty much steered clear of his family but when he finds himself in dire need of some fast cash he calls his brother. Pleased as punch to hear from him Nicholas nonetheless makes him a deal: If he comes up to the North Pole for a visit and to help out the few days before Christmas then Fred can have the money. Fred reluctantly agrees and soon he’s being whisked off in Santa’s sleigh by head elf Willie (John Michael Higgins). But once Fred gets to the North Pole nothing seems to go right and soon he is the cause of much chaos--which unbeknownst to Fred causes Nicholas even more stress since his North Pole operation is one step away from being shut down by a cold-hearted efficiency expert (Kevin Spacey). Can Fred quit being bitter in time to save his brother’s livelihood? Of course he can. Hmmm Vince Vaughn minus the R-rated Wedding Crashers/Old School irreverence? It’s a stretch. Seeing the comic actor playing it PG is a little weird but you might enjoy how Vaughn infuses his unique energy into Fred Claus. From getting all the elves to boogie down in Santa’s workshop to going on one rant after another (on his brother: “He’s a clown a megalomaniac a fame junkie!”) to pilfering money on the street and then being chased by Salvation Army Santas it’s all good. Giamatti too seems a little out of his comfort zone as the saintly St. Nick. The actor who usually plays such endearing sad sacks has already played against type to great effect this year as the maniacal bad guy in Shoot ‘Em Up but he isn't nearly as successful in doing the flipside of that in Fred Claus. And what the hell is Kevin Spacey doing in this? As the villain of the film he fills the shoes nicely but he is almost too good at it (natch) for such a feel-good family film. Even Higgins--a character actor who is usually so hilarious in films such as The Break Up and all of Christopher Guest’s movies—has to shed the cheekiness and sugar himself up for Fred Claus. There’s also Rachel Weisz as Fred’s beleaguered girlfriend (you heard right) and Kathy Bates as the Claus boys’ mother who always sees Fred as inferior to her other son to fill out a cast of big names doing family fare. Director David Dobkin is a Vince Vaughn favorite having directed him in Wedding Crashers and Clay Pigeons but like his muse Dobkin seems a little out of place guiding this material. Granted Dobkin creates a pretty magical North Pole complete with an entire city of little dwellings a Frosty Tavern and a huge domed Santa’s Workshop. The montage of Fred delivering presents on Christmas Eve—falling down chimneys stuffing cookies in his face zooming around in the sleigh—is also well done. But overall Fred Claus is a Vaughn vehicle—even as sugary sweet and family-friendly as it is--and all Dobkin really does is turn the camera on and let the man do his stuff. Dan Fogelman's script is also so very bland full of any number of holes and only picks up once Vaughn starts to improvise. Bottom line: If you’re looking to take the kids to a sweet Christmas movie and are a Vince Vaughn fan then Fred Claus is for you.
Wonder what Hannibal Lecter (Gaspard Ulliel) was like as a boy? Well even as a youngster he had a keen interest in (eating) human anatomy but as we see in Hannibal Rising he wasn’t born a cannibal. It all started in World War II Lithuania where a young Hannibal is left an orphan after he watches his whole family die at the hands of war criminals. In the eight years that pass only the hope of revenge has kept him afloat. After escaping the orphanage at which he was bullied Hannibal finds his uncle’s Japenese widow Lady Murasaki (Gong Li) who lives in a similarly lonesome state. They strike up a very close bond in which she helps him tap into the memory of his family’s death--most importantly and painfully his young sister’s--while he more or less let’s her live. Not the case for those who wronged him but hot on Hannibal’s murderous trail is a French inspector (Dominic West) who both sympathizes with and greatly fears the madman-child Lecter. And given that Anthony Hopkins has thrice played a grown-up Hannibal and Brian Cox once everyone should know how this prequel ends. With Anthony Hopkins having lent his unmistakable visage to his now iconic Lecter no actor would be given a fair chance to do the same for a young Hannibal. Ulliel (A Very Long Engagement) often tries his darndest to contort his makeup-scarred face so that it alone will frighten viewers but an actor either looks like a psychopath or doesn’t; Hopkins with the utmost respect looks like a straightjacket escapee whereas Ulliel looks like an over-exerting actor. Forced scowl aside he’s creepy as a near mute in the movie but it’s almost impossible to believe that this is the young man who would go on to become Hopkins’ Lecter. Li (Miami Vice) looks incredible and easily 20 years younger than her actual age. She does what she can with her mysterious and emotionally stunted Lady Murasaki but it’s an odd character to begin with. In a supporting role Englishman West (HBO’s The Wire) adds a needed subtle performance and fits well alongside the past lawmen in the Hannibal series and Rhys Ifans as a villain continues his trend of unpredictable role choices. Hannibal Rising is astonishingly the fifth installment in a franchise that truly lost its luster after Silence of the Lambs and the neglected Manhunter. Of course the franchise is only kaput if the latest doesn’t make enough money but this should have been stopped years ago—at least as a movie series. As novels the saga is much more sustainable because author Thomas Harris who makes his Lecter screenplay debut with Rising can get away with murder (no pun intended). But while Rising is far from over the top director Peter Webber (Girl with a Pearl Earring) and Harris can’t make the movie nearly as tense as any of its novel or film predecessors. Webber is an editor-turned-director and it shows: The film is masterfully shot by Ben Davis (Layer Cake) and put together by the director but once Webber gets down to the movie’s blood and guts (pun intended this time) he can’t deliver much excitement at all. Ultimately Webber takes his restraint too far.
Based on E.B. White’s enduring children’s story we meet Wilbur the Pig (Dominic Scott Kay) a runt who is saved from the axe by a little farm girl named Fern (Dakota Fanning). She raises Wilbur from infancy but eventually she has to send Wilbur over to her uncle’s neighboring farm since there’s no room for a pig in her house. There in the barn Wilbur meets the assortment of colorful animal characters: Betsy (Reba McEntire) and Bitsy (Kathy Bates) two pessimistic cows; motherly goose Gussy (Oprah Winfrey) and her henpecked hubby Golly (Cedric the Entertainer); Samuel (John Cleese) an uptight sheep; the skittish horse Ike (Robert Redford); the self-serving rat Templeton (Steve Buscemi); and of course sweet Charlotte (Julia Roberts) a spider with a heart of gold. When the naïve Wilbur finds out he might be Christmas dinner Charlotte makes a promise to her new friend that she’ll do everything in her power to make sure Wilbur sees the Christmas snow—and everyone ends up helping her out. What could be more fun than to voice a barnyard animal? Winfrey and Cedric’s geese banter is like an old married couple. Cleese gives Samuel the sheep a certain upper-crustiness. Redford is actually pretty funny as a horse who’s deathly afraid of spiders (“I’ll listen to you but I just can’t look at you”). Buscemi is a particularly nice choice as the sneaky rat Templeton who only thinks about filling his belly with food (no typecasting there we swear). For pure comic relief there are also two crows voiced by Andre Benjamin and Thomas Haden Church who just can’t quite get around the whole scarecrow thing. And as Charlotte Roberts has a truly soothing and loving tone sort of how you’d imagine it from the book. As for the human aspect Fanning continues to do what she does best playing Fern with the right amount of youthful innocence spunkiness and determination. Just wondering how we are going to handle it when this amazing little actress grows up and starts doing like adult things. Actually it is sort of a shame they couldn’t get a live-action version of Charlotte's Web made before Babe. Sure there was the 1973 animated cutesy film but a live-action adaptation of this timeless tale really should have been the standard by which all computer-generated talking farm animal movies would follow don’t you think? Instead Charlotte's Web pales ever so slightly in comparison. Oh well water under the bridge. Director Gary Winick (13 Going on 30) still manages to invoke the wonderful and uplifting spirit of the novel keeping faithful to the text in all ways. Visually the film is crisp and flawless in its execution particularly in the beauty and splendor of how Charlotte spins her webs and emotionally hearts will indeed swell and tears will flow. Charlotte's Web is the perfect family movie to inspire the next generation of young readers and viewers as well as for the rest of us who fondly remember the childhood classic.
Based loosely on the 19th century Jules Verne novel 80 Days revolves around two unlikely heroes--the eccentric and reclusive inventor Phileas Fogg (Steve Coogan) and his (French?) valet Passepartout (Jackie Chan). While Fogg's "wacky" inventions actually make a lot of sense to us modern-day folk including his insights on flight electricity (which he has rigged so that light illuminates with a whistle) and even Rollerblades to his turn-of-the-century contemporaries the scientist is a giant crackpot. Desperate to be taken seriously Fogg makes an outlandish bet with Lord Kelvin (Jim Broadbent) the head of the London's Royal Academy of Science that he can circumnavigate the globe in no more than 80 days. Impossible you say? Not to Fogg whose obsession with facts and schedules makes him the perfect candidate for such an adventure. With the ever-faithful Passepartout by his side--who has his own secret reasons for joining in on the fun--Fogg heads out on his frantic heart-pounding journey picking up a third traveler a beautiful French artist named Monique (Cécile de France) in the process. But of course the trip doesn't go exactly as scheduled and Fogg as well as Passepartout learn more than a few valuable life lessons along the way. How sweet. Got a toothache yet?
Jackie Chan knows precisely what works for him. Differing slightly from the 1956 adaptation this 80 Days is all about Passepartout as the story tapers itself to fit Chan's specialties. This means you get to marvel once again at his masterful martial arts skills as well as chuckle at his innate sense of physical comedy. As another perfect straight man to Chan's Chinese sensibilities and kung-fu shenanigans Coogan (24 Hour Party People) also does a nice turn as the befuddled and veddy British Fogg while the lovely de France as Monique breathes some fresh air into her ingénue role (and is much more substantial to the plot than the original's Shirley MacLaine who played an Indian princess). Broadbent is adequately sleazy as the pompous Lord Kelvin full of as much hot air as the balloon Fogg and company take a ride in. But 80 Days's extensive list of cameos is the most fun--from Owen and Luke Wilson as the bickering Wright brothers to Rob Schneider as a malodorous San Franciscan hobo to Arnold Schwarzenegger as a Arabian prince (please tell me he made this before he became California's governor). Plus any movie in which Kathy Bates plays Queen Victoria British accent and all has got to be worth seeing .
Minus all the silly songs 80 Days is splashy family fare reminiscent of such films as Willy Wonka and the Chocolate Factoryand the original 1967 Doctor Dolittle (you know the one with a giant pink sea snail). Supported by glorious sets and costumes director Frank Coraci (The Wedding Singer) clearly loves the fanciful adventure of it all creating colorful transitions from one place to the next as Fogg Passepartout and Monique traverse across the globe. But there's always an inherent problem with films of this nature--they tend to be long-winded. The 1956 version of 80 Days which even with a stellar cast including David Niven and Cantinflas drags quite a bit. But with a feisty martial arts expert in the mix this updated 80 Days maintains its momentum for the most part only losing steam towards the end especially after the whole Passepartout subplot in which he has to return a priceless Buddha to his Chinese village is resolved. Suddenly the film becomes just about the race back to London and less about fighting off evil Chinese assassins. Honestly we don't care much about how an uptight British inventor can build a plane out of a boat that will get him back to his final destination in time so he can give a monologue about how his adventure afforded him to make new friends and fall in love. If it's a Jackie Chan movie it's the awesome fight sequences we want to see.