Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
Louis Leterrier’s remake of Clash of the Titans the 1981 cult favorite that fused Greek mythology with sci-fi theatrics is a grand experiment in the ancient art of alchemy a big-budget attempt to spin fanboy nostalgia for a 30-year-old novelty into contemporary box-office gold. The main ingredients in this ambitious concoction are a potent arsenal of CGI weaponry and the star of the biggest movie ever Sam Worthington who inherits Harry Hamlin’s role as the heroic Perseus. But it’s what’s missing from the formula that ultimately dooms this remake.
Clash of the Titans redux mimics the original film’s epic ethos and preference for spectacle over all else but its storyline differs dramatically. Perseus is still the half-breed product of a one-night stand between the god Zeus and a human hottie and he still must to defeat the monstrous Kraken in order to save the lovely Princess Andromeda. Almost everything in between however has been altered — and not necessarily for the better.
The new version casts the Greek city of Argos as the primary battleground in a proxy war fought by dueling Olympian superpowers Zeus (Liam Neeson) and Hades (Ralph Fiennes). Born of a god but raised by and partial to humans Worthington’s Perseus battles not for the hand of Andromeda (Alexa Davalos) — as Hamlin’s character did — but instead for the people of Argos who stand to perish along with their princess at the hands of the dreaded Kraken. The film’s love story if it can be called that consists of the briefest of flirtations between Perseus and Io (Gemma Arterton) his self-appointed spiritual guide. (Cursed with immortality by the gods Io’s been secretly watching him all his life — which ostensibly makes her a glorified stalker.)
This detail is a small but crucial one. Strong-willed Perseus braves an obstacle course of giant scorpions gorgons and other horrors laid out for him by the wheezy fiend Hades but it’s never quite clear why he bothers with it all since what’s at stake is a princess he isn’t particularly interested in and a community of people he doesn’t really know — and who frankly don’t seem all that worth saving. His deadbeat dad up on Mount Olympus certainly isn't worth dying for nor are the battlefield compatriots he met barely a week prior. And while I’m sure that a few inviting glances from Gemma Arterton are positively delightful I wouldn’t risk being doused in flesh-eating scorpion venom for them.
This narrative oversight triggers a drain in enthusiasm that persists throughout the film. For a movie so epic in scale Clash of the Titans makes for a disappointingly bland ride. Leterrier’s CGI set pieces are at times magnificent but they’re proffered in the service of weak story filled with characters whose motivations are either unclear or unconvincing. During the film’s climax when Neeson’s Zeus utters the portentous words “Release the Kraken ” what should be an emotional high point instead feels perfunctory and anticlimactic. The only excitement it spawns comes from the knowledge that the end is mercifully imminent.
Spanning from WWI to the 21st century Eric Roth’s screenplay (based loosely on a 1922 short story by F. Scott Fitzgerald) tells the unique story of a man named Benjamin Button (Brad Pitt). He is born in New Orleans as a very old baby the equivalent of a man in his 80s who then ages backward into youth over the better part of a century. The film is told in flashback by a very old dying woman Daisy (Cate Blanchett) who recounts her tale to her daughter (Julia Ormond) from a hospital bed during Hurricane Katrina. Left on the doorstep of a retirement home one night by his father (Jason Flemyng) Benjamin is brought up by Queenie (Taraji P. Henson) who runs the place. While there he meets a young girl Daisy who will become a key figure -- romantically and otherwise -- in his life. Ben does have some grand adventures: He goes to work on a boat sees sea battles during WWII finds love with an older married woman (Tilda Swinton) -- and gets progressively younger as the decades fly by. It all manages to be alternately haunting romantic funny epic emotional and incredibly moving and will likely to stay with you a lifetime. Brad Pitt manages to deliver a thoughtful and subtle performance through all the special effects makeup and CGI. He does so much just by using his eyes. Cate Blanchett is equally fine as she plays Daisy from a teenager to an old woman and matches Pitt in bringing an entire lifetime skillfully to light. Her aging makeup is completely natural and she’s very moving in the hospital scenes opposite Ormond. Henson is just marvelous as Queenie a warm and understanding soul. Swinton is elegant and memorable in her few crucial encounters with Ben and plays beautifully off Pitt. Jared Harris (TV’s The Riches) as the colorful Captain Mike who hires Ben on his tug boat and Flemyng (The League of Extraordinary Gentlemen) as Ben’s father are also effective in their brief screen time. Interestingly Benjamin Button has been gestating for decades in the Hollywood firmament but needed time for the proper technology to catch up to it. Director David Fincher (Zodiac Fight Club) with his early background at George Lucas’ ILM proves to be the perfect choice to marry a compelling story with spectacular visual effects achievement. He did not want to do the film unless the technology allowed one actor to play the role throughout the course of the film. Remarkably they were able to achieve this superimposing Brad Pitt’s face and eyes into all the incarnations of Ben Button. In one sequence Pitt looks just like he did in Thelma and Louise. It’s an amazing feat. He has seamlessly created a unique universe without ever bringing attention to it advancing the art of screen storytelling leaps and bounds ahead of everything else that has come before. Benjamin Button is a plaintive and provocative meditation of life death and what we do while we are here. It’s the stuff of dreams.
Nate Johnson (Cedric the Entertainer) an insurance agent thinks it would be a great idea to take his estranged wife and three children to his family reunion in Missouri by car from California. Nate's motives are sincere enough: He is separated from his wife Dorothy (Vanessa Williams) who has custody of teenagers Nikki (Solange Knowles) DJ (Bow Wow) and Destiny (Gabby Soleil) and hopes the road trip will help them bond as a family and with any luck re-ignite that loving feeling with the mother of his children. But everything that can go wrong does even before the trip begins. Nate brings his SUV into the shop to have an 8-track tape player installed in order to listen to his old Motown classics but what he gets is something straight out of MTV's Pimp My Ride although not even West Coast Customs would do something this gaudy. Off they go in their Burberry-outfitted low-rider Lincoln Navigator complete with four TVs and 26-inch Spinners. Vehicle with up-to-the-minute gadgetry notwithstanding the Johnsons encounter every clichéd road trip disaster including running out of gas and needing a pay phone. It's hard to figure out what's more trite--the journey to Missouri or what happens when they actually get there.
Cedric the Entertainer's trademark observational comedy which made him stand out as a cast member of The Steve Harvey Show simply isn't enough to carry an entire film. Cedric is truly the only funny thing Johnson Family Vacation has going for it and he has a few gags that are simply hilarious including a scene in which he bans CDs from artists who have been shot like Tupac Shakur and Notorious B.I.G. from being played in the car. Imagine his dismay when his wife points out that also includes Marvin Gaye "who was shot by his daddy--twice." But the comedian's arsenal of jokes--no matter how witty--do not a story make. Speaking of wasted talent the casting of stunning Williams as Nate's wife Dorothy is quite baffling. While Cedric the Entertainer could be married to someone this hot poor Nate probably couldn't. Nonetheless the quick-witted Williams holds her own next to one of the Original Kings of Comedy. Seventeen-year-old Bow Wow has worked hard to prove that he's not just a flash in the pan--and it's worked for the most part. He proved with Like Mike that he can act but the role of DJ here gets buried in this lousy film.
Christopher Erskin who makes his directorial debut here delivers a mess of a movie despite having squeezed out everything he could from his stars. Visually the sets resemble skits on a TV variety show rather than professional feature film sets the worst being the sequences where the family is in the SUV--almost half the entire film. To wit: you see them driving with the same scenery in the background--it's like in the The Flintstones when Fred would drive past the same palm tree next to the same rock house again and again. You can't help but picture the actors sitting in the Lincoln Navigator prop car in front of a large blue screen windows rolled down with a wind machine pointed at them. Matching the abysmal visuals are writers Todd R and Earl Richey Jones' ill-paced script. The film drags as the Johnson family encounters unoriginal setbacks and the end is not even a payoff; it's punishment. See the film doesn't end when family finally reaches Missouri: Moviegoers must the sit through the actual reunion and the Johnson family's Brady Bunch-style musical performance costumes and all. The only moment of brief relief is Steve Harvey's guest appearance as Nate's brother. But wait! It doesn't even end then--we have to follow the family back home to California.
Top Story: Madonna Turns Book Into Toys
Ever-enterprising Madonna has signed a deal with Signatures Network Inc. to develop toys based on her hit children's book The English Roses, The Associated Press reports. The toys will include dolls, apparel, accessories, cosmetics, stationery, room décor and back-to-school products aimed at preteen readers. "I'm excited about the opportunity to develop a range of beautiful products that will complement the book and continue to spread its positive messages to children," the pop diva told AP. The book has been printed in 30 languages, released in over 100 countries and became the largest children's book release in publishing history with a first printing of 1 million copies, AP reports. The Roses products begin rolling out in early 2004.
Limbaugh Dives Back Into Airwaves
Conservative broadcaster Rush Limbaugh, who left the airwaves five weeks ago to treat an addiction to prescription painkillers, will pick up the microphone once again to continue his daily radio show. Reuters reports Limbaugh plans to resume his regular schedule starting on Monday, Nov. 17. He told his listeners Oct. 10 he needed to take some time off to get cleaned up and also acknowledged that he was the subject of a criminal investigation but gave no further details, Reuters reports.
Downey Jr. To Wed
Looks like Robert Downey Jr. is heading down the aisle again. According to Access Hollywood, the 38-year-old star will wed producer girlfriend Susan Levin. The two met earlier this year on the set of Downey's upcoming thriller Gothika, also starring Halle Berry, on which Levin received a producing credit. Downey told USA Today, "She has a real life, and she's really organized. It's really cool."
Senate Dives Into Piracy Issue
A bipartisan Senate duo, Sens. John Cornyn from Texas and Dianne Feinstein from California, have sponsored the Artists' Rights and Theft Prevention Act as the latest attempt by lawmakers to address some of the problems created by copyright piracy, Reuters reports. The legislation, introduced Thursday, would make it a felony to use a camcorder to record a motion picture in a theater and make it easier to prosecute people who illegally distribute copyrighted material before its legitimate release.
Shanghai Next Disney Theme Park Destination
Further attempting to open China to the Western world, city officials in Shanghai, China, are in talks with the Walt Disney Co. to bring a theme park to the area in 2010, Reuters reports. "The parties are still holding talks and if everything goes smoothly, we hope to open a Disney theme park around 2010," Li Wei, an official with the Shanghai government's information office, told Reuters. Disney, however, has stated the ongoing construction of its Hong Kong theme park is its first priority, which opens in 2005/2006.
Franken Contemplates Senate Run
Political satirist Al Franken, whose latest book, Lies and the Lying Liars Who Tell Them, is selling like hotcakes, is considering moving back to his home state of Minnesota and running against Republican Sen. Norm Coleman in the 2008 Senate race, AP reports. "It's a long way away, five years away," Franken told the Minneapolis' Star Tribune this week. "It might be crazy. I might not be the best candidate. Part of this is seeing what happens next year and what direction things are going."
John Ritter's Mother Dies
Actress Dorothy Fay Ritter, best known for starring B-movie Westerns of the '30s and '40s and mother to the late John Ritter, died Nov. 5 of natural causes in Los Angeles. She was 88.
Role Call: Freeman Could Be "Champ"
Rod Lurie has signed on with Paramount Pictures to rewrite and direct the drama Resurrecting the Champ as a possible starring vehicle Morgan Freeman. According to Variety, the story centers on a 30-year-old sports reporter whose desperation for a big story leads him to track down a homeless man he believes was once a famous fighter. The journalist and the reluctant subject form a father-son-type bond as the writer chronicles the boxer's heartfelt story. When it turns out the subject wasn't completely honest about his identity, the writer loses his job.