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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I know, that headline is trouble. You're always treading dangerous ground when you insist on defining what makes a good this or the right kind of that, as if there is no room for change or improvement when it comes to classic properties. Of course there is — Jason Segel's 2011 Muppet film approached the concept from an entirely different direction. It didn't hit all of its marks, but it prevailed overall in its conceit: make a movie not about Muppets, but about Muppet fandom. But Muppets Most Wanted, in absence of a clear mission statement and fueled largely by the monetary glimmers of the sequel game (the film's opening number admits this outright), has fewer marks readily available to hit. Landing in the ambiguity between the classic Muppet adventure formula and Segel's post-modern Henson appreciation party, Most Wanted feels like a failure on both counts. It doesn't know which kind of movie it wants to, or should, be. So it doesn't really be anything.
On the one hand, there's the half-cocked "get-the-band-back-together" through line, mimicking but not quite accomplishing the spirit of the 2011 picture. None of the Muppets are particularly likable or charming in this turn, and even fewer of them actually given anything to do. Kermit loses his s**t in the first act after a spat with Piggy and a barrage of insubordination from his troupe (provoked by the nefarious Dominic Badguy, Ricky Gervais), storms off in a huff, and gets swept up in a case of mistaken identity when his criminal doppelganger Constantine pulls the old switcheroo, landing Kermit in a Russian gulag. You'd think this would be a good opportunity for the second tier of Muppet favorites — Piggy, Fozzy, Gonzo, Scooter, Rowlf, et al — to go on a search and rescue... but save for a very brief sequence at the tail end of this achingly long film, none of the other Muppets are giving anything to do. They just hem and haw and perform the occasional "Indoor Running of the Bulls" while Dominic and Constantine scheme, rob banks, and bicker.
Meanwhile, Kermit has some fun in prison — a far more endearing plot that sees him befriending the merry convicts, organizing a penitentiary revue, and even winning the heart of the vicious warden Nadia (Tina Fey). If only we could spend more time with real Kermit and less time with fake Kermit and his second banana Gervais, an effectively boring pair.
On the other hand, though, there's the Muppet shtick that fans of The Great Muppet Caper and Muppet Treasure Island — and yes, The Muppet Show itself — will deem the movie's best material: CIA Agent Sam Eagle and Interpol Agent Jean Pierre Napoleon (Ty Burrell) hot on the trail of Constantine and Dominic. Here, we get a different type of Muppet movie entirely from what Segel and the A-plot in Most Wanted are opting: the old fashioned vaudeville act, with Sam standing as an independent entity from his googly-eyed brethren, on a goofy, musical prowl with Burrell that fuels the film with its best and most consistent chuckles. Their "Interrogation Song" number is outstanding, exemplifying the many talents of Flight of the Conchords' Bret McKenzie, who wrote all the music for this and the previous film.
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Unfortunately, Muppets Most Wanted isn't sure that it wants to be The Great Muppet Caper, beheld so stubbornly to its Segelian roots. There's a palpable compulsion to stick with this agonizingly self-aware, nostalgia-crazy, brimming-beacons-of-the-past-in-a-callous-today theme that doesn't work a fraction as well as it did in the 2011 film. Without a legitimate celebration of any of our favorite characters, how could it? With so much going on in this movie, and such a lengthy runtime at just under two hours, it's a sure sign of failure that we walk away feeling like we spent barely any time with the Muppets.
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Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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As if we needed any more proof that America was mad for the CIA in 2012, Saturday night's Producers Guid Awards gave further credibility to the mania by handing out some of its highest honors to Ben Affleck's fake-CIA-movie film, Argo and Showtime's jazzy runaway hit, Homeland.
The guild's 24th annual awards for excellence in film, television, and digital media were announced during a ceremony at the Beverly Hilton. Argo's snapping up of top film honors (the Darryl F. Zanuck Award) puts it at the forefront of the Oscar race for Best Picture. The PGAs have a fairly decent track record when it comes to selecting the film that takes home Academy Award gold — 73% accuracy, to be exact, which includes the 5-year streak the Guild has been on since 2008.
Homeland secured itself yet another gold for Best Drama Series during the night as well, reminding us all (yet again) that we love a jazzy biopolar super-CIA-genius more than anything else. (Especially if it involves Mandy Patinkin!) For an agency so shrouded in secrecy and mystery, it sure is popping up in our entertainment a heck of a lot.
But there was more than just covert operations and genius secret agents winning awards: both Brothers Weinstein (Bob and Harvey) accepted the Milestone Award in a teary-eyed speech from presenters Quentin Tarantino, Robert De Niro, and Robert Rodriguez. Future Star Wars helmer J.J. Abrams also accepted an award of his own: the Norman Lear Achievement Award. Not too shabby for a man with undoubtedly much of his already-impressive career still ahead of him
Check out the full list of winners, below!
Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures
Argo (Warner Bros.)
Producers: Ben Affleck, George Clooney, Grant Heslov
Outstanding Producer of Animated Theatrical Motion Pictures
Wreck-It Ralph (Walt Disney Studios Motion Pictures)
Producer: Clark Spencer
Outstanding Producer of Documentary Theatrical Motion Pictures
Searching For Sugar Man (Sony Pictures Classics)
Producers: Malik Bendjelloul, Simon Chinn
Norman Felton Award for Outstanding Producer of Episodic Television, Drama
Producers: Henry Bromell, Alexander Cary, Michael Cuesta, Alex Gansa, Howard Gordon, Chip Johannessen, Michael Klick, Meredith Stiehm
David L. Wolper Award for Outstanding Producer of Long-Form Television
Game Change (HBO)
Producers: Gary Goetzman, Tom Hanks, Jay Roach, Amy Sayres, Steven Shareshian, Danny Strong
Danny Thomas Award for Outstanding Producer of Episodic Television, Comedy
Modern Family (ABC)
Producers: Cindy Chupack, Paul Corrigan, Abraham Higginbotham, Ben Karlin, Steven Levitan, Christopher Lloyd, Jeff Morton, Dan O’Shannon, Jeffrey Richman, Chris Smirnoff, Brad Walsh, Bill Wrubel, Danny Zuker
Outstanding Producer of Non-Fiction Television
American Masters (PBS)
Producers: Prudence Glass, Susan Lacy, Julie Sacks
Outstanding Producer of Competition Television
The Amazing Race (CBS)
Producers: Jerry Bruckheimer, Elise Doganieri, Jonathan Littman, Bertram van Munster, Mark Vertullo
Outstanding Producer of Live Entertainment & Talk Television
The Colbert Report (Comedy Central)
Producers: Meredith Bennett, Stephen Colbert, Richard Dahm, Paul Dinello, Barry Julien, Matt Lappin, Emily Lazar, Tanya Michnevich Bracco, Tom Purcell, Jon Stewart
Outstanding Sports Program
Real Sports with Bryant Gumbel (HBO)
Outstanding Children’s Program
Sesame Street (PBS)
Outstanding Digital Series
30 Rock: The Webisodes
[Photo Credit: Gregg DeGuire/WireImage]
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The 2012 Producer's Guild of America Awards are approaching, celebrating both Theatrical Motion Pictures and Long-Form Television with a new batch of nominees that the PGA has just released. Many of the films are no surprise—crossovers with the upcoming Golden Globes nominees abound. For theatrical motion picture include The Artist, The Descendants and Midnight in Paris; nominees for animated theatrical motion picture include Rango and The Adventures of Tintin.
The television nominees also offer some unsurprising names, including Mildred Pierce, Downton Abbey, Parks and Recreation, Boardwalk Empire,Game of Thrones, Mad Men and The Colbert Report.
Darryl F. Zanuck Producer of the Year Award in Theatrical Motion Pictures
Producer: Thomas Langmann
Producers: Judd Apatow, Barry Mendel, Clayton Townsend
Producers: Jim Burke, Alexander Payne, Jim Taylor
THE GIRL WITH THE DRAGON TATTOO
Producers: Ceán Chaffin, Scott Rudin
Producers: Michael Barnathan, Chris Columbus, Brunson Green
Producers: Graham King, Martin Scorsese
THE IDES OF MARCH
Producers: George Clooney, Grant Heslov, Brian Oliver
MIDNIGHT IN PARIS
Producers: Letty Aronson, Stephen Tenenbaum
Producers: Michael De Luca, Rachael Horovitz, Brad Pitt
Producers: Kathleen Kennedy, Steven Spielberg
The Producers Guild of America Producer of the Year Award in Animated Theatrical Motion Pictures
THE ADVENTURES OF TINTIN
Producers: Peter Jackson, Kathleen Kennedy, Steven Spielberg
Producer: Denise Ream
KUNG FU PANDA 2
Producer: Melissa Cobb
PUSS IN BOOTS
Producers: Joe M. Aguilar, Latifa Ouaou
Producers: John B. Carls, Gore Verbinski
The Producers Guild of America Producer of the Year Award in Documentary Theatrical Motion Pictures
BEATS, RHYMES & LIFE: THE TRAVELS OF A TRIBE CALLED QUEST
Producers: Michael Rapaport, Edward Parks (*additional producers eligibility pending arbitration completion)
BILL CUNNINGHAM NEW YORK
Producer: Philip Gefter
Producer: Simon Chinn
Producer: James Gay-Rees
Producers: Cameron Crowe, Michelle Panek
The David L. Wolper Producer of the Year Award in Long-Form Television (Movies of the Week and Miniseries)
CINEMA VERITE (HBO)
Producers: Zanne Devine, Karyn McCarthy
DOWNTON ABBEY (Masterpiece) (PBS)
Producers: Julian Fellowes, Nigel Marchant, Gareth Neame
THE KENNEDYS (ReelzChannel)
Producers: Jon Cassar, Jonathan Koch, Stephen Kronish, Steve Michaels, Michael Prupas, Jamie Paul Rock, Joel Surnow
MILDRED PIERCE (HBO)
Producers: Todd Haynes, Pamela Koffler, Ilene S. Landress, Christine Vachon
TOO BIG TO FAIL (HBO)
Producers: Carol Fenelon, Jeffrey Levine, Paula Weinstein
The Danny Thomas Award for Outstanding Producer of Episodic Television, Comedy:
30 ROCK (NBC)
Producers: Robert Carlock, Tina Fey, Marci Klein, Jerry Kupfer, Lorne Michaels, David Miner, Jeff Richmond, John Riggi, Don Scardino
THE BIG BANG THEORY (CBS)
Producers: Chuck Lorre, Steve Molaro, Faye Oshima, Bill Prady
Producers: Ian Brennan, Dante Di Loreto, Brad Falchuk, Ryan Murphy, Kenneth Silverstein
MODERN FAMILY (ABC)
Producers: Paul Corrigan, Abraham Higginbotham, Steven Levitan, Christopher Lloyd, Jeff Morton, Jeffrey Richman, Dan O’Shannon, Brad Walsh, Bill Wrubel, Danny Zuker
PARKS AND RECREATION (NBC)
Producers: Greg Daniels, Dan Goor, Howard Klein, Amy Poehler, Morgan Sackett, Michael Schur
The Norman Felton Award for Outstanding Producer of Episodic Television, Drama
BOARDWALK EMPIRE (HBO)
Producers: Eugene Kelly, Howard Korder, Stephen Levinson, Martin Scorsese, Rudd Simmons, Tim Van Patten, Terence Winter
Producers: Sara Colleton, John Goldwyn, Chip Johannessen, Robert Lloyd Lewis
GAME OF THRONES (HBO)
Producers: David Benioff, Frank Doelger, Mark Huffam, Carolyn Strauss, D.B. Weiss
THE GOOD WIFE (CBS)
Producers: Brooke Kennedy, Michelle King, Robert King, Ridley Scott, Tony Scott, David W. Zucker
MAD MEN (AMC)
Producers: Jonathan Abrahams, Scott Hornbacher, Andre Jacquemetton, Maria Jacquemetton, Blake McCormick, Dwayne Shattuck, Dahvi Waller, Matthew Weiner
The Award for Outstanding Producer of Live Entertainment & Talk Television
THE COLBERT REPORT (Comedy Central)
Producers: Meredith Bennett, Stephen T. Colbert, Richard Dahm, Tanya Michnevich Bracco, Tom Purcell, Jon Stewart (*additional producers eligibility pending arbitration completion)
THE ELLEN DEGENERES SHOW (Syndicated)
Producers: Mary Connelly, Ellen DeGeneres, Melissa Geiger Schrift, Ed Glavin, Andy Lassner, Kevin A. Leman II, Jonathan Norman, Derek Westervelt
REAL TIME WITH BILL MAHER (HBO)
Producers: Scott Carter, Sheila Griffiths, Marc Gurvitz, Dean Johnsen, Bill Maher, Billy Martin
SATURDAY NIGHT LIVE (NBC)
Producers: Ken Aymong, Steve Higgins, Erik Kenward, Lorne Michaels, John Mulaney
THE 64TH ANNUAL TONY AWARDS (CBS)
Producers: Ricky Kirshner, Glenn Weiss
The Award for Outstanding Producer of Competition Television
THE AMAZING RACE (CBS)
Producers: Jerry Bruckheimer, Elise Doganieri, Jonathan Littman, Bertram van Munster, Mark Vertullo
AMERICAN IDOL (FOX)
Producers: Charles Boyd, Cecile Frot-Coutaz, Simon Fuller, Patrick Lynn, Nigel Lythgoe, Megan Michaels, Ken Warwick
DANCING WITH THE STARS (ABC)
Producers: Ashley Edens Shaffer, Conrad Green, Joe Sungkur, Rob Wade
PROJECT RUNWAY (Lifetime)
Producers: Jane Cha Cutler, Desiree Gruber, Tim Gunn, Heidi Klum, Jonathan Murray, Sara Rea, Colleen Sands
TOP CHEF (Bravo)
Producers: Daniel Cutforth, Casey Kriley, Jane Lipsitz, Dan Murphy, Nan Strait
The Award for Outstanding Producer of Non-Fiction Television:
30 FOR 30 (ESPN)
Producers: John Dahl, Connor Schell, Bill Simmons
AMERICAN MASTERS (PBS)
Producers: Susan Lacy, Julie Sacks
ANTHONY BOURDAIN: NO RESERVATIONS (Travel Channel)
Producers: Christopher Collins, Julie Lei, Lydia Tenaglia, Tom Vitale
DEADLIEST CATCH (Discovery Channel)
Producers: Thom Beers, Jeff Conroy, John Gray, Sheila McCormack, Ethan Prochnik, Bill Pruitt, Matt Renner
UNDERCOVER BOSS (CBS)
Producers: Chris Carlson, Susan Hoenig, Eli Holzman, Sandi Johnson, Stephen Lambert, Allison Schermerhorn
ANDERSON COOPER 360º (CNN)
BBC WORLD NEWS AMERICA (BBC)
NBC NEWS WITH BRIAN WILLIAMS (NBC)
THE RACHEL MADDOW SHOW (MSNBC)
60 MINUTES (CBS)
MONDAY NIGHT FOOTBALL (ESPN)
REAL SPORTS WITH BRYANT GUMBEL (HBO)
SPORTS CENTER (ESPN)
30 FOR 30 (ESPN)
2010 FIFA WORLD CUP (ABC / ESPN / ESPN2)
U.S. OPEN TENNIS CHAMPIONSHIP (CBS / ESPN2 / Tennis Channel)
DORA THE EXPLORER (Nickelodeon)
PHINEAS AND FERB (Disney Channel)
SESAME STREET (PBS)
SPONGEBOB SQUAREPANTS (Nickelodeon)
ASK A NINJA (blip.tv)
THE GUILD (WatchTheGuild.com)
PARKS AND RECREATION PRESENTS: "APRIL AND ANDY'S ROAD TRIP" (NBC.com)
30 ROCK PRESENTS JACK DONAGHY, EXECUTIVE SUPERHERO (NBC.com)
WEB THERAPY (LStudio.com)
*These programs were not vetted for producer eligibility this year but winners in these categories will be announced at the official ceremony on January 21st.
Source: Producer's Guild