TriStar Pictures via Everett Collection
An hour and change into Pompeii, there's a volcano. You'd think there might have been a volcano throughout — you'd think that the folks inhabiting the ill-fated Italian village would have been dealing with the infamous volcano for the full 110 minutes. After all, volcano movies have worked before. Volcano, for instance. And the other one. But for some reason, Pompeii feels the need to stuff its first three quarters with coliseum battles, Ancient Rome politics, unlikely friendships, and a love story. But we don’t care. We can't care. None of it warrants our care. Where the hell is the volcano, already?
To answer that: it's off to the side — rumbling. Smoking. Occasionally spiking the neighboring community with geological fissures or architectural misgivings. Pretty much executing every trick picked up in Ominous Foreshadowing 101, but never joining the story. Not until Paul W.S. Anderson shouts, "Last call," hitting us with a final 20-odd minutes of unmitigated disaster (in a good way). If you've managed to maintain a waking pulse throughout the lecture in sawdust that is Pompeii's story, then you might actually have a good time with the closing sequence. It has everything you’d expect — everything you had been expecting! — and delivers it with gusto. Torpedoes of smoke running hordes of idiot villagers out of their homes and toward whatever safety the notion of forward has to offer. Long undeveloped characters rising to the occasion to rescue hapless princesses who thought it might be a good idea to set their vacation homes at the foot of a lava-spewing mountain. The whole ordeal is actually a lot of laughs. But it amounts to a dessert just barely worth the tasteless dinner we had to force down to get there.
TriStar Pictures via Everett Collection
To get through the bulk of Pompeii, we recommend focusing all your attentions away from the effectively bland slave/gladiator/hero Kit Harington — sorry, Jon Snow (he's actually called a bastard at one point) — and onto his partner in crime: a scowling Adewale Akinnuoye-Agbaje — sorry, Mr. Eko (he and Snow actually trade valedictions by saying "I'll see you at another time, brother" at one point) — who warms up to his fellow prize fighter during their shared time in the klink, and delivers his moronic material with a sprinkle of flair. Keeping the working man down is Kiefer Sutherland — sorry, Jack Bauer — as an ostentatious Roman senator, doling out vainglory in Basil Fawlty-sized portions. When he's not spitting scowls at peasants, ol' JB is undermining the efforts of an earnest local governor Jared Harris — sorry, Lane Pryce (he actually calls someone a mad man at one point) — and his wife Carrie-Anne Moss — sorry, Katherine O'Connell from Vegas (joking! Trinity) — and finagling the douchiest marriage proposal ever toward their daughter Emily Browning — sorry, but I have no idea what she's from.
But questionable television references and some enjoyably daft performances by Eko and Jack can't really make up for the heft of mindless dullness that Pompeii passes off as its narrative... until the big showstopper.
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In truth, the last sequence is a gem. It's fun, inviting, and energizing, and might even call into question the possibility that Pompeii is all about how futile life, love, friendship, politics, and pride are when even the most egregiously complicated of plots can be taken out in the end by a sudden volcanic eruption. But you have to wade through that egregious complication to get there, and you shouldn't expect to have too much of a good time doing so.
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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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While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]
The actress was born Jennifer, but adopted the moniker Ginnifer to set her apart when her career took off - and now she wants the misspelling on her official documents.
She filed legal papers requesting the change on Thursday (17Mar11), according to TMZ.com.
And Goodwin is set for another name change when she weds fiance Joey Kern. The two became engaged at Christmas (10).
Movie audiences weren't afraid of a little blood and gore this weekend; on the contrary, they were compelled to find out who won the ultimate monster battle.
Freddy vs. Jason, which pits A Nightmare of Elm Street's steely-fingered Freddy against Friday the 13th's machete-wielding Jason, simply slaughtered the box office competition, debuting at No. 1 with a head-splittin' $36.4 million* and shoving last week's headliner, the police-drama S.W.A.T., down to second place with $18.6 million.
Combining the two horror franchises turned out to be a brilliant idea, generating more opening box office dollars than either individual series has seen lately. The last Friday the 13th installment, Jason X, debuted in 2002 at $6.6 million, while the last Elm Street chapter, Wes Craven's New Nightmare, opened in 1994 at $6.6 million as well.
"[Freddy vs. Jason] worked because it's a brand new series. It's an original movie with name recognition," Russell Schwartz, head of domestic marketing for New Line Cinema told The Associated Press. "We took it seriously and didn't turn it into Scary Movie. Not that it doesn't have humor, but we didn't want to go too campy."
Oscar-winning Kevin Costner's western saga Open Range premiered at No. 3 with a respectable $14.1 million, making it the second best opener of Costner's last five movies. Only the romantic Message in a Bottle topped Range's figure when it opened in 1999 at $16.7 million. Other recent Costner vehicles haven't fared as well: Dragonfly took $10.2 million, 3,000 Miles to Graceland $7.1 million, Thirteen Days $46,688 and For Love of the Game $13 million.
The body-switching comedy Freaky Friday took fourth place with $13.1 million, while the girl-powered Uptown Girls debuted in the fifth spot with $11.2 million. Other newcomers this week included the skateboarding laffer Grind, which premiered with a measly $2.6 million, and the underground comic book indie American Splendor, which debuted in limited release and took in $156,000.
Overall, box office grosses were up, up, up this weekend, nearly 4 percent from last weekend and a whopping 34 percent from the same weekend last year.
THE TOP TEN
New Line Cinema's R-rated horror fest Freddy vs. Jason spooked its way to the top spot with an ESTIMATED $36.4 million in 3,014 theaters. Its $12,085 per theater average was the highest of any movie playing wide this week.
Friday the 13th's Jason Voorhees leaves the cozy confines of Camp Crystal Lake for Elm Street, where he meets his most dangerous adversary yet--A Nightmare on Elm Street's Freddy Krueger. But this town only has room for one slasher.
Directed by Ronny Yu, it stars Robert Englund and Ken Kirzinger.
Sony Pictures' PG-13-rated S.W.A.T. dropped from the top spot to No. 2 in its second week with an ESTIMATED $18.6 million (-50%) in 3,220 theaters (+18 theaters; $5,776 per theater). The film, revolving around a newly trained S.W.A.T. team, has garnered $70 million so far.
Directed by Clark Johnson, it stars Colin Farrell, Samuel L. Jackson, LL Cool J and Michelle Rodriguez.
Buena Vista's R-rated Open Range moseyed into third place in its opening weekend with an ESTIMATED $14.1 million in 2,075 theaters, taking in an average of $6,795 per theater.
In the film, a posse of "freegrazers"--rogue cowboys who drive their own cattle--runs into trouble in prairie town run by a kingpin rancher.
Directed by and starring Kevin Costner, it also stars Robert Duvall, Annette Bening, Diego Luna and Michael Gambon.
Buena Vista's PG-rated Freaky Friday fell a couple of spots to No. 4 in its second week with an ESTIMATED $13.1 million (-41%) in 2,979 theaters (+25 theaters; $4,397 per theater). Its cume is $57.9 million.
Directed by Mark Waters, it stars Jamie Lee Curtis, Lindsay Lohan, Chad Michael Murray and Mark Harmon.
*Box office estimates provided by Exhibitor Relations, Inc.
MGM's PG-13-rated Uptown Girls giggled all the way to No. 5 in its premiere weekend with an ESTIMATED $11.2 million in 2,495 theaters ($4,489 per theater).
In this riches-to-rags tale, the daughter of a late rock-and-roll star gets a rude awakening when all her money is embezzled and she has to take a job as the nanny to a very uptight 8-year-old girl.
Directed by Boaz Yakin, it stars Brittany Murphy, Dakota Fanning, Donald Faison, Marley Shelton and Heather Locklear.
Buena Vista Pictures' PG-13-rated fantasy actioner Pirates of the Caribbean: The Curse of the Black Pearl collected more booty, slipping to sixth place in its sixth week of release with an ESTIMATED $8.5 million (-35%) at 2,710 theaters (-460 theaters; $3,137 per theater). Its cume is approximately $247.9 million.
Directed by Gore Verbinski and produced by Jerry Bruckheimer, it stars Johnny Depp, Geoffrey Rush, Orlando Bloom and Keira Knightley.
Universal Picture's R-rated comedy American Wedding plummeted four spots to seventh in its third week with an ESTIMATED $8.16 million (-47%) at 2,985 theaters (-210 theaters; $2,735 per theater). Its cume is $80.6 million.
Directed by Jesse Dylan, it stars Jason Biggs, Seann William Scott, Alyson Hannigan, Eddie Kaye Thomas and Thomas Ian Nicholas.
Universal Pictures' PG-13-rated drama Seabiscuit fell three notches to No. 8 in its fourth week, taking in an ESTIMATED $8.12 million (-32%) in 2,462 theaters (+34 theaters; $3,300 per theater). Its cume is approximately $83 million.
Directed by Gary Ross, it stars Tobey Maguire, Jeff Bridges and Chris Cooper as three down-and-out men who find fame and fortune in an equally down-and-out racehorse.
Dimension Films' PG-rated Spy Kids 3-D: Game Over dropped three spots to No. 9 in its fourth week with an ESTIMATED $5.2 million (-46%) in 3,003 theaters (-385 theaters; $1,745 per theater). Its cume is approximately $96.8 million.
Written and directed by Robert Rodriguez, it stars Alexa Vega, Daryl Sabara, Sylvester Stallone, Salma Hayek and Ricardo Montalban.
Sony Picture's R-rated buddy actioner Bad Boys II continued to move down the list to take 10th place in its fifth week with an ESTIMATED $3.2 million (-47%) at 1,785 theaters (-664 theaters; $1,793 per theater). Its cume is approximately $128.8 million.
Directed by Michael Bay, it stars Will Smith, Martin Lawrence, Jordi Molla, Gabrielle Union and Peter Stormare.
Warner Bros.' PG-13-rated Grind opened with an ESTIMATED $2.6 million in 2,253 theaters ($1,161 per theater).
Four free-wheelin', skateboarding buddies head cross-country to try to get into a pro-skateboarding demo tour.
Directed by Casey La Scala, it stars Mike Vogel, Adam Brody, Vince Vieluf, Joey Kern and Jennifer Morrison.
Fine Line's R-rated American Splendor debuted in limited release with an ESTIMATED $156,000 in 6 theaters ($26,000 per theater).
In this true story, hospital administrative clerk Harvey Pekar goes from rags to (relative) riches with his homegrown autobiographical comic book series, American Splendor.
Directed by Robert Pulcini and Shari Springer Berman, it stars Paul Giamatti, Hope Davis and Harvey Pekar.
The Top 12 films this weekend grossed an ESTIMATED $132 million, up 33.2 percent from last year's take of $99.1 million. The Top 12 films were also up 3.6 percent from last weekend when they grossed $127.4 million.
Last year's top three included: Sony's PG-13-rated actioner xXx, which stayed in first place its second week in a row with $22.1 million in 3,388 theaters ($6,526 per theater average); Buena Vista's PG-13 rated sci-fi thriller Signs, which held on to second place for two consecutive weeks with $19.3 million at 3,344 theaters ($5,790 per theater average); and Universal Pictures' PG-13-rated Blue Crush which opened in third with $14.1 million in 3,002 theaters ($4,720 per theater).
A cross between Road Trip and the documentary Dogtown and Z- Boys Grind is a simple enough tale about a boy and his dream as impossible as it may seem. Eric (Mike Vogel) wants to be a professional skateboarder. He and his best friends Dustin (Adam Brody) a cautious fellow who just wants to go to college and Matt (Vince Vieluf) a slacker who likes things to be just a little bit on the wacky side are pretty darn good at performing fierce boarding tricks but have had little luck in getting noticed by the pros. When skating legend Jimmy Wilson's (Jason London) skate demo tour hits town the boys see their chance but are immediately shot down by the tour manager. Determined Eric forms his own skate team to follow Wilson's tour cross-country and convinces an extremely reluctant Dustin to use his college fund as their bankroll. They also recruit laid-back ladies man Sweet Lou (Joey Kern) to join their crew and provide the wheels as team "Super Duper" sets out on an outrageous road trip from Chi-town to Santa Monica. Along the way they hook up with sexy skater chick Jamie (Jennifer Morrison) grind the handrails across America and make the skateboarding world take notice whether it wants to or not.
Honestly there really isn't much acting required for Grind. The guys just have to make sure the audience believe there is some kind of camaraderie between them--without embarrassing themselves too badly--and they succeed for the most part. Vogel (TV's Grounded For Life) Brody (TV's O.C.) and Kern (upcoming Cabin Fever) all seem fairly green to the world of movies but manage to convey a true friendship among their characters. Vieluf (Rat Race) however zings off the screen. Without him the movie would sorely lack any hilarity--his favorite thing to say after letting some noxious gas pass is "Greetings from the interior." Though his antics get a tad tiresome at times he still leaves you laughing your head off. Then there are the numerous cameos that populate Grind. Dave Foley and Stephen Root (TV's News Radio) show up as a road manager and a fast food manager respectively. Bobcat Goldthwait (what the heck happened to this guy?) plays a rank motel clerk while Tom Green (what movie wouldn't be complete without him?) plays a stoned skateboard store owner. Even Randy Quaid shows up as Matt's dad who has turned into a traveling circus clown (don't ask).
The main reason to see this film is to watch cool skateboarding action--and producer and first-time director Casey La Scala certainly doesn't disappoint. The drawback is you have to wait until the end to see the really good stunts. In the final climactic scene Eric finally gets to show his moves and prove himself worthy when he is challenged in a skating duel against an obnoxious rival (Chad Fernandez) who has been dogging him all along the trip. It's wild and wooly stuff and with the pounding soundtrack it makes for a truly exhilarating MTV moment. Of course the rest of the film surely isn't going be considered classic in any way. Road Trip and others of its ilk have covered the same territory much better. But there's hope. Grind's got a decent cast some pretty funny moments hot babes great music and an extreme sport worthy of recognition. It's all about the grind dude.