Summit via Everett Collection
You can imagine that Renny Harlin, director and one quadrant of the writing team for The Legend of Hercules, began his pitch as such: We'll start with a war, because lots of these things start with wars. It feels like this was the principal maxim behind a good deal of the creative choices in this latest update of the Ancient Greek myth. There are always horse riding scenes. There are generally arena battles. There are CGI lions, when you can afford 'em. Oh, and you've got to have a romantic couple canoodling at the base of a waterfall. Weaving them all together cohesively would be a waste of time — just let the common threads take form in a remarkably shouldered Kellan Lutz and action sequences that transubstantiate abjectly to and fro slow-motion.
But pervading through Lutz's shirtless smirks and accent continuity that calls envy from Johnny Depp's Alice in Wonderland performance is the obtrusive lack of thought that went into this picture. A proverbial grab bag of "the basics" of the classic epic genre, The Legend of Hercules boasts familiarity over originality. So much so that the filmmakers didn't stop at Hercules mythology... they barely started with it, in fact. There's more Jesus Christ in the character than there is the Ancient Greek demigod, with no lack of Gladiator to keep things moreover relevant. But even more outrageous than the void of imagination in the construct of Hercules' world is its script — a piece so comically dim, thin, and idiotic that you will laugh. So we can't exactly say this is a totally joyless time at the movies.
Summit via Everett Collection
Surrounding Hercules, a character whose arc takes him from being a nice enough strong dude to a nice enough strong dude who kills people and finally owns up to his fate — "Okay, fine, yes, I guess I'm a god" — are a legion of characters whose makeup and motivations are instituted in their opening scenes and never change thereafter. His de facto stepdad, the teeth-baring King Amphitryon (Scott Adkins), despises the boy for being a living tribute to his supernatural cuckolding; his half-brother Iphicles (Liam Garrigan) is the archetypical scheming, neutered, jealous brother figure right down to the facial scar. The dialogue this family of mongoloids tosses around is stunningly brainless, ditto their character beats. Hercules can't understand how a mystical stranger knows his identity, even though he just moments ago exited a packed coliseum chanting his name. Iphicles defies villainy and menace when he threatens his betrothed Hebe (Gaia Weiss), long in love with Hercules, with the terrible fate of "accepting [him] and loving [their] children equally!" And the dad... jeez, that guy must really be proud of his teeth.
With no artistic feat successfully accomplished (or even braved, really) by this movie, we can at the very least call it inoffensive. There is nothing in The Legend of Hercules with which to take issue beyond its dismal intellect, and in a genre especially prone to regressive activity, this is a noteworthy triumph. But you might not have enough energy by the end to award The Legend of Hercules with this superlative. Either because you'll have laughed yourself into a coma at the film's idiocy, or because you'll have lost all strength trying to fend it off.
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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.
Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.
Wilson, the ex-wife and muse of late photographer Edward Weston, was the subject of many of his best-known nude portraits.
She died on Friday (20Nov09) in Santa Cruz, California. No further details of her death were released as WENN went to press.
The pair married in 1939, several years after she began posing for Weston. They divorced in 1946, 12 years before his death.
Wilson married Noel Harris, a labour activist, the day after their divorce. Weston and Harris divorced in 1967. Their daughter Anita Kathryn Harris died the same year, and is believed to have been murdered.
Wilson spent her later professional life writing and speaking about her time with Weston. In 1977 she wrote a reminiscence for photography book Edward Weston Nudes, and in 2007 she appeared in a documentary, Eloquent Nude. She also published a memoir in 1999, entitled Through Another Lens.
Wilson is survived by a daughter, Rachel.
Phil Weston (Ferrell) is a kindly fellow who owns and runs a vitamin store has a lovely wife (Kate Walsh) and son and has some serious issues with his father Buck (Robert Duvall). All his life Phil has had to endure his father's over-the-top competitive nature and he always falling short of the mark. When Phil decides to coach his 10-year-old son's soccer team he once again goes up against Buck who coaches his own young son on the top team in the league. Of course Phil's team is the worst team on the league but that doesn't matter. Something suddenly snaps in Phil and he sees a chance to settle some old scores with the old man. He starts using extreme measures to try to whip his young charges into shape. They include getting Mike Ditka as an assistant coach (played by the real ex-football coach oddly enough) bringing on two Italian whiz kids as secret weapons and drinking lots and lots of coffee (trust me it works). Phil can taste his first real shot at victory and will stop at nothing to win the championship trophy.
Some of you might think Ferrell's antics are wearing a little thin that maybe he's a little overrated and overexposed. But I'm not one of them. Ferrell could read a telephone book and I'd laugh. So watching him once again play a hapless bighearted loser--who is pushed to the edge so much so that he berates children calls the formidable Ditka a "Juice-box boy" and melts right on down to the nub--is another treat for me. Of course much like Walter Matthau in Bad News Bears Ferrell has some help from his younger costars. The misfit soccer team includes all the different types: a diminutive fireplug (Elliot Cho) whose lesbian mothers (played hilariously by Rachael Harris and Laura Kightlinger) keep insisting is "shy"; a wisecracker (Steven Anthony Lawrence) with a serious overbite; and of course Phil's own sweet son Sam (Dylan McLaughlin) who just wants to have fun. Ditka also seems to be having a good time in all his bullying glory. Duvall however doesn't really have much to do except throw his weight around a bit--and perhaps relive some of his The Great Santini moments.
Kicking & Screaming has a couple of things going for it. The father-son and underdog themes are tried and true plot contrivances that inherently work because of the ultimate payoffs. Director Jesse Dylan (American Wedding) along with the writing team of Leo Benvenuti and Steve Rudnick (The Santa Clause) knows this and exploit the machinations to their fullest capabilities. You want Phil's team to win at any costs but of course you want them all to learn a big lesson. Ho hum. Unlike the charming Parenthood or the irreverent Bad News Bears Kicking & Screaming unfortunately caters to the formulaic a tad too much. Save for a few comic bursts from its lead player it never really finds its own individuality.
The Academy of Motion Picture Arts and Sciences had a few surprises up its sleeve tonight, though for the most part experts predicted the winners accurately.
Gladiator, which many thought was a shoe-in for Best Picture, was. In a more surprising addition, the film's star, Russell Crowe, beat out Golden Globe winner Tom Hanks for the Best Actor award. Gladiator's chief rival for Best Picture, Crouching Tiger, Hidden Dragon, had to be content with the prize for Best Foreign Language Film as well as several technical awards.
Steven Soderbergh seemed surprised to find himself the proud owner of a new gold statue when he was awarded the Best Director Oscar for Traffic, one of two movies for which he was nominated. A win for Julia Roberts in Erin Brockovich, the other Soderbergh directing venture, was no surprise in the Best Actress category.
In one of the evening's biggest shockers, Marcia Gay Harden walked away with the Academy Award for Best Supporting Actress for her role in Pollock, upsetting pundit predictions that newcomer Kate Hudson would take home the statuette. Holding back tears, Harden thanked her co-workers and her family for their support throughout her career.
As expected, Benicio Del Toro took home the Academy Award for Best Supporting Actor for his work in Traffic. The actor thanked the members of the Academy, and dedicated his Oscar to the people of Nogales, AZ and Nogales, Mexico, two of the cities where the film Traffic was filmed.
Screenplay awards fell out much as anticipated, with Traffic's Stephen Gaghan winning for Best Adapted Screenplay and Cameron Crowe taking home the award for Best Original Screenplay for Almost Famous.
The Oscar for Best Achievement for Costume Design went to Janty Yates for Gladiator, and Goldie Hawn presented the award for the Best Score to Crouching Tiger, Hidden Dragon composer Tan Dun. Crouching Tiger's Peter Pau also won for Best Cinematography. The first Oscar awarded this evening, Best Achievement for Art Direction, went to Tim Yip for his work on Crouching Tiger, Hidden Dragon. "I am really nervous...this is the first time I win an Oscar," Yip said.
Bob Dylan appeared live from Australia, and later accepted the award for Best Song from there as well. His tune "Things Have Changed" is from Wonder Boys.
Several technical awards went out early in the evening; Jon Johnson won for Sound Editing for U-571, and Best Achievement in Visual Effects went to Gladiator. Nominee Kate Hudson presented the award in the Best Makeup category to Rick Baker, a six-time Oscar winner, and Gail Ryan for Dr. Seuss' How the Grinch Stole Christmas. Bob Beemer, Ken Weston and Scott Milan picked up the statue for Best Sound for Gladiator, and that film's John Nelson, Neil Corbould, Tim Burke and Rob Harvey won for Best Visual Effects. Stephen Mirrione won the Oscar for Best Editing for Traffic.
The Short Subject Documentary award went to Tracy Seretean for Big Mama, and the Documentary Feature award went to Mark Jonathan Harris and Deborah Oppenheimer for Into the Arms of Strangers: Stories of the Kinder Transport.
When Quiero Ser" (I Want To Be ...) won the award for Best Short Live Action Film, director Florian Gallenberger greeted his native Mexico and thanked his film school for making his dreams come true.
The Best Animated Short Film nominee category followed with Michael Dudok de Wit's Father and Daughter taking the prize.
The Academy honored director Jack Cardiff with an honorary Academy Award tonight. "For those of us who are 70 years or younger were born, Jack Cardiff was shooting film...and he's still shooting," Dustin Hoffman said. As he accepted his award, Cardiff hugged his statue and said, "This has to be a dream."
Ernest Lehman, screenwriter for such amazing movies as The Sound of Music and Hello, Dolly, was given the Lifetime Achievement Award, as was Gladiator producer Dino De Laurentiis.
In other news, Bob Raime, President of the Academy for five and a half years, told viewers and attendees that he was resigning from office.