Much like its Greek mythological source material Wrath of the Titans is light on dramatic characterization sticking to blunt moral lessons and fantastical battles to tell its epic tale. That's perfectly acceptable for its 100 minute run time in which director Jonathan Liebesman (Battle: Los Angeles) unleashes an eclectic hoard of monsters upon his gruff demigod hero Perseus. The creature design is jagged gnarly and exaggerated not unlike a twelve-year-old's sugar high-induced crayon creations — which is perfect as Wrath is tailor made to entertain and enamor that slice of the population.
Clash of the Titans star Sam Worthington once again slips on the sandals to take on a not-quite-based-on-a-myth adventure a mission that pits Perseus against the greatest force in the universe: Kronos formally-incarcerated father of the Gods. A few years after his last adventure Perseus is grieving for his deceased wife and caring for their lone son but a visit from Zeus (Liam Neeson) alerts the warrior to a task even more urgent than his current seabass fishing gig. Irked that the whole Kraken thing didn't work out Hades (Ralph Fiennes) with the help of Zeus' disaffected son Ares (Edgar Ramirez) is preparing to unleash Kronos — and only Perseus has the required machismo to stop him. But Perseus enjoys the simple life and brushes off Zeus forcing the head deity to take matters into his own hands…just as Hades and Ares planned. The diabolical duo capture Zeus and having no one else to turn to Perseus proceeds into battle.
The actual reasoning for all the goings on in Wrath of the Titans tend to drift into the mystical realm of convolution but the ensemble and Liebesman's visual visceral directing techniques keep the messy script speeding along. As soon as one starts wondering why Perseus would ever need to hook up with battle-ready Andromeda (Rosamund Pike) or Poseiden's navigator son Agenor (Toby Kebbell) Liebesman and writers Dan Mazeu and David Johnson throw in another bombastic set piece another three-headed four-armed 10 000-fanged monstrosity on screen. Perseus' journey pits him against a fire-breathing Chimera a set of Cyclopses a shifting labyrinth (complete with Minotaur) and all the dangers that come with Hell itself. The sequences have all the suspense of an action figure sandbox brawl but on a towering IMAX screen they're geeky fun. If only the filler material was a bit more logical and interesting the final product would be the slightest bit memorable.
Liebesman reaps the best performances he possibly can from Wrath's silly formula Worthington again proves himself a charismatic underrated leading man. As the main trio of Gods Neeson Fiennes and Ramirez completely acknowledge how goofy shooting lightning bolts out of their hands must look on screen but they own it with campy fun tones. But the film's overwhelming CG spectacle suffocates the glimmer of great acting opting for slice-and-dice battle scenes over ridiculous (and fun) epic speak nonsense. If a movie has Liam Neeson as the top God it shouldn't chain him up in molten lava shackles for a majority of the time.
Wrath of the Titans is a non-offensive superhero movie treatment of classic heroes that feels more like an exercise in 3D monster modeling than filmmaking. Its 3D makeover never helps the creatures or Perseus pop turning Wrath into an even muddier affair than the single-planed alternative (although unlike Clash of the Titans you won't have 3D shaky-cam blur burned directly into your retinas). The movie reaches for that child sense of wonderment but instead cranks out a picture that may not even hold a child's attention.
In the opening scenes of the new "comedy" Jack and Jill commercial director Jack Sadelstein (Adam Sandler) and his business partners take a break from the set of their Regis Philbin-starring Pepto Bismol commercial to discuss the prospect of landing Al Pacino for a new Dunkin' Donuts spot. Even with the pressure mounting the idea of landing the A-Lister is the least of Jack's worries—his real stress stemming from his heinous twin sister Jill (also played by Sandler) who is scheduled to visit for Thanksgiving. We don't know much about Jill at that point but even the prospect of spending a few days with his sibling prompts the cankerous Jack to chug an entire bottle of the commercial's pink antidiarrheal product.
Turns out the medical cocktail was quite appropriate. By the end of Jack and Jill kicking back an entire bottle of Pepto Bismol may be the first logical step to curing the gut-wrenching feeling induced by the movie's painfully lazy antics. To call the latest from Sandler's Happy Madison Productions (Paul Blart: Mall Cop Grown Ups Bucky Larson: Born to Be a Star) a bad movie isn't strong enough. Nor is describing it as a complete void of comedy. And the movie doesn't even come close to a so-stupid-its-funny scenario. No Jack and Jill is honest to goodness mental destruction—a collision of half-baked comedy sketches violent potty humor shrouded racism shotgun celebrity cameos and unapologetic product placement. There is more coherency care and consideration poured in to a child's spin art painting than any moment Sandler or director Dennis Dugan whip up for this film.
From the movie's very first moments to its obvious ham-fisted conclusion the mere presence of Jill sends Jack into a temper meltdown—and it's not hard to see why. Sandler's lady from the Bronx is a loud abhorrent self-loathing woman an obtuse fish-out-of-water who sees no issue with stereotyping Jack's adopted Indian son or using phrases like "make chocolate squirties" after a night of chimichangas (may I recommend Pepto Bismol?). The script would like us to feel sympathetic for Jill as she's turned down by every man she meets adding to her existing physical appearance woes ("I'm too fat!" she declares before hopping up on a horse and crushing it under her own weight). Unfortunately it's obvious that no one behind-the-camera actually gives a damn about her or any of the other characters to help realize that struggle honestly or humorously.
Knowing the movie can't entirely rely on Jill's flatulence to baffle its audience Jack and Jill employs a number of shameless drive-by appearances from across the Hollywood spectrum to replace actual entertainment. Johnny Depp Jared the Subway Guy Shaq Bruce Jenner the Sham-Wow Guy and Drew Carey (who Jill meets while embarrassing herself on The Price Is Right) all stop by for a cheap laugh. Maybe that's a good thing—the cameos are nonsensical enough to distract from Jack and Jill's plot one that trudges along at a glacial pace as Jill finds ways to stay at Jack's house and ruin her brother's life.
Sandler recruited Katie Holmes and Al Pacino to fill the film's two non-twin roles and to the benefit of their careers he gives them little to do. Holmes isn't given a single scene in which she does anything more than rag on Jack for hating his sister or detach objects her son perpetually tapes to his body (a pepper shaker a hamster a bird a lobster). Pacino has a meatier role one that you may even expect to garner a few laughs spoofing his thunderous thespian self who melts at the sight of Jill. But the material director Dennis Dugan bestows on the legendary actor is scraped from the bottom of the barrel. Not even Pacino can make passing off gibberish as a foreign language funny. The saving grace for the movie is watching Pacino go method and pursue Jill as Don Quixote from The Man of La Mancha. At that point the reference is a reminder that out there somewhere beyond the movie theater/black hole playing Jack and Jill is a world full of culture and class.
Jack and Jill isn't really a movie but more of an extended Royal Caribbean Cruises commercial with a Dunkin Donuts dance number set to an extended fart exploding from a dragged-out Adam Sandler's buttocks. The bar for entertainment value has never been set lower than this film an experience so toxic to the mind that along with its PG-rating should carry a warning label from Surgeon General.
Better make it two Pepto-Bismols.
After garnering widespread praise (and an Oscar nomination for screenwriting) for his 2000 directorial debut You Can Count on Me Kenneth Lonergan was in-demand. In September 2005 the writer/director began production on a follow-up feature: Margaret which touted Anna Paquin Matt Damon Mark Ruffalo Matthew Broderick Allison Janney as well as legendary filmmakers Sydney Pollack and Anthony Minghella (The English Patient) as producers. The movie wrapped production in a few months time. The buzz was already growing.
Now six years later the movie is finally hitting theaters. So…what took so long?
The journey to this point hasn't been an easy one and it shows. If a film's shot footage is a block of granite and the editing process is the careful carving that turns it into a statuesque work of art Margaret feels like it was attacked by a blind man with a jackhammer. The film is a cinematic disaster a mishmash of shallow characters overwrought politics and sporadic tones. The story follows Lisa Coen (Paquin) a New York teenager who finds herself drowning in chaos after distracting a bus driver (Ruffalo) causing him to hit and kill a pedestrian (Janney). Initially Lisa tells the police it was all an accident but as time passes regret takes hold and the girl embarks on a mission to take down the man she now regards as a culprit. That's just the tip of the iceberg–along the way Lisa deals with everyday teen stuff: falling for her geometry teacher (Damon) combating her anxiety-ridden actress mother losing her virginity dabbling in drugs debating 9/11 and the Iraq War cultivating a relationship with her father in LA and more. There are about eight seasons of television stuffed into Margaret but even a two and a half hour run time can't make it all click.
For more on Margaret check out Indie Seen: Margaret the Long Lost Anna Paquin/Matt Damon Movie
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.
WHAT IT’S ABOUT?
Pixar makes it ten gems in a row with this enchanting animated story of 78-year-old Carl Fredricksen a recent widower who decides to fulfill his (plus his late wife’s) lifelong dream of tying thousands of balloons to their house and floating off to a mountaintop in South America. But he soon discovers a stowaway in the form of Russell a precocious eight-year-old “Wilderness Explorer” who he reluctantly allows to accompany him on his journey. Together the unlikely pair embark on the adventure of a lifetime encountering Kevin a rare 13-foot tall-flightless bird; Dug an overly-friendly talking pooch; and Charles Muntz a once-famous adventurer who now lives alone in a massive airship surrounded by a pack of attack dogs.
WHO’S IN IT?
Sticking to their general custom of casting actors not big stars in key voice roles Pixar assembled a superb cast for Up led by veteran TV star Ed Asner (The Mary Tyler Moore Show) as the aged Carl who takes flight in his house and finds there is a lot to learn about life even as you near death. Asner’s grumpy delivery provides the perfect counterpoint to nine-year-old Jordan Nagai’s Russell a bright and optimistic kid who proves an invaluable assistant to Carl throughout their journey. Christopher Plummer (The Sound of Music) is authoritative and intriguing as the obsessed Muntz and John Ratzenberger (Cheers) extends his streak of Pixar films to 10 as a construction engineer who tries to convince Carl to sell his house. Bob Peterson does delightful double duty as two of the key dog voices lovable Dug and the menacing Alpha head of the pack.
Like Pixar’s previous Oscar-winning masterpiece Wall-E Up is a ‘toon that is not content to explore the same places we’ve seen in previous animated blockbusters. Centering an action comedy around a 78-year-old man isn’t a strategy you’ll find in the youth-obsessed Hollywood recipe book but it pays great dividends here with a moral that life’s greatest adventure is the one you share with someone you love. The non-humans — particularly Kevin and Dug — are hilarious and unique and a silent sequence detailing the courtship and marriage of the Fredricksens is a sweet touch that could have come straight out of a Charlie Chaplin movie.
With a string of critically-acclaimed hits that includes Toy Story Finding Nemo The Incredibles Ratatouille Wall-E and now Up Pixar is ruining it for everyone else. There is simply no way they can be topped when it comes to pushing the boundaries of animated movies. Bad for other studios. Good for us.
Could Up which just became the first animated film to open the Cannes Film Festival also become the first to be nominated for the Best Picture Oscar since Beauty and the Beast in 1991 (before the Animation category was even established)? At this point in the year it’s actually a good bet. Whatever the case expect Up to earn several nominations come Oscar time.
A swashbuckling swordfight across the skies between two near-octogenarians? It’s the best action scene in a summer full of ‘em.
NETFLIX OR MULTIPLEX?
Oh pleeeeeease! Get to a theater fast. Up is also available in 3-D at select locations. Either way it’s a must-see.
Walt Disney animation’s first foray into 3D ‘toon making isn’t just a technical triumph it thankfully also tells the clever story of Bolt (John Travolta). He’s a superstar TV canine who believes the superpowers he displays weekly on his series are for real --especially when it comes to the protection of his master and co-star Penny (Miley Cyrus). One day however the dog is accidentally shipped from his Hollywood soundstage to New York City. Lost alone and confused on the streets of the Big Apple Bolt is still living the show vowing to get to Penny who he believes has been kidnapped by the “green-eyed man.” And so he embarks on a cross-country journey to L.A. to save Penny. Along the way he is joined by an abandoned wily housecat Mittens (Susie Essman) and a TV-loving hamster Rhino (Mark Walton) who believes everything he sees on the tube is ALSO real. Of course Bolt is in for rude awakening when he finds out he is just a regular dog but he still needs to get to Penny -- even if it means she might not be there for him when he returns. Disney is not a studio that generally depends on superstar voices for their animated films but in casting Travolta and tween queen Cyrus they have scored a bullseye. Travolta’s Bolt is a delightful cross between the self-assured superstar and a pooch in denial. The actor doesn’t phone it in but instead creates an original and loveable dog that stands proudly in Disney’s large canon of canine greats. The action scenes created for Bolt’s TV series are lots of fun and the interactions with his traveling companions are choice. As Penny Cyrus is sympathetic sincere and she even gets to sing a duet with Travolta “I Thought I Lost You ” which she co-wrote. The show is nearly stolen though by comedian Susie Essman (Curb Your Enthusiasm) as Mittens -- a smart determined and emotionally wounded pet cat abandoned by her owners and forced to wander the streets alone. And by Mark Walton as the hilarious Rhino the obsessive fanboy hamster who rolls around in his ball. Walton is actually an animator in real life who happened to be so good at voicing Rhino during tests they just gave him the job. Disney vets Chris Williams and Byron Howard capably usher the venerable Disney label into the brave new world of 3D animation and the results are promising -- putting the audience right in the center of Bolt’s universe. The TV series action set pieces are particularly effective in using the technology. It’s not even necessary to see the film in 3D because the whole CG process has come a long way in a few short years and Bolt is one of the best looking most accomplished animated films in memory -- glasses or no glasses. Williams and Howard expertly blend humor pathos and blockbuster-style action scenes effortlessly giving “Bolt” an appeal beyond just the target kid demo.