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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Not all Young Adult Fiction adaptations are created equal.
Riding the Twilight wave has its advantages and disadvantages, the keystone of the Young Adult fiction genre working as a hook for enthusiastic readers, and a warning sign for those who caught the early exploits of Bella and Edward. Beautiful Creatures owes its cinematic existence to the uber-successful series, but the connective tissue ends there. Based on the novel by Kami Garcia and Margaret Stohl, the movie is ripe with energy, drawing from its preserved, Southern gothic setting of South Carolina, two vivacious young romantics, and an ensemble of seasoned vets who chew up their scenes with twang. Beautiful Creatures doesn't wallow in relationships, it sparks them with frank sexuality and a dash of biting commentary. So long, Twilight.
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Alden Ehrenreich (Tetro) stars as Ethan, an ambitious resident of Gatlin, SC who dreams big and has a particular penchant for plowing through the town's banned book list (yes, even in modern times, there are people who don't see To Kill a Mockingbird as reading fit for teenagers). Waking him up from the doldrums of suburban life is new student Lena Duchannes (Alice Englert of Ginger & Rosa), niece of the towns' notorious Ravenwood family, who becomes the target of public shaming. Beautiful Creatures does not skirt around the strong Christian influence of Southern culture and, as someone the kids believe is a Devil worshipper, Lena is an instant outcast under violent, verbal attack. Quite literally, kids pray in the class room to protect themselves from Lena's bad vibes. If Ethan didn't find the girl attractive in her own right, her position at the bottom of the social ladder fuels his infatuation.
Because today's young romances demand a supernatural element, Lena eventually reveals to her courter that she's a "caster," the nice word for witch in the world of Beautiful Creatures. When Lena turns 16, she'll be subject to "The Claiming," a decision (made by the moon?) that will force her to either the light, nice and peachy side, or the dark, wicked and bloodthirsty side of casting. It's a countdown for Ethan, who realizes he has little time to connect with and possibly save his newfound love. Believing she has the ability to choose her fate, patriarch Macon Ravenwood guides Lena in the ways of the light — while disapproving of her relationship with Ethan.
RELATED: 'Beautiful Creatures' Director 'Not Annoyed' By 'Twilight' Comparisons
The magic logic is as ridiculous and overly complex as it sounds, but Beautiful Creatures writer/director Richard LaGravenese (The Fisher King, P.S I Love You) never loses track of his characters and their interesting quirks. Jeremy Irons is a master spinster of exposition — if his Macon is laying down a mythology-building speech or rattling off the "rules of the Ravenwood family curse," it all sounds like Shakespeare. Emma Thompson does double duty in this department, playing the disturbingly conservative Mrs. Lincoln with recognizable, motherly terror, and her alter ego, a version of Lincoln possessed by a banished witch looking for revenge on Lena. Thompson spars with Macon and cackles in all her thick Southern accent glory, jumping between personas without a misstep. It's glorious.
LaGravenese makes two inspired discoveries with Ehrenreich and Englert, who set the bar for performances in the genre. Ehrenreich is charming and warm, acting like an actual human being in the midst of a fantasy. He makes adorably awful small talk to woo Lena, he worries about her when she destroys the windows of a classroom with her mind, he becomes vicious when the Ravenwoods attempts to interfere with their relationship — all natural. Englert is like a young Kathleen Turner, her husky voice and sharp wit turning Alice into an unusually strong female lead. The young caster is vulnerable as her relationship blossoms, but fully capable of turning a family dinner into a merry-go-round from hell. The two are electric on screen, even at their campiest moments. Yes, they're destined lovers, descendants of a couple murdered during the Civil War, but even without the back story, Alice and Alden have a sweet, scary, and fiery romance.
At nearly two hours, Beautiful Creatures could stand to lose a few plot threads — Emmy Rossum arrives halfway through as Lena's Siren cousin, a painful attempt by the actress to steal the spotlight with exaggeration — but stands as proof that tween source material can be done right. As it does with the cast, the film is enhanced by its moody visuals and engaging soundtrack by alternative rock band Thenewno2, all setting the tone for Alden and Alice's fateful entanglement. The movie shows no fear depicting teens in love or the ramifications of America's belief system — touchy subjects that feel daring in a Hollywood production. That's the movie's real magic.
[Photo Credit: Warner Bros. Pictures]
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David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
James MacArthur, who for 11 seasons booked ‘em on Hawaii Five-O, passed away earlier this morning. He was 72. Born in 1937 to playwright Charles MacArthur and EGOT winner Helen Hayes, he is survived by his wife of 25 years, Helen, and their four children and seven grandchildren.
Forever remembered as the second in command on Hawaii Five-O, he also had a prosperous stage career before and after the long running program. MacArthur joined the classic tropical cop show after the pilot was created when test audiences didn’t like the original. The producer remembered MacArthur from his work on Hang ‘Em High and brought him in as a replacement. An avid golfer and traveler, he once drove all the way from London to Malawi, Africa.
Read on for the official press release:
Today the world mourns the loss of internationally-known actor, family man, and humble human being, James Gordon MacArthur. He passed on October 28th 2010 at the age of 72 with his family by his side.
James was born on December 8, 1937 in Los Angeles, California and raised in a theatre atmosphere by his parents, the First Lady of the American stage, Helen Hayes and noted playwright Charles MacArthur residing at their home, "Pretty Penny", on the bank of the Hudson River in Nyack, New York.
As an actor, James had three strong separate careers, Live Stage, Movies and Television. In 1955 prior to his senior year at the Solebury School, James appeared in the TV play, "Deal a Blow". After graduation and before going to Harvard, he went to Hollywood to make the film version of it, renamed "The Young Stranger" which earned him a nomination in the Most Promising Newcomer category at the 1958 BAFTA awards. During summer breaks from Harvard he made "The Light in the Forest" and "Third Man on the Mountain" for Walt Disney. In 1959 and 1960, he made both "Kidnapped" and "Swiss Family Robinson" for Disney and made his Broadway debut playing Aaron Jablonski opposite Jane Fonda in "Invitation to a March" which won him the 1961 Theatre World Award for Best New Actor. He then appeared in "Under the Yum Yum Tree", "The Moon Is Blue", "John Loves Mary", "Barefoot in the Park" and "Murder at the Howard Johnson's" before returning to Hollywood to star in such movies as "The Interns", "Spencer's Mountain", "The Truth About Spring" with Haley Mills, and "Cry of Battle". In 1963, he was a runner up in the Golden Laurel Awards in the "Top New Male Personality" category. He then was a member of the all-star cast which included Henry Fonda, Robert Shaw, Robert Ryan, Dana Andrews, George Montgomery, Charles Bronson and Telly Savalas in "The Battle of the Bulge".
In 1968 producer Leonard Freeman remembered the actor who did a cameo in the Clint Eastwood movie "Hang 'em High" as the traveling preacher who came on the set, requiring only one take which was excellent. He called James, and cast him as Detective Dan Williams of Hawaii 5-0, who will be forever tied to the phrase "Book 'em Dano!".
After 11 years as Detective Dan Williams, he returned to the live stage in "The Hasty Hearst" with Caroline Lagerfelt", "The Front Page", a play written by his father Charles MacArthur, "A Bed full of Foreigners" in several locals and then played Mortimer in the national tour of "Arsenic and Old Lace" with Jean Stapleton, Marion Ross, and Larry Storch.
MacArthur loved life and all that it had to offer. He was adventurous and a world traveler. In the early 1970s he spent six months driving his Land Rover from London, England to Malawi, Africa with friend, Stan Hattie. He also enjoyed sharing his love for travel with his family taking them on numerous vacations to many exotic locations. James was an avid tennis player and enjoyed skiing, fishing, and hiking. He was a skilled flamenco guitarist and a consummate reader. His passion for playing golf led him to meet and fall in love with his wife, LPGA tour player and teacher, "H.B." Duntz. Throughout his life James developed a long list of friendships and stories to tell along the way. He had a great sense of humor and loved to laugh. He was witty and charming always enjoying a good time. He was often the recipient of practical jokes; however, one could always tell when he was the instigator of a few good ones of his own by that famous little crinkle at the side of his mouth and the twinkle in his eye. He was never one to be lost for words.
MacArthur was deeply honored to speak at the Library of Congress. He also was the Master of Ceremonies at Dan Quayle's Inaugural Ball. He was most supportive of the theatre through the Helen Hayes Awards in Washington, DC serving as a Board member, participant in the Annual Charity Auction and as the presenter of the Charles MacArthur Award for Best Screenplay at the annual Washington Theatre Awards.
In 2001, James was honored with his own star along the Walk of Fame in Palm Springs, California. In 2003, the fourth annual Film in Hawaii Award was bestowed upon him and Hawaii Five-O. The National Academy of Television Arts & Sciences honored James with a Gold Circle Award for 50 years of outstanding contributions to the medium in 2008. He was a true master of his craft.
His retirement was as busy as his career spending time with his family, who meant the world to him. He leaves behind his wife of over 25 years, Helen Beth (H.B. Duntz), four children: Charles P. MacArthur (Jenny), Mary McClure (Kevin), Juliette Rappaport (Kurt), James D. MacArthur and seven grandchildren; Ruby Johnstone, Riley Kea MacArthur, Ford and Daisy McClure, Jake, Luke, and Julia Rappaport.
Salt the propulsive new thriller from Phillip Noyce (Clear and Present Danger Patriot Games) has been dubbed “Bourne with boobs ” but that label isn’t entirely accurate. In the role of Evelyn Salt a CIA staffer hunted by her own agency after a Russian defector fingers her in a plot to murder Russia’s president Angelina Jolie keeps her two most potent weapons holstered hidden under pantsuits and trenchcoats and the various other components of a super-spy wardrobe that proudly emphasizes function over flash.
But flash is one thing Salt never lacks for. Its breathless cat-and-mouse game hits full-throttle almost from the outset when a former KGB officer named Orlov (Daniel Olbrychski) stumbles into a CIA interrogation room and begins spilling details of a vast conspiracy. Back in the ‘70s hardline elements of the Soviet regime launched an ambitious new front in the Cold War flooding the western world with orphans trained to infiltrate the security complexes of their adopted homelands and wait patiently — decades if necessary — for the order to initiate a series of assassinations intended to trigger a devastating nuclear clash between the superpowers from which the treacherous Reds would emerge triumphant.
The Soviet Union may have long ago collapsed (or did it? Hmmm...) but its army of brainwashed killer orphan spies remains in place and if this crazy Orlov fellow is to be believed they stand poised to reignite the Cold War. It’s a preposterous — even idiotic — scheme but no more so than any of our government’s various harebrained proposals to kill Castro back in the ‘60s. As such the CIA treats it with grave seriousness even the part that that pegs Salt who just happens to be a Russian-born orphan herself as a key player in the conspiracy.
Salt bristles at the accusation but suspecting a set-up she opts to flee rather than face interrogation from her bosses Winter (Liev Schreiber) and Peabody (Chiwetel Ejiofor). A former field agent she’s been confined to a desk job since a clandestine operation in North Korea went south leaving her with a nasty shiner and a rather unremarkable German boyfriend (now her unremarkable German husband). She’s clearly kept up her training during while cubicle-bound however and in a blaze of resourceful thinking and devastating Parkour Fu she fends off a dozen or so agents of questionable competence and takes to the streets where she sets about to clear her name and unravel the Commie orphan conspiracy before the authorities can catch up with her. That is if she isn’t a part of the conspiracy.
The premise which aims to resurrect Cold War tensions and graft them onto a modern-day spy thriller is absurdly clever — and cleverly absurd. But Kurt Wimmer’s screenplay isn’t satisfied with the merely clever and absurd — it must be mind-blowing. Salt is one of those thrillers that ladles out its backstory slowly and in tiny portions every once in a while dropping a revelatory bombshell that effectively blows the lid off everything that happened beforehand. No one is who they seem and every action every gesture no matter how seemingly trivial is imbued with some kind of grand significance. The effect of piling on one insane twist after another has the effect of gradually diluting the narrative. When anything is possible nothing really matters.
But spy thrillers by definition trade in the preposterous and the principal function of the summer blockbuster is to entertain. In that regard Salt more than fulfills its charge. Noyce wisely keeps the story moving at pace that allows little time for asking uncomfortable questions or poking holes in the film’s frail plot. And he has an able partner in the infinitely versatile Jolie who having already exhibited formidable action-hero chops in Wanted and the Tomb Raider films proves remarkably adept at the spy game as well.
It’s well-known that Jolie wasn’t the first choice to star in Salt joining the project only after Tom Cruise dropped out citing the story’s growing similarities to the Mission: Impossible films. But she’s more than just a capable replacement; she’s a welcome upgrade over Cruise not least because she’s over a decade younger (and a few inches taller) than her predecessor. Should Brad Bird require a pinch-hitter for Ethan Hunt he knows where to look.