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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In just about every one of Kevin Hart's scenes in Ride Along, there's a joke that is just aching to find its way out of the diminutive, rascally comic actor. Hart is a small-scale physical comedian — of the same ilk as Jack Black — who puts nuclear-degree energy into his facial contortions, anatomical outbursts, and the delivery of every gag in general. If only he had material that was crafted with the same energy.
Unfortunately, nothing else about Ride Along seems at all "hard at work." Not the script, which pads a lifeless story with lazy comedy, and certainly not his screen partner Ice Cube, whose only stage direction seems to be "frown, and be taller than Kevin Hart." So lifeless is Ice Cube that even his machismo-obsessed straight man bit doesn't really work. Instead of the virile and intimidating "bad cop," he comes off as a disapproving middle aged dad without much to show for his own life.
But the script pairs the wily, overzealous high school security guard and video game junkie Ben (Hart) with no-nonsense lawman James (Ice Cube) on the titular ride along, with the scrappy cop-wannabe hoping to prove to the force veteran that he's good enough to marry the latter's younger sister. In earnest, he's not. Ben never puts any respectable effort into learning the tools of the trade, insisting on employing his amateur style and controlling the radio despite his proclamations that he wants, and deserves, James' trust. And James is no saint either — he's irresponsible on crime scenes, violent with perps, and disgruntled to the point of being unable to work with anybody else on the force. These are not good police officers... of course, you'll say, this is a comedy. But where are the laughs, then?
They're not absent entirely, you just have to look for them. In a movie so focused with big, broad humor, it's the smaller comedy that actually lands best. Hart's background mutterings and fumblings, his emoticon-laden texts to girlfriend Angela (Tika Sumpter, whose only stage direction seems to be "smile, and never wear a full outfit of clothing"), and a bizarre repetition of the word "weird" from supporting player John Leguizamo. All good for unexpected chuckles, while jokes like Hart facing off with a pre-teen or being blown backwards into a brick wall after firing a large gun are all lazy, familiar, and flat.
Structurally, the script is a mess. Ride Along spends far too much time on set up — we get it, Hart and his soon-to-be-brother-in-law Ice Cube don't get along — and far too much time on wrap-up — there's a gigantic, dramatic warehouse shootout that, in any other movie, would be the climax, but there's plenty more to go after that — without any cohesive middle to make the movie feel like... a movie.
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Hart, who leaps at every comic opportunity like a kangaroo (wallaby would be more appropriate), is suited just right for a buddy cop comedy, but he needs something fresh with which to work — a real character, an interesting story, actually funny jokes. Even just one of these would be fine!
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Ben Affleck has reportedly walked away from the Hollywood remake of French drama Tell No One. The Argo star/director signed on to revamp Guillaume Cannet's 2006 thriller in 2011, but it appears he is no longer attached to the project and filmmaker Gavin O'Connor is now in negotiations to direct.
In the original film, which was based on Harlan Coben's novel, a doctor, played by Francois Cluzetto, is suspected of his wife's death after she is abducted by kidnappers. Struggling to come to terms with what he believes is her death years later, the medic receives an email from his wife.
Ladies and gentlemen, we're making our final descent towards naming a Best Picture of 2011.
With the Golden Globes behind us and Academy Award nominations hitting next week (with the show arriving at the tail end of February), the limbo week between them is reserved for the coveted BAFTAs, the UK equivalent of the Oscars. After picking up a few statues at the Globes, feel good favorite of the year The Artist leads the pack in the BAFTA nods with a whopping 12 nominations. Behind the silent comedy are the British spy drama Tinker Tailor Solider Spy with 11 noms and Hugo with 9. Can the BAFTAs give a much-needed boost to the latter two films? Only time will tell…The BAFTAs announce their winners February 12.
Tinker Tailor Soldier Spy
Outstanding British Film
My Week With Marilyn
Tinker Tailor Soldier Spy
We Need To Talk About Kevin
Outstanding Debut by a Writer, Director or Producer
Attack The Block - Joe Cornish (Director/Writer)
Black Pond - Will Sharpe (Director/Writer), Tom Kingsley (Director), Sarah Brocklehurst (Producer)
Coriolanus - Ralph Fiennes (Director)
Submarine - Richard Ayoade (Director/Writer)
Tyrannosaur - Paddy Considine (Director), Diarmid Scrimshaw (Producer)
Film Not in the English Language
The Skin I Live In
George Harrison: Living In The Material World
The Adventures Of Tintin: The Secret Of The Unicorn
Michel Hazanavicius - The Artist
Nicolas Winding Refn - Drive
Martin Scorsese - Hugo
Tomas Alfredson - Tinker Tailor Soldier Spy
Lynne Ramsay - We Need To Talk About Kevin
Michel Hazanavicius - The Artist
Annie Mumolo, Kristen Wiig - Bridesmaids
John Michael McDonagh - The Guard
Abi Morgan - The Iron Lady
Woody Allen - Midnight In Paris
Alexander Payne, Nat Faxon, Jim Rash - The Descendants
Tate Taylor - The Help
George Clooney, Grant Heslov, Beau Willimon - The Ides Of March
Steven Zaillian, Aaron Sorkin - Moneyball
Bridget O'Connor, Peter Straughan - Tinker Tailor Soldier Spy
Brad Pitt - Moneyball
Gary Oldman - Tinker Tailor Soldier Spy
George Clooney - The Descendants
Jean Dujardin - The Artist
Michael Fassbender - Shame
Berenice Bejo - The Artist
Meryl Streep - The Iron Lady
Michelle Williams - My Week with Marilyn
Tilda Swinton - We Need to Talk About Kevin
Viola Davis - The Help
Christopher Plummer - Beginners
Jim Broadbent - The Iron Lady
Jonah Hill - Moneyball
Kenneth Branagh - My Week with Marilyn
Philip Seymour Hoffman - The Ides of March
Carey Mulligan - Drive
Jessica Chastain - The Help
Judi Dench - My Week with Marilyn
Melissa McCarthy - Bridesmaids
Octavia Spencer - The Help
The Artist - Ludovic Bource
The Girl With The Dragon Tattoo - Trent Reznor, Atticus Ross
Hugo - Howard Shore
Tinker Tailor Soldier Spy - Alberto Iglesias
War Horse - John Williams
The Artist - Guillaume Schiffman
The Girl With The Dragon Tattoo - Jeff Cronenweth
Hugo - Robert Richardson
Tinker Tailor Soldier Spy - Hoyte van Hoytema
War Horse - Janusz Kaminski
The Artist - Anne-Sophie Bion, Michel Hazanavicius
Drive - Mat Newman
Hugo - Thelma Schoonmaker
Senna - Gregers Sall, Chris King
Tinker Tailor Soldier Spy - Dino Jonsater
The Artist - Laurence Bennett, Robert Gould
Harry Potter And The Deathly Hallows Part 2 - Stuart Craig, Stephenie McMillan
Hugo - Dante Ferretti, Francesca Lo Schiavo
Tinker Tailor Soldier Spy - Maria Djurkovic, Tatiana MacDonald
War Horse - Rick Carter, Lee Sandales
The Artist - Mark Bridges
Hugo - Sandy Powell
Jane Eyre - Michael O'Connor
My Week With Marilyn - Jill Taylor
Tinker Tailor Soldier Spy - Jacqueline Durran
Make Up & Hair
The Artist - Julie Hewett, Cydney Cornell
Harry Potter And The Deathly Hallows Part 2 - Amanda Knight, Lisa Tomblin
Hugo - Morag Ross, Jan Archibald
The Iron Lady - Marese Langan
My Week With Marilyn - Jenny Shircore
The Artist - Nadine Muse, Gérard Lamps, Michael Krikorian
Harry Potter And The Deathly Hallows - Part 2 - James Mather, Stuart Wilson, Stuart Hilliker, Mike Dowson, Adam Scrivener
Hugo - Philip Stockton, Eugene Gearty, Tom Fleischman, John Midgley
Tinker Tailor Soldier Spy - John Casali, Howard Bargroff, Doug Cooper, Stephen Griffiths, Andy Shelley
War Horse - Stuart Wilson, Gary Rydstrom, Andy Nelson, Tom Johnson, Richard Hymns
Special Visual Effects
The Adventures Of Tintin: The Secret Of The Unicorn - Joe Letteri
Harry Potter And The Deathly Hallows Part 2 - Tim Burke, John Richardson, Greg Butler, David Vickery
Hugo - Rob Legato, Ben Grossman, Joss Williams
Rise Of The Planet Of The Apes - Joe Letteri, Dan Lemmon, R. Christopher White
War Horse - Ben Morris, Neil Corbould
The Orange Wednesdays Rising Star Award
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
Keira Knightley, Eva Mendes, Sam Worthington and Guillaume Canet are set to star in Last Night, the feature directing debut of Massy Tadjedin.
Tadjedin, who also wrote the screenplay for The Jacket, wrote the Night script.
Production begins in New York next month, says Variety.
The story centers on a married couple who are apart for a night while the husband takes a business trip with a colleague to whom he’s attracted. While he’s resisting temptation, his wife encounters her past love.
Tadjedin has also been writing an untitled project for Steven Spielberg.
Knightley has received winning notices for her upcoming turn in period piece The Duchess.
French star Canet is currently enjoying darling status among U.S. critics for his sleeper Tell No One which he directed and adapted from a Harlen Coben novel.
In 2006, he won France’s Cesar award, the equivalent to the Oscar, for best director.