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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After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
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Tom Cruise's chair dancing antics on Oprah Winfrey's chat show have made such
an impact on pop culture that "jumping the couch" has now become a well-used phrase.
The actor became the focus of relentless mockery in May, after jumping on Winfrey's couch and punching the air while yelling about his love for Katie Holmes.
And the moment has now spawned a term, which was recently added to Web site
The definition of the term "jump the couch" reads: "The defining moment when
you know someone has gone off the deep end. Inspired by Tom Cruise's behavior
on Oprah. Sample usage: 'My new boyfriend Benny... jumped the couch and started
rubbing spicy brown mustard on his body at my family reunion."
Article Copyright World Entertainment News Network All Rights Reserved.
Top Story: Judge Freezes Matrix Director's Assets
A Los Angeles judge froze the business assets of The Matrix Reloaded co-director Larry Wachowski in a bitter divorce fight between the helmer and his estranged wife, Thea Bloom, Reuters reports. According to court documents posted on The Smoking Gun Web site, Bloom accused Wachowski of concealing funds from her. "Larry has received large payments (for the Matrix films) that I never saw deposited in our joint accounts," she said in the court papers. "Larry has been extremely dishonest with me in our personal life, and I believe he is hiding information from me regarding our financial affairs." The couple wed in October 1993 and Bloom filed for divorce last December. A letter from Wachowski's lawyer reveals the filmmaker and his partner, brother Andy, earned upfront payments totaling $16 million to write and direct Warner Bros.' The Matrix Reloaded and The Matrix Revolutions, and stand to earn millions through separate licensing deals for video and online games.
Burton Favored To Remake Chocolate Factory
Eccentric filmmaker Tim Burton, who has directed such films as Edward Scissorhands, Ed Wood and Batman, is in talks to helm a new feature adaptation of the 1964 children's classic Charlie and the Chocolate Factory for Warner Bros. The story, written by Roald Dahl, revolves around a poor young boy named Charlie Bucket who wins a visit to Willy Wonka's chocolate factory. According to Reuters, Burton is expected to discuss the project with the surviving members of the Dahl family, who hold rights to the late author's works and has the final say over a director for the film.
Lions Gate Nabs Dogville
Lions Gate Films beat out several rivals, including Artisan, Paramount Classics, United Artists and Fine Line, to snag North American distribution rights to the Lars von Trier drama Dogville, starring Nicole Kidman. The film is considered a contender for the Cannes Film Festival's Palme d'Or, which will be announced Sunday. The asking price for the film jumped from $4 million at the opening of Cannes to $6 million as interest in the film swelled, but Lions Gate is believed to have secured the rights for significantly less, Reuters reports.
Brown Bunny Director Booed at Press Conference
Insulted by the negative reaction to his film road pic The Brown Bunny at the Cannes Film Festival, U.S. director Vincent Gallo has vowed it would be his last film. "I'll never make another movie again. I mean it," Gallo told Reuters Friday after he was booed at a press conference. "It is a disaster of a film and it was a waste of time. I apologize to the financiers, but it was never my intention to make a pretentious film, a self-indulgent film, a useless film, an unengaging film," he mocked. Gallo wrote, directed, produced and starred in the film.
Bowling For Columbine DVD To Include Interview
Documentarian Michael Moore will respond to critics who blasted his Oscar slam of President Bush on the DVD of Bowling for Columbine, Variety reports. The DVD, available Aug. 19, was originally slated for an April 22 release but was delayed to allow the film to continue its strong performance in theaters and to allow more time to produce significant extras. The Columbine DVD will include an interview with Moore about his Oscar victory for the documentary feature and his controversial acceptance speech. A transcript of the speech will also be included, but MGM could not gain clearance from the Academy of Motion Picture Arts & Sciences to include video of the speech.
NBC Still Network To Beat
Thanks to veteran series including Friends, ER and Law & Order, NBC won the adults 18-49 title in the 2002-03 season that ended Wednesday, despite a fierce comeback from Fox. The peacock network also beat out CBS among adults 25-54. CBS, however, emerged as the most-watched network overall for the second time in three seasons. According to Variety, CBS' Thursday night drama CSI was the top drama in total viewers, averaging 26.2 million weekly.
Rod Stewart Divorces Rachel Hunter
Rocker Rod Stewart is divorcing his estranged wife, model Rachel Hunter, Reuters reports. "I've paid my dues to the institution of marriage and have no interest in clinging to the past," the twice-married Stewart was quoted as saying in Britain's Sun newspaper. "I have decided to get a divorce. When I get back to L.A. it will all be finalized." The 57-year old singer split from Hunter, 34, four years ago, and both have since had widely publicized relationships. Hunter is best known for her liaison with British pop star Robbie Williams, while Stewart has been widely photographed with girlfriend Penny Lancaster.
Lawyer for Diana Ross Wants Breath Test Thrown Out
An attorney in Diana Ross' drunken driving case is asking a judge to throw out breath test results and statements the singer made to police on the night she was arrested. Police said the singer, who was arrested Dec. 30, had a blood-alcohol level of 0.20 percent. But defense attorney Stephen Paul Barnard has filed a motion arguing that police conducted a search without a warrant, which "raises the issue of the legality of the arrest and subsequent search and seizure." Prosecutors said the argument is misplaced because under Arizona law, anyone arrested for drunken driving automatically consents to blood-alcohol content testing, the AP reports.
Role Call: Tim Story Helms "Ralph"
Director Tim Story (Barbershop) is in negotiations to develop and direct the comedy Ralph for Universal Pictures. The project is loosely based on an episode of the animated cartoon series Pookie Poo on Urban Entertainment's Web site. The pic revolves about a black man who, tired of being made to feel invisible, makes a wish and winds up in a parallel world where he is the only man of his race in existence. No start date has b
Like the best modernist novels The Hours on the surface is a simple slice of life detailing the events that occur on one day in the lives of three women in their three respective time periods. James Joyce used the technique of compacting time as a literary device to great effect in Ulysses following his two protagonists through the streets of Dublin on one typical but memorable June day. In a similar way Woolf placed Clarissa Dalloway's life under a microscope--for just one day--in Mrs. Dalloway. Countless other 20th-century literary greats have employed this same technique in their works and by focusing the time frame so narrowly these authors could dig more deeply into seemingly ordinary moments--enabling them to excavate a character's lifetime in the space of a few hours. Their modernist undertaking comes to cinematic fruition in The Hours the story of what happens to three women on a single day in an elegant exploration of families artists lovers and sisters. In 2001 Clarissa Vaughan (Meryl Streep) is a conflicted book editor and a lesbian who like her namesake Clarissa Dalloway is planning a bittersweet party for a former love. In the 1950s Laura Brown (Julianne Moore) is a housewife and mother who's reading Mrs. Dalloway and struggling much like Woolf or Sylvia Plath to find her identity and voice in a culture that says that as a woman she shouldn't have one. In the 1920s Woolf (Nicole Kidman) is living in the English countryside with her husband Leonard writing Mrs. Dalloway occasionally sinking into madness and always restlessly pining for the intellectual stimulation of London. Adhering the three narratives is Richard Brown (Ed Harris): The talented dying misunderstood novelist in whose honor Clarissa is throwing her party. Harris' role threads its way through the '50s segment as well and he serves as the modern-day heir to Woolf's literary legacy.
In his small but crucial role Harris gives an admirable performance and if he occasionally overdoes the "suffering AIDS victim" angst it's probably The Hours' one weakness. The rest of the supporting players give marvelous color to the film particularly Allison Janney as Clarissa's partner Sally Miranda Richardson as Woolf's sister Vanessa Bell Stephen Dillane as Leonard Woolf and Toni Collette as Laura's neighbor Kitty. But it's hard to look much better than good when those around you are exceptional--and Streep Moore and Kidman give hands down the three most solid intelligent nuanced female performances of the year in The Hours. As actors they are absorbed so completely in the characters they play that they're virtually unrecognizable as celebrities. As Woolf Kidman uses a prosthetic nose in aid of this transformation while Moore's Laura is aged in the film with the help of some excellent makeup artistry (this will probably be one of many Academy Award nominations for this movie). But it's Streep who without the aid of external devices becomes her character so completely that her slightest movement is clearly Clarissa's--you can see it happening onscreen in her every reaction. It's such a sublime performance that it's almost not a performance; it seems more like we're spying on Clarissa's interior and exterior life and she doesn't even realize the camera is following her.
Director Stephen Daldry and screenwriter David Hare don't take the easy way out of the complex literary material they tackle in The Hours--and they don't let the audience off easily either. There's no omniscient narrator tying up the loose ends in a nice neat package and there's no final authority espousing what it all means; in fact the "author " Woolf is as much a character in the tales as is anyone else--both literally and figuratively. While she's one of three protagonists the memory of her life and the legacy of her novel impact the other characters significantly. Woolf is also present in more subtle ways: Hare's screenplay employs some of her perennial themes--aging illness gender politics madness death--and Daldry works delicately with several symbols that are key in her writing (particularly flowers those ambiguous blossoms that seemed equally at home at funerals and parties to the keenly observant Woolf). Through it all The Hours offers gentle insight into female consciousness and the condition of women's lives throughout the last century. "The younger generation " Woolf told T.S. Eliot has "no sense of tradition and continuity." Novelist Cunningham Daldry and Hare have proven her wrong with The Hours.
An autopsy has shown Bee Gees brother Maurice Gibb died because his bowel and small intestine were so severely twisted it caused a restriction of blood flow, The Associated Press reports. Gibb, 53, died Sunday three days after suffering cardiac arrest prior to undergoing emergency surgery for an intestinal blockage. The Miami-Dade County medical examiner told AP Gibb suffered from a condition known as ischemic enteropathy, which can be severe enough to cause cardiac arrest because of the restricted flow of blood. Dr. Jeffrey Raskin, interim chief of gastroenterology at the University of Miami, also told AP, "People (with his condition) can live to middle age with no symptoms. They can have minor problems off and on. Or, they can present on the first time with a catastrophic event, as it seems in this case." Gibb's brothers, Barry and Robin, have questioned the Mount Sinai Medical Center in Miami about the decision to operate after their brother's cardiac arrest.
Singer Bobby Brown was sentenced to eight days in jail Friday after pleading guilty to a 1996 drunken driving charge in Georgia, AP reports. He is also to perform 240 hours of community service, pay $2,000 in fines and $800 in court costs, as well as getting couseling. Brown will be on probation for two years.
Variety reports the Directors Guild of America will award Martin Scorsese its lifetime achievement award at the 55th annual DGA Awards March 1. In its 67-year history, the union's highest achievement has been given out to only 29 directors. Steven Spielberg was the DGA's last recipient, winning the honors in 2000.
DreamWorks has joined Paramount Pictures to co-finance the Ben Affleck sci-fi thriller Paycheck, Variety reports, making it the third deal the two studios have set up together lately. The other two include Lemony Snicket's Series of Unfortunate Events and Killing Pablo. Paycheck is based on a short story by Philip K. Dick about a guy whose memory is erased by his employer but who tries to collect his paycheck anyway.
Samuel L. Jackson will join Juliette Binoche in the indie drama Country of My Skull for director John Boorman. According to The Hollywood Reporter, the story is based on the book Country of My Skull: Guilt, Sorrow and the Limits of Forgiveness in the New South Africa and chronicles the account of South Africa's Truth and Reconciliation Commission, which investigated human rights abuses during apartheid.
The Simpsons are sticking around for another two seasons, Variety reports. The animated show has been renewed by Fox through May 2005, which will make 16 seasons and 360 episodes total. This will surpass the classic The Adventures of Ozzie & Harriet, television's longest running show in history.
Cybill Shepherd will don the apron and play Martha Stewart in an upcoming NBC telefilm, tentatively titled Martha Inc.: The Story of Martha Stewart. Seems fitting, no? The project is based on Christopher Byron's biography Martha Inc.: The Incredible Story of Martha Stewart Living Omnimedia, which was released in bookstores last spring, just as Stewart became embroiled in the insider trading scandal with the biotechnology firm ImClone.
Rocker Jackson Browne is calling for the removal of some scenes from the TBS telepic America's Prince: The John F. Kennedy Jr. Story, which suggest the singer assaulted a former girlfriend, actress Daryl Hannah, who also dated John Jr. Reuters reports Browne's attorney, Lawrence Iser, demanded in a letter to TBS that it "cease and desist" airing the program again "until false and defamatory scenes accusing Mr. Browne of assaulting actress Daryl Hannah are removed." The film aired Sunday on TBS.
The William Morris Agency will be opening a branch in Miami, Fla., to accommodate their Spanish-speaking clients, including Luis Miguel and Enrique Iglesias. The office will open in April.
Further shaking up the record industry, Jay Boberg, president of Vivendi Universal's MCA Records, resigned his post Thursday, Reuters reports. This follows the resignation of Sony Music Entertainment head Tommy Mottola last week. Boberg will be replaced in the interim by Craig Lambert, MCA's senior vice president of promotion.