Much as I enjoyed X-Men: First Class Fox’s exuberant prequel/reboot (preboot?) of the fabled Marvel Comics series I was a bit disoriented by its opening sequence in which a Mengele-esque Nazi scientist played by Kevin Bacon attempts to coax a terrified young Erik Lensherr a death camp inmate into demonstrating his newly discovered mutant powers. As the interaction transpires the camera does something odd: It remains static holding its gaze on the characters’ faces affording us the rare treat of being able to scrutinize their expressions without the distraction of rapid-fire cuts or circling dollies or palsy-cams or any of the other myriad tools preferred by Hollywood’s increasingly ADD-addled action directors.
Restraint? In a comic book film? Strange but true. Even stranger is that it comes courtesy of director Matthew Vaughn whose previous comic book adaptation Kick-Ass was so over-adrenalized it should have come with a complimentary shot of insulin. Here Vaughn shows greater confidence in his material his actors and most admirably his audience letting the story hold sway unhindered by gimmicky enhancements. First Class is hardly a throwback mind you – it features all of CGI accoutrements one expects from a proper summer blockbuster – but it has a stylish retro sensibility to it that is as refreshing as it is unexpected.
In fact were it not for all of its superhuman characters one might not be able to tell that it’s based on a comic book. Whilst devising an approach suitable for his film’s early ‘60s Cold War setting Vaughn a Brit clearly found inspiration in his country’s most enduring film franchise. First Class bears far more in common with The Spy Who Loved Me than with any of the previous X-Men installments or any other comic book flicks for that matter and is all the better because of it.
Playing Vaughn’s Stromberg is Bacon whose character has graduated from death camp atrocitier to swaggering supervillain in the intervening years since the war’s end. Ensconced in his underwater lair aboard a well-appointed submarine Sebastian Shaw as he has re-christened himself (only in the comic book world does a fugitive Nazi war criminal choose an alias with the initials “S.S.”) is secretly conspiring to ignite a fatal MAD-provoking nuclear conflict between the United States and the Soviet Union.
No Bond-inspired film would be complete without a dose of benign sexism embodied ably by Mad Men’s January Jones in the role of Shaw’s right-hand woman Emma Frost. A mutant who can read minds and manifest diamond-plated armor Emma’s greatest gift the filmmakers make abundantly clear is her superhuman rack which when activated turns her into a walking honey trap no soldier or government official can resist. (It’s also the movie's most potent marketing weapon.)
Even our hero Charles Xavier (James McAvoy) has got a bit of 007’s DNA in him. Cheeky rakish given to funneling beers and hitting on Oxford co-eds McAvoy’s Xavier is a far cry from Patrick Stewart’s stuffy avuncular version of the character. Though his mutant telepathic abilities are highly developed his human intuition isn’t as he scarcely notices the insecurity metastasizing in his adopted sister Raven (Jennifer Lawrence) a blue-skinned shape-shifter in desperate need of validation.
She eventually finds that validation in Lensherr (played as an adult by Michael Fassbender) whose cynical view of humanity bred by prolonged exposure to its more sinister aspects places him at odds with Xavier’s vision of peaceful co-existence between mutants and their unenhanced counterparts. Nevertheless Xavier and Lensherr become fast friends and they agree to collaborate in the recruitment and training of a clandestine force of superhumans capable of stopping Shaw. Shortly thereafter the first-ever mutant all-star team is born.
Anyone vaguely familiar with the comic book knows how this relationship turns out. But Vaughn’s fresh approach to the characters and their underlying motivations helps ameliorate some of the predictability of film’s plot and its inevitable resolution. Like Batman Begins First Class is bound to pursue a pre-determined outcome but it makes brief detours here and there that refresh the franchise without jeopardizing its sacred canon. Vaughn takes great care to appease the film's fanboy base without alienating the broader audience. Though I couldn’t care a whit about Torso-Beam Boy Winged Stripper Girl or a handful of other extraneous characters devotees of the comics will no doubt rejoice in the screen time allotted to their respective backstories.
There are a handful of moments when Vaughn’s ambitions exceed his effects budget but for the most part he proves a dexterous purveyor of popcorn theatrics. Some of the best bits including a spectacular sequence in which an anchor tears through the deck of a luxury yacht have been spoiled by the film’s trailers but they still impress when writ large on the big screen. And there are a few surprises in First Class that remain thankfully unspoiled. Better see it quick before the next ad campaign debuts.
In a blanketed statement Luke Greenfield’s Something Borrowed attempts to explore lifelong friendships and the circumstances responsible for their ends. It’s billed as a romantic comedy which would be true if one choreographed dance to Salt N Pepa’s “Push It” and one instance where someone breaks their nose during a game of backgammon were the genre’s qualifiers. But deeper than that lies a message along the lines of “never defer to others ” or even one that’s more like “never give other people the opportunity to take what’s yours because they will.” However those morals get so completely muddled along the way that ultimately the film is downgraded to a chronicle of two best friends in love with the same man.
The film is told from the point of view of Rachel (Ginnifer Goodwin) who’s described as a successful lawyer at a top law firm (so “top ” in fact it’s never named). She is single mostly keeps to herself and is preoccupied with other people’s happiness but is lucky enough to have a very good friend in Darcy (Kate Hudson) who never misses a chance to talk about herself or steal the attention of an entire party by showing up in a pink boa. We learn Rachel and Darcy's friendship spans decades through a slide show that Darcy puts together for Rachel’s “surprise” 30th birthday party and during Darcy's toast to her best friend she talks about how excited she is to marry Dex (Colin Egglesfield) and how thankful she is to Rachel for introducing the two of them. However the truth is Rachel didn’t introduce them – what really happened was Darcy crashed Rachel and Dex’s date that was in honor of all the hard work they did together to prepare for a law school test. Rachel is saddened by the combination of turning 30 and listening to Darcy's excitement over her upcoming marriage to a man she doesn't deserve and after seeing the birthday girl's pout Dex suggests the fellow lawyers go get another drink together. Rachel casually admits to Dex that she’s had a crush on him since law school (which he claims to have never known) and during a shared cab ride to their separate apartments Dex kisses Rachel because it turns out he has had feelings for her all this time too. Thus begins the affair between Dex and Rachel even though Dex’s wedding to Darcy is only weeks away. Eventually Dex and Rachel both realize they love each other and Dex has to make a decision as to which woman is right for him.
Because the story is told from Rachel The Downtrodden's POV the filmmakers attempted to make Darcy the villain as she’s the opposite of Rachel and is someone who gets everything she wants without having to put forth any effort. In actuality Darcy is pretty easy to despise because she always talks about how she’s good-looking and the only obligations she has are towards partying and making incessant demands to Rachel about her wedding to a man she only halfheartedly loves. I suspect Greenfield decided to highlight the tremendous differences between Darcy and Rachel so as to emphasize the fervor and resilience of their bond (which would in turn make the affair between Rachel and Dex a bigger and more dangerous conflict). But it ends up being a disservice to the overall project because the characters themselves are so fundamentally flawed. The notion that one woman would WILLINGLY endure such bullying from someone who’s supposed to be her best friend is terribly unrealistic and so because the movie virtually revolves around this dysfunctional friendship between these two women means everything is painful to watch. There’s even a point where Rachel’s character becomes as unlikeable as Darcy in the way her utter obedience to Darcy makes her weak-minded a terrible heroine and essentially not worthy of our respect either. And what kind of a romantic comedy has us trying to figure out which woman we hate the most? (Exactly.)
John Krasinski saves the movie from being intolerable. He plays Ethan Rachel’s other best friend and (unlike Darcy) he genuinely cares about Rachel’s well-being. Rachel confides in him and he offers her advice and encouragement and Ethan does not like Darcy at all because he sees the way she treats Rachel and the way Rachel’s life halts every time Darcy has a demand. But his character is way more important than it appears to be because he’s the one who points out that both Rachel AND Darcy are flawed characters and he validates the audience’s disgust with both women. He does this by openly criticizing Darcy’s narcissism (which the audience notices within the first few minutes of the film) and also makes Rachel aware of how pathetic it is that she’s been at Darcy’s beck and call for 30 years. Ethan is arguably the only sane character in this movie and strategically he functions as its voice of reason. Even though Krasinski does not play a main character he’s so responsible for the humor that he is a true delight. Ginnifer Goodwin also does an excellent job playing the character who thinks she’s too ugly to ever get a handsome husband and Kate Hudson also deserves some recognition for embodying someone so self-righteous.
It's hard to criticize producers or a studio about what's wrong with a movie that was originally a book because neither the producers nor the studio are responsible for the story's fundamentals -- the author is. At the same time it’s impossible to hold an author responsible for how well his or her book was adapted into a film. That means both the filmmaker and the author must share credit for Something Borrowed but I have a feeling that in a few years neither party will want any.
Jason Segel's career may have lulled for the five years between his first television series, Freaks and Geeks, and his breakout role in CBS' How I Met Your Mother in 2005, but after ten years working in Hollywood, the 31-year-old comedian looks to finally be on the brink of full-blown stardom. After writing and headlining the 2008 hit Forgetting Sarah Marshall, Segel went on to write and star in The Muppets, due out this November. And while The Muppets is still in the process of wrapping, the hard-working actor has already lined up his next starring role -- as an '80s-era undercover cop in DreamWorks' creatively titled Undercover Cop.
The studio hasn't released any specifics on the plot, but we know the film is inspired by the true story of a former New Jersey cop who successfully infiltrated the Garden State's criminal underworld during the Reagan years. Jason Micallef has been tasked with writing the screenplay, and Segel will headline with Steven Zaillian producing.
Nostalgia for the remembered (and increasingly unremembered) '80s seems to be playing big in Hollywood these days, with '80s spoofs like Hot Tub Time Machine drawing audiences as well as '80s reboots like The A-Team and The Karate Kid . Fashionable trends do tend to repeat themselves in cycles; it looks like 30 years was all we needed for the '80s to start being cool again.
Author Stephanie Meyer unleashed a phenomenon with her Twilight novels a teen vampire romance that has spurned a teen cult following. The good news is the movie is surprisingly just as potent -- a spellbinding terribly romantic hypnotic and entertaining film. At its heart are the elements that make any teen drama work; in this case it’s forbidden love. It starts with 16 year-old Bella Swan (Kristen Stewart) who relocates from her sunny Phoenix to the cold gray foreboding atmosphere of Forks Washington to live with her father. At her new high school she meets the incredibly attractive but mysterious Cullen clan including the allusive Edward (Robert Pattinson) who immediately intrigues her. What she doesn’t know yet is that Edward and his “family” are a group of vegetarian vampires who drink only animal blood and must live in the terminally cloudy region of Northwest. Edward tries to drive a determined Bella away by revealing his true identity but soon realizes she is the girl of his dreams. But as the two begin their complicated romance things get dicey when another group of um meat-lovin’ vampires target Bella. Teen Beat should clear their covers for a new group of stars sure to become huge with the female teen set -- and probably their mothers as well. Exuding a brooding reserve and air of mystery the follicley-endowed Robert Pattinson is reminiscent of James Dean and completely believable as a conflicted bloodsucker who becomes dangerously attracted to a mere mortal. His Edward’s unpredictable nature becomes irresistible for the attractive Kristen Stewart’s Bella as she grows closer to him despite his attempts to keep her at arm’s length. Not since Baby yearned for Johnny Castle in Dirty Dancing has there been such an effective pairing for the acne-challenged set. Pattinson and Stewart simmer with teen angst and desire and could be the next big thing -- especially if there are more Twilight sequels to follow. The Cullen clan led by foster parents Peter Facinelli and Elizabeth Reaser is perfectly cast with a good looking bunch of vampiric thesps including newcomers Ashley Green Kellan Lutz Jackson Rathbone and Nikki Reed. Red-headed Rachelle LeFevre as bad vamp Victoria is ideal along with Cam Gigandet and Edi Gathegi as the guys in her group of nomadic vampires. Director Catherine Hardwicke has certainly shown she understands the ever-changing moods of youth with her previous efforts (Thirteen Lords of Dogtown). But those flicks were just warm-ups for what she taps into with Twilight. She creates a wonderful creepy kind of muted dark and cloudy society with imposing camera angles and aching teen lust from her bright red-lipped hormonally charged leads. And thankfully she leaves the fangs on the cutting room floor. These vampires are actually relatable and Hardwick takes what could have been an awful juvenile programmer and lifts it into a different league creating not only a movie that should cross over beyond it’s target demo but one that makes us genuinely excited for the inevitable sequels.