Gangster Squad the new movie from genre-blending filmmaker Ruben Fleischer (Zombieland) has a tone problem. The scatterbrained approach to the vigilante tale is summed up in one particular sequence: the "Squad " cops given permission to take down the goons of Los Angeles gangster Mickey Cohen (Sean Penn) by any means possible bust a dope smuggling operation at an airport in Burbank. Instead of tailing the criminals making off with the drugs they engage them in a car chase full of gunfire explosions and hyper-stylized CG-assisted camera work. When they finally do capture Cohen's men the squad leader Sgt. John O'Mara (Josh Brolin) interrogates them then shoots the cowering thugs in the back of the legs before rolling them down a hill. Within seconds the movie jumps from outlandish comic book roller coaster ride to gritty crime fiction exploring the moral complexity of defeating crime lords. The two mix onscreen like water and oil.
Fleischer packs it all into Gangster Squad and rarely does any of the material shine. Brolin works as the hard-nosed policeman dedicated to justice physically perfect with beady eyes and a square chin. But that's all his character has to offer with his squadron offering even less. Ryan Gosling appears as the whippersnapper cop on the verge of corruption expressing his doubts with the whiniest '40s accent ever to grace the screen. Anthony Mackie Michael Pena Giovanni Ribisi and Robert Patrick fill out the group — after sleek Ocean's 11-style introductions — bringing identifiable traits that open the door for one or two oh-right-that's-why-you're-here moments throughout the film. They feel barely existent in Gangster Squad's zippy script convinced to work outside the law all too easily and following O'Mara into suicidal missions that likely have sounder alternatives. For O'Mara whatever takedown creates the biggest mess — be it the aforementioned chase or setting a Cohen-owned club aflame — is top priority.
The saving grace is Penn playing Cohen like a long lost castmember of Warren Beaty's Dick Tracy. Every moment he's on screen Penn is scarfing down scenery and spitting it in our faces going over the top and sticking to it. He loves money he loves women he loves fudge sundaes. Penn makes a choice one the movie desperately needs. Surprisingly Emma Stone can't keep up as his arm candy Grace Faraday who falls head over heels for Gosling because it's an old fashioned noir throwback and well you certainly can't have one without hammy dialogue and paper thin romance.
The nods to Hollywood's golden era upgraded with flashy costumes and special effects would work if Gangster Squad didn't insist on bringing reality into the picture. Too often the movie resorts to moments of shocking violence much of it intensified by the slow motion shots of a tommy gun. The violence is raw while the film surrounding it is cartoonish. The choice raises questions Gangster Squad never answers: is O'Mara in the right when he takes the law into his own hands? Ribisi's techie character — a WWII vet like O'Mara and someone deeply changed by his war experiences — asks these questions challenging his boss' choices. Briefly. O'Mara and the film brush off the debate any time it comes up making room for more slick scenes of action.
Muddled in some of the most heinous digital photography in recent memory (no exaggeration: half the movie is motion blur) Gangster Squad is an experiment in modernization gone wrong. As Brolin and Penn trudge their way with entertaining choices Fleischer's film goes rogue around them. In this case entertaining outside the law doesn't work.
Unfortunately, Step Up Revolution stars Ryan Guzman and Kathryn McCormick couldn't give me what I ultimately wanted: a foolproof way to win a movie-style sexy dance-off, every time. "A body is a sexy thing, you can't help it," McCormick said, when asked if these dance-offs, which are so often seen in cinema and on TV, are a real thing that actually happen. (Because, I mean, have you ever actually seen one? I guess I'm just hanging out in all the wrong places.) Still, the So You Think You Can Dance vet and smoldering newcomer Guzman showed off some natural chemistry, and Guzman even clued me in to what he looks for in a woman: "You don't have to be the best-looking girl, but if you can dance great, then you've got me attracted," he said.
Hollywood.com also sat down with another veteran SYTYCD hoofer, Stephen "tWitch" Boss, as well as choreographer Jamal Sims, director Scott Speer, and producer Adam Shankman. And if you listen to Speer and Shankman's version of what went down while shooting the film — which focuses on a flash mob group appropriately titled "The Mob" — you'll learn that shooting an epic dance film has its casualties: "We were constantly carting off extras that were fainting." Check out the videos below: Follow Shaunna on Twitter @HWShaunna [Photo Credit: Summit Entertainment] MORE: Ryan Guzman: The Next Channing Tatum? — EXCLUSIVE PICS "Step Up Revolution" Los Angeles Premiere 'Step Up Revolution' Trailer: The Most Socially Conscious Dance Film Since 'Dirty Dancing 2'
The latest movie in the Step Up franchise aims for a politicized message behind all the flashy moves but it could do with a lot less plot and a lot more dancing. In Step Up Revolution the Miami dance group "The Mob" takes to the streets (and other random locations) to perform intricately choreographed routines with their own DJ a camera guy who uploads their videos to YouTube and a graffiti artist who leaves their signature behind. It takes at least that much effort just to get hipster New Yorkers to ride the subways without any pants on once a year; it's hard to believe that The Mob could pull off their elaborate schemes without getting caught but that's the magic of movies.
The Mob represents the more diverse working class side of Miami a young multiracial group of friends who create incredible works of art that disappear before they get shut down. One of the Mob's leaders Sean (Ryan Guzman) earnestly explains to newcomer Emily (Kathryn McCormick) that the group's reason is to give a voice to the voiceless or to be happy or to dance or something. It's not really clear but they have a lot of fun and look amazing doing it.
Once Sean and his friends find out that a greedy developer plans to raze their neighborhood to make way for another South Beach-style hotel monstrosity they have a reason to rally but until then they're just trying to win a cash prize by getting clicks on YouTube. The typical Step Up twist is that Emily is the developer's daughter. Mr. Anderson (Peter Gallagher) doesn't approve of Emily's love of dancing or other frippery and he certainly wouldn't approve of her hanging out with the people causing such mayhem in the streets of Miami.
Step Up Revolution biggest misstep is trying to give the movie more of a hook than the franchise's typical Romeo and Juliet-style love story and tap into "the Zeitgeist" (I swear that's from the studio-provided press notes) of flash mobs. The film could have cut out most of the plot and characters and still have a completely intact film insofar as the point of the film is its multimedia dance routines. The sort of productions The Mob pulls off are more akin to carefully planned art installations or music videos in terms of scope; it would have been better to at least make that somehow feasible in terms of the storyline. Yes we are here for a spectacle and we surely get a spectacle but it needs to have some roots in reality.
The dance scenes are fun sexy and occasionally a little sappy but overall quite enjoyable for people who enjoy "So You Think You Can Dance" type of shows. Kathryn McCormick and Stephen "tWitch" Boss both appeared on "SYTYCD" and their costar Misha Gabriel is a classically trained ballet dancer turned pro back-up dancer for folks like Beyoncé and Michael Jackson. Guzman doesn't have a dance background but he is an MMA fighter who obviously took his training very seriously. The entire outfit is pretty damn entertaining to be honest.
As far as the 3D goes it makes most of Miami look overcast and grey. The extra zings added in to make sure we get our money's worth like sand flicking out at us or a breakdancer whose foot seems to be aiming for our face only serves to distract from the real show at hand. There is also an awful lot of ramping and generally spazzy editing tricks that look cheap. The screenplay by Amanda Brody is definitely not its strong suit.
Step Up Revolution is the cinematic equivalent of a trashy beach novel. It's embarrassing to be caught actually enjoying it and you'll forget about it almost immediately but it's a decent way to spend a summer afternoon.
While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]
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.
After being cursed by delays The Wolfman Hollywood’s latest spin on the popular werewolf myth finally bares its ugly fangs in theaters this week. Predictably the film is a train wreck of a debacle -- one would expect nothing less from a notoriously troubled production that saw its original director Mark Romanek abandon ship just two weeks before the start of shooting -- but The Wolfman’s problems stem less from the late-game addition of helmer Joe Johnston who at the very least delivered a terrific looking film (its gorgeously eerie Victorian aesthetic evoking a palpable exquisite sense of dread is by far its best feature) than from the misguided efforts of its producer and star Benicio Del Toro.
The Wolfman is the brainchild of Del Toro an ardent horror fan who conceived the film as an homage of sorts to the low-budget “monster movies” from the ‘30s and ‘40s that he loved dearly as a child. It’s fashioned as a loose remake of 1941’s The Wolf Man a film that both established Lon Chaney Jr.’s performance as the definitive take on the character and introduced aspects of the werewolf legend now considered sacrosanct. The notion that a werewolf can be felled by an item made from silver for example owes its origin to The Wolf Man.
But Del Toro feels all wrong in the role of Lawrence Talbot the prodigal son of a 19th-century English aristocrat whose fateful encounter with a bloodthirsty lycan the same creature that brutally murdered his brother just days prior triggers his unwitting initiation into the accursed tribe of feral man-beasts. Del Toro's resume of low-key understated performances marked by a muttering often imperceptible delivery in films like Traffic and The Usual Suspects suggests a skill set better suited to playing another famous movie monster one significantly less loquacious than his character in this movie. Seriously -- the guy should have remade Frankenstein instead.
Playing an American-bred (but English-born we’re told) character in an 1890 setting looking uncomfortable in period attire surrounded by such “proper” British actors as Sir Anthony Hopkins and Emily Blunt and fully annunciating all of his line readings for the first time that I can recall Del Toro appears hopelessly out of place in The Wolfman.
Things only get worse unfortunately when Del Toro’s character transforms into the dreaded werewolf. Each time the moon is full the film transitions with increasing ridiculousness from a somber Victorian drama into a hard-core horror flick replete with grisly shots of torn flesh exposed spines and severed limbs. The first overly gruesome attack triggers a kind of nervous laugh more from the shock than anything else. The second invites an amused uneasy chuckle which soon snowballs into an outright belly laugh. And the effect soon spreads to the dialogue the outrageous gore rendering the film's mannered melodrama strangely hysterical.
Of all the Wolfman players only Hopkins seems to get the joke reveling in his manipulative mischief as Talbot's inappropriately glib stoutly aloof father. If only he'd let his castmates in on it.