We were back in deposition mode this week, as we finally found out what happened to Maggie in Africa that left her emotionally traumatized and with a horrible haircut. Meanwhile, Jim dealt with the consequences of leaving the campaign bus and Shelly got in the way of the news team perusing a major lead on Genoa.
Nothing But Trouble
Maggie tells lawyer Rebecca Halliday the full story of her trip to Africa. Rebecca seems entirely unsympathetic, going on about $14 million apartments and how she hates the Dutch. She also hopes to use Maggie’s fragile mental state to help AWM’s case, despite Maggie denying being “messed up.” Six months after the Africa incident, Maggie and Jerry went to interview a general who is somehow connected to Genoa. Maggie says that the general never stated that Genoa actually happened, while Jerry claims that Maggie was in no position to say that. Given that Maggie’s not rocking back and forth on the floor in the fetal position, I’d say that Jerry is just trying to cover his own ass for getting everyone into this mess.
S o the big question is: what happened in Africa? Before she and Gary could go to Kampala, they had to get footage of soldiers building an addition onto an orphanage. While visiting the orphanage, Maggie sees a child named Daniel sitting by himself, clutching a book. She starts reading the book to him, and Daniel quickly becomes attached, asking her to read it over and over again. It’s cute, but also sad because you know that something bad is obviously going to happen to this kid.
Maggie and Gary have to stay at the orphanage overnight because they can’t drive on the roads in the dark. In the middle of the night, they are woken up by gunshots and men yelling in Lugisu, which no one understands. (Maggie later figures out that they were yelling “Give us the camera.”) They wake up the children and load them onto a school bus, but Daniel is missing. Maggie finds him under her bed but can’t reach him. Gary helps her unbolt the bed from the floor and forcibly drag Daniel out. Maggie carries Daniel on her back to the bus but turns around when Gary falls, and Daniel is shot in the back. He dies immediately, leaving Maggie distraught and wracked with guilt. Maggie and Gary have to go back to the US right away, and Maggie chops her hair off because Daniel had admired it.
Jim Finally Moves On
Jim’s speech may have convinced Hallie and Stillman to leave the bus with him, but now they have to face the fallout. They no longer get hotel reservations or email updates, and they have to follow the bus in a rental car. Jim asks Romney spokeswoman Taylor for a statement from the candidate that everyone else got by email, but she refuses. They get into an argument which leads to Taylor finally cracking and telling Jim to “Go f**k yourself.” Jim smiles, knowing he caught her in a compromising position, and she asks him what she can do to make him forget what she said. Me thinks 30 minutes with the candidate will do the trick.
But Jim actually gives away his precious interview time to Hallie, whose pig of a boss was giving her a hard time for leaving the bus. When Hallie finds out about this favor, she gets pissed off, but quickly gets over it and makes out with Jim by the hotel pool. She also proudly whispers “I’m the rebound, and I went to Vassar,” which is one of the more absurd things a woman has said on this show, and that’s saying something. Anyway, Mac makes Jim come back to New York after giving up the interview, so his campaign romance is short-lived.
Crisis of Confidence
Back at the newsroom, Jerry and the rest of the crew have to deal with someone who isn’t as obsessed with the news as they are. Plot device Shelly Wexler has an Occupy Wall Street buddy who might have information about Genoa, but won’t bring Jerry to meet him because Will embarrassed her on-air. Sure, Shelly is being difficult and stubborn as hell, but if I had to deal with the News Night team’s overinflated egos, I would probably act the same way. One by one, Neal, Sloan, and Don try to make it up to her, but they let their trademark smugness get in the way. Finally, Will goes to meet Shelly and apologizes to her, saying that he just wanted to bash Occupy Wall Street to make him look more like a moderate. He did this despite the fact that they already found who they were looking for: a guy who wrote a report stating that American troops used chemical weapons on civilians in Pakistan. The report seems to match up with what they already know about Genoa, further convincing Mac and Charlie that the story might be credible. Obviously they are missing a major piece of the puzzle that would prove the story false, but they won't find it until it's too late.
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Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
When Lily (Analeigh Tipton) transfers to scenic Seven Oaks three strange but charismatic young women approach her like a girl gang in matching sweater sets. Although Lily doesn't need help with her wardrobe or men Violet (Greta Gerwig) Heather (Carrie MacLemore) and Rose (Megalyn Echikunwoke) recruit her to live with them hang out with them and join them in their efforts to thwart the school's "atmosphere of male barbarism." It's not actually barbaric; it's a fairly normal upper class liberal arts college but to these girls one of whom has such delicate nostrils that she freaks out at the slightest hint of BO we'd be much better off returning to an classier era. Seven Oaks which used to be a women-only campus is a veiled reference to the Seven Sisters colleges some of which like Vassar have gone coed.
With Violet as a slightly awkward ringleader the trio has very strict ideas of what's proper and what's not what kind of behaviors lead to depression and general uncleanliness and what will most enhance each person's happiness. They set out to do this by avoiding handsome men and going for fixer-uppers and offering depressed students tap dancing classes and fresh-smelling soap. However even though Violet's biggest dream is to kick off "an international dance craze " something she assumes will benefit many people on a wider scale than their college-level suicide interventions they all seem sort of depressed. Is it anthropological curiosity that motivates Lily the loneliness of a new school or as with the audience the sort of weird charm shot through sadness that Violet possesses?
Fans of Whit Stillman's talky thinky upper crust movies are overjoyed that the writer/director has returned after 14 years but what will about newbies? Damsels in Distress is somewhat perplexing; there are a few too many characters and subplots that are introduced and then dropped like the young woman whom the gals take in briefly after a suicide attempt. The film brings up questions about identity the ways we lie to ourselves but leaves them dangling. We're given details about who Violet really is in an insightful and startling subplot that could have given the movie a slightly weightier tone but then it shifts back into Stillman territory. To be fair that's why we're watching in Damsels to begin with; the random excursions into the outside world of actual mental illness heartbreak and financial or personal struggle have no real place in Stillman's lovely bubble. In the end it's not clear if there's some greater thrust to the movie some sort of lesson that the protagonists and viewer should be taking away from it all but if we're allowed to turn off our brains for mindless action fodder and enjoy it why not do the same for hyper-literate modern dandies in a world of dance classes and sunny college campuses?
It's also buoyed by a strong cast led by Greta Gerwig and Analeigh Tipton with enjoyable performances by Echikunwoke and would-be suitor Adam Brody as well as excellent costumes that combine the modern look of liberal arts colleges with the perfectly preppy wardrobe of the three girls and occasional dance numbers. Small touches like Audrey Plaza as a wild-eyed and -haired tap dance student referred to as "Depressed Debbie " Gerwig's stoic face even when referring to her breakdown as being "in a tailspin " and a sight gag here and there serve to remind us that Stillman and his team aren't fumbling in the dark here; they're perfectly aware of how enjoyably goofy Damsels is. It's no accident that their college offers a class called "The Dandy Tradition in Literature" that focuses its studies on Evelyn Waugh and others as obsessed with the leisure class as Stillman.
Crystal Lake. Dumb kids in the woods. Sex drugs booze. A hulking maniac in a hockey mask wielding a machete. Yeah that about sums it up.
Are you kidding? The new Jason Derek Mears probably fares best among the actors because he doesn’t have a single word of dialogue. Everyone else unfortunate enough to stumble in front of the camera – Jared Padalecki Amanda Righetti Danielle Panabaker Travis Van Winkle – is basically fodder for the slaughter. Some of them get naked. Most of them get dead. Some die more gorily than others. No one dies quickly enough. Having previously (and woefully) directed the 2003 remake of The Texas Chainsaw Massacre helmer Marcus Nispel does his best – and worst – to resurrect yet another popular horror franchise from the past. He also adds absolutely nothing new to the formula. Quite frankly anyone could’ve directed this film. Judging by the results anyone did. This is the 12th Friday the 13th film for those keeping score at home and with any luck it’ll be the last. Of course it won’t be. But we can always hope.
Yet another in a LONG line of teenage sex comedies this one manages somehow to be fresh and appealing -- despite the formu-lay-ic premise. That’s right another horny 18 year-old boy (Josh Zuckerman) is determined to lose his virginity any way he can. Ian can’t seem to become a “man ” upstaged by a Lothario of an older brother Rex (James Marsden) and his even more successful 14 year-old younger brother. He is constantly humiliated by the giant donut costume he wears for his job at the mall and can’t even get to first base with Felicia (Amanda Crew) a girl who thinks of him only as her best friend and nothing more. With the pressure of going to college as a sexual outcast what’s a hot-to-trot young dude to do? In this case -- using encouragement from pal Lance (Clark Duke) and with Felicia along for the ride -- the threesome take off in the unsuspecting Rex’s prized Pontiac GTO for a cross-country drive Ian thinks will end with the payoff of sex with a hot blonde named Ms. Tasty (Katrina Bowden) he met on the Internet. Unfortunately the one-day outing turns into a three-day nightmare for the trio with brother Rex on their trail and friend Lance getting a little too cocksure for his own good. Oh and did we forget to mention the Amish farm they manage to work into the tour? In the obligatory Jason Biggs role Josh Zuckerman is totally winning as a sex-starved high school graduate looking desperately to tame his out-of-control libido. With sharp comic timing and no end to the ways he is willing to humiliate himself for the sake of his art Zuckerman should have a bright future. Although the casting of his friend Lance played by the pudgy Duke would seem to be an attempt to emulate the Michael Cera/Jonah Hill teaming of Superbad Duke’s go-for-the-big laughs approach feels like we are seeing this kind of goosed-up sex maniac act for the first time. As the female “best friend” Felicia Amanda Crew is very appealing and thankfully grounded in reality. Marsden is hilarious as dopey Rex who prizes his vintage GTO and his own sexual prowess even more than the love of little bro. Seth Green has some funny bits as the sarcastic Amish man who somehow seems to know how to fix hot rods. Bowden is gorgeous and devious as the Internet hottie who may not be all Ian hoped for. Special mention also to Charlie McDermott and Mark Young who as a recurring kind of geek chorus playing two inept high school girl magnets. NOT. Director and co-screenwriter (with John Morris) Sean Anders manages to infuse what could have been a stale leftover piece of American Pie with new life and that’s largely thanks to some very funny VERY raunchy situations he dreams up for these likeable and recognizable characters. The premise of a so-called Sex Drive also offers ripe opportunities in this genre and Anders gets a lot of play out of it particularly from Duke whose uninhibited acting grabs most of the big laughs. Although they crank the gross factor way up the film doesn’t lose sight that it’s mostly a coming-of-age comic look at a rite of passage most young guys -- and girls -- will identify with. Although much is predictable Sex Drive has a strong sense of what it wants to be and in the end even turns sweetly romantic something most films of this stripe rarely do.
Will Ferrell is back on-target in the dumb movie sweepstakes as Brennan Huff an over-grown overly sensitive son who has never bothered to move out of single mom’s (Mary Steenburgen) house even though he’s 40. When she meets falls in love with and marries an older doctor (Richard Jenkins) all before the opening credits are over Brennan must move into his new stepfather’s home where--you guessed it--39 year-old loser and would-be musician Dale Doback (John C. Reilly) has been living with Dad all these years as well. The new siblings who give stunted growth a whole new definition bunk together like 10-year olds with an instant rivalry that causes havoc in the household. Soon they find themselves birds of the same feather when fed-up dad announces he is selling the house and going on an around-the-world cruise with his new bride. The hapless pair are ordered to find decent jobs and a new place to live--a prospect neither relishes. After an earlier misstep this year with the inane Semi-Pro Ferrell is back in his comfort zone and finding new sparks opposite Reilly who despite the failure of his recent starring comedy Walk Hard continues to show natural comedic abilities. The two are fun to watch as they mine a lot of laughs playing imbecilic but lovable adolescent middle-aged men--Peter Pans who just never grew up. Still it’s the supporting cast that really shines. Jenkins--enjoying the best year of his career especially with his stellar turn in The Visitor is now complementing it with his riotous portrait of a put-upon dad dealing with a couple of morons who have overstayed their welcome by about 20 years. Steenburgen manages to invest the rather colorless mother role with dignity even earning a couple of laughs on her own. Adam Scott as Ferrell’s real-estate mogul brother is consistently fun particularly in leading a family sing-a-long while driving to bro’s house. Also of note Kathryn Hahn as his mousy but extremely kinky wife who tries to get down and dirty with Reilly.
Ferrell’s writing partner Adam McKay is not only co-scripting again but back behind the camera guiding Ferrell’s and Reilly’s on-screen nuttiness. Adam McKay an SNL veteran who was responsible for two of Ferrell’s biggest hits Anchorman and Talladega Nights knows from experience exactly how to take these over-the-top situations and wring every last laugh out of them. Movies like this are hit and miss so give McKay credit for hitting more than he misses. Each actor even the lesser-billed ones have their moments to shine and it’s a nice tribute to McKay’s laid back direction that none of them bellyflop. The premise of Step Brothers clearly presented some potentially rich comic possibilities and McKay and company uncover most of them. Certainly the film should strike a responsive chord with those faced with grown kids either coming back home to live or never leaving in the first place--if not quite to THESE extremes.