Columbia Pictures via Everett Collection
As grand as the themes of good and evil, needs and deservings, power and responsibility and such forth are, superhero movies are generally pretty straightforward in premise: hero stops villain from wreaking havoc. As off-putting as this kind of simplicity might sound, it's usually the right way to go. If you pack enough substance into your characters and adhere your plot to these linear margins, you can actually wind up saying a healthy amount (and having a lot of fun). The Amazing Spider-Man 2 gets half of this formula down pat. Although Andrew Garfield's Peter Parker is still a moreover undistinguished identity, his emotional magnitude (re: his relationship with Gwen Stacy) is enough to keep him valid through the storm of lunacy that is his second feature. And it's not even that lunacy that holds him back. The problem isn't how wild his conquests are, how silly some of the action sequences feel, or how absolutely bonkers his villains turn out to be. It's all the other stuff (and yes, if you can believe it, there's a ton more going on in this movie than what I've already mentioned — that's the issue). All the plot twists, tertiary mysteries, ominous flashbacks, abject reveals, and weightlessly sinister pawns in this brooding game that, save for its fun with the baddies, takes itself way too seriously. All that stuff that The Amazing Spider-Man 2 thinks is necessary to make Peter Parker matter? It actually does just the opposite.
Peter is at his best when he's playing Tracy and Hepburn with the girlfriend he's perpetually disappointing (the eternally charming Emma Stone), or trying to win back the favor of the only remaining parental figure from whom he's rapidly slipping away (Sally Field, reminding us why she's a household name), or angling to connect with the mentally unstable engineer who just wants people to notice him (Jamie Foxx working his comic shtick with a frightening zest). We have the most fun with Peter when he's playing the simplest games, and we connect best with him on similar ground. But Peter and company, at the behest of The Amazing Spider-Man franchise's Sandman-sized aspirations, spend so much time exploring new avenues: the secrets surrounding the death and work of Richard Parker, the behind-the-curtains operations of OsCorp, the nefarious goings on in the waterside penitentiary Ravencroft.
Columbia Pictures via Everett Collection
As a result of the grand stab at world building, there is just so much stuff that Peter has to wade through in this movie, dragging the likes of Gwen and his boyhood friend Harry Osborn (Dane DeHaan, mastering angst, menace, and upper-class privilege all at once) into the dark crevasses of narrative waste. With so many diversions into the emotionally vacant, deliberately joyless explorations of Parker family origin stories, secret brief cases, and underground subways — The Amazing Spider-Man 2 rivals Captain America: The Winter Soldier in complexity, but forgets the necessary ingredient of fun — we barely have enough energy left when the good stuff hits.
And in truth, the good stuff isn't really good enough to sustain us through all the duller periods. Garfield and Stone do have laudable chemistry. Foxx is a hoot as Peter's maniacal new foe, especially when paired with the grimacing DeHaan. And the action, while often straying from any aesthetic authenticity, is nothing shy of neat-o. It's all passable, occasionally worthy of a hearty smile, but rarely anything you'll be definitively pleased you took the time to see.
But beyond coming up short in the micro, the film's regal downfall is its scope. With so much to do, both in accomplishing its own necessary plot points and setting up for those to come in future films, The Amazing Spider-Man 2 doesn't seem to take time to make sure it's having fun with its own premise. And if it isn't having fun, we won't be either.
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Accepting the Career Achievement Award at the Casting Society of America’s annual Artios Awards on Monday night (29Oct12) in Beverly Hills, Affleck revealed he initially signed on to oversee the gripping drama, starring Claire Danes and Damian Lewis, but he had to pass due to a deal he has with his wife to always put family first.
The actor/director said, "I was sure nothing would happen with the show. Now I hate the f**king show. I’ve never seen it."
Libby Goldstein, who helped assemble the cast for Homeland, poked fun at Affleck during the awards ceremony by reading a poem she had written about his decision to step down as director.
Other 2012 Artios Award winners for Outstanding Achievement in Casting included:
Big Budget Feature (Drama) - The Help (Kerry Barden & Paul Schnee)
Big Budget Feature (Comedy) - Crazy, Stupid, Love (Mindy Marin & Kara Lipson)
Feature - Studio or Independent (Drama) - My Week With Marilyn (Deborah Aquila, Tricia Wood & Nina Gold)
Feature - Studio or Independent (Comedy) - The Artist (Heidi Levitt & Michael Sanford)
Low Budget Feature - Martha Marcy May Marlene (Susan Shopmaker)
Television Pilot (Drama) - Homeland (Junie Lowry Johnson, Libby Goldstein, Julie Tucker, Lisa Mae Fincannon & Craig Fincannon)
Television Pilot (Comedy) - Girls (Jennifer Euston)
Television Series (Drama) - The Good Wife (Mark Saks & John Andrews) and Homeland (Judy Henderson, Craig Fincannon & Lisa Mae Fincannon)
Television Series (Comedy) - Girls (Jennifer Euston)
Television Movie or Mini Series - Game Change (David Rubin, Richard Hicks, Pat Moran, Kathleen Chopin & Anne Davison)
The Terminator actor played Corporal Dwayne Hicks in James Cameron's classic 1986 science fiction film, which was a follow-up to Sir Ridley Scott's first installment, 1979's Alien.
He was expected to reprise his role in David Fincher's 1992 sequel Alien 3, but his character was eventually written out.
The seething star wasn't happy with the decision, and couldn't bring himself to watch promos of the movie while he was at the cinema.
He tells Total Film, "I quit watching Aliens after two. They cut me out of the Aliens sequel so I was like 'F**k you' to them, I'm not going to watch them again. I booed the Aliens sequels... Alien 3 - when the previews came on in the movie theatres I was booing that. People think that 'It's the Alien sequel so it'll just be great' but they forget it was Ridley Scott and James Cameron, y'know?
"You just don't follow those guys. You really don't. You've really got to be good to follow those those guys... And Fincher ended up being a great filmmaker but his Aliens was not, I don't think, as good as the rest of them."
Biehn also gave up watching Cameron's The Terminator franchise after starring in the first movie and landing a small role in the second film, which was removed from the theatrical version but restored in the director's cut.
He adds, "I don't know why I never got round to watching Terminator three or four... I actually saw a little bit of four in my hotel room once. I actually watched about 30 minutes of it and I just turned it off because I didn't know what was going on, bombs were blowing up all over the place, there was no dialogue, everybody was shooting everybody... I was like, 'Ah man, this is not for me'."
The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.