A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
Anyone who’s been to the zoo has considered the possibility that once all the visitors and the zookeepers go home the animals come out from their enclosures and talk about the day. And so while Frank Coraci's Zookeeper is kind enough to show us what that fantasy looks like it isn’t kind enough to show us much else.
In Zookeeper Kevin James plays Griffin Keyes who’s so in love with his girlfriend Stephanie (played by Leslie Bibb) that he doesn’t realize she’s terrible until he proposes to her and she says no because she doesn't like his job. After the breakup Griffin focuses on his work and is totally aware of how he wishes he had someone in his life to care for him the way he cares for the wildlife at the Franklin Park Zoo. When the animals (being the astute creatures that they are) notice how badly their favorite zookeeper has been feeling since the demise of his relationship they decide to break their vow of silence to show their appreciation for him by sharing all the tips and tricks that have helped them all get mates. The imparting of this knowledge paves the way for Kevin James to regurgitate onto the audience all the talent for physical comedy he’s accumulated over the course of his acting career and it means Griffin spends the majority of the movie rubbing his back against a tree like a bear or peeing on a tree like a wolf because he thinks his ex-girlfriend will take him back if he asserted his dominance more.
One of the more skillful things the film does is give each of the animals their own personalities in a relatively short period of time and credit should be given to the actors who voiced them. Sylvester Stallone’s Joe the Lion was the leader of the group and his frequent lover’s quarrels with Janet the Lioness (voiced by Cher) will particularly resonate with parents. Adam Sandler’s Donald the monkey delivered some nice one-liners and unapologetically bragged about his opposable thumbs. Judd Apatow Maya Rudolph Jon Favreau and Faizon Love also provided worthy comedic contributions to the animal group but it was Nick Nolte’s role of Bernie the gorilla that particularly stood out. After an incident with an abusive zookeeper (strangely played by Donny Wahlberg) where Bernie gained the reputation of being dangerous he was extricated from his beautiful and open enclosure and dropped down into a cement pit to be punished over a misunderstanding. But even though Bernie was out of site and otherwise inaccessible to the zoo’s patrons Griffin didn’t forget about him and worked arduously to convince him that not every human is cruel by putting a yellow polo shirt on him and taking him to T.G.I. Fridays. Though completely random and almost irrelevant the sentiment was very close to nice.
But the movie's biggest problem isn’t the fact that its animals talk or that Griffin listens to them without realizing he’s trying to win back a human by acting like a wombat. It’s that because Griffin's first love Stephanie was a bad person filmmakers were burdened with concocting a new love figure for him (because like all protagonists he's supposed to rediscover his self-worth and self-respect after it has been misplaced). The director acknowledged this challenge by manufacturing Rosario Dawson’s character Kate the eagle expert/veterinarian. Kate’s close proximity to Griffin at the zoo and possession of a slinky black dress meant she became his accomplice when he tried to use the skills the animals taught him to win Stephanie back at his brother's wedding. Eventually it becomes clear that the audience is supposed to root for a union between Griffin and Kate but it's an almost impossible task because Griffin barely has any screen time with Kate and because of all the talking animals going on there is no room for a relationship when the film is already busting at the seams.
Theoretically Zookeeper sounds decent. And for the most part the scenes where the animals are coaxing Griffin are actually enjoyable. But the framework of the film makes the plot unnecessarily complicated…which means not only do audience members not get enough of what they wanted but they also get a whole bunch of other things they didn’t sign up for.
In Zookeeper, Kevin James plays lead zookeeper Griffin Keyes, who seeks advice from the animals he cares for on how to best win his girlfriend back after she declines his marriage proposal and breaks up with him. But since each of the animals he consults with has different courting rituals than the ones that come naturally to Griffin, he is extremely conflicted and ends up re-introducing all of the mating techniques that are found in the wild back into mainstream society as he tries to get back together with the person he thinks he's meant to be with.
I had the opportunity to sit down with the cast of the film, including Kevin James, Leslie Bibb, Rosario Dawson and even Bernie the Gorilla, and I asked them all why they chose to participate in this film that comically unites mankind with the animal kingdom by portraying ubiquitous desire to be loved.
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.
The investigation into the theft of Angelina Jolie and Brad Pitt's baby shower pictures has centered on Jolie's brother, who took a broken camera containing the snaps to a repair shop.
Police swooped on two suspects on Tuesday--Bill Keyes and Adam Beckwith--who had downloaded pictures of the Hollywood couple's Namibia party held ahead of the birth of their daughter Shiloh Nouvel last month.
However it has emerged that, rather than stealing the camera's memory card, Keyes and Beckwith were given it by Jolie's brother James Haven.
Haven handed the faulty camera in for repairs in Los Angeles following his visit to the African party.
Neither Keyes nor Beckwith have been arrested yet, according to TMZ.com, but police have seized the camera and Keyes' computer.
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