Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
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.
The romantic action comedy Scott Pilgrim vs. the World is like nothing — and if you’re a person between the age of approximately 18 to 35 everything — you’ve seen before. British director Edgar Wright’s (Shaun of the Dead Hot Fuzz) adaptation of Bryan Lee O’Malley graphic novel is so densely laden with pop-culture references it often times feels less like a movie than a mixtape. Those who share the tastes of the film’s 31-year-old writer and 35-year-old director will find the experience to be exhilarating; those who don’t however will likely be at a loss to comprehend what all the fuss is about.
The list of ‘80s and ‘90s video game nods in Pilgrim alone is daunting: Tekken Super Mario Bros. Tetris Zelda and even retro titles like Galaga and Ms. Pac-Man are represented just to name a few. To fit all of it in Wright must practically invent a brand-new kind of filmmaking. Using techniques and iconography culled from the holy fanboy triumvirate of comic books video games and anime/manga and armed with a clearly generous effects budget he splatters the screen with a dazzling array of CGI visual aids as the action unfolds: informational pop-ups supply key details on each character as they are introduced; words like “Boom!” and “Pow!” burst forth when blows are landed during fight sequences; a “Level Up!” graphic indicating increased levels of key character attributes appears after the film’s hero triumphs in battle. Even the old Universal Studios logo has been revamped by Wright rendered in the rudimentary graphics and sound of the old 8-bit Nintendo Entertainment System. Call it easter-egg filmmaking.
At the center of this digital maelstrom is Scott Pilgrim a 22-year-old Canadian hipster waif played by 22-year-old Canadian hipster waif Michael Cera. Unemployed and in no great rush to find work he splits his time evenly between jamming with his middling band Sex Bob-Omb (a Super Mario Bros. reference) combing thrift shops for new additions to his near-limitless collection of ironic t-shirts and pining for Ramona Flowers (Mary Elizabeth Winstead) a beguiling New York City emigre whose signature attribute is her constantly-changing hair color.
After a few abortive encounters Scott finally gets Ramona to reciprocate his affections. Thus begins the quest — or "campaign " as gamers call it — portion of the film as Scott soon discovers that in order to secure Ramona’s hand he must defeat each of her seven evil exes (six boys and one girl) in spontaneous death matches of decreasing novelty. (A few of them could easily have been excised without harming the narrative but that might invite the ire of comic book fans who typically demand nothing less than absolute adherence to the source text.) With a variety of found power-ups and an entirely implausible collection of fancy kung-fu moves he faces off against among others a pompous vegan straight-edge (Brandon Routh) a self-absorbed action star (Chris Evans) a spiteful lesbian (Mae Whitman) and a smarmy record producer (Jason Schwartzman).
I expect Scott Pilgrim vs. the World will polarize audiences and not just because of Wright’s distinctively dizzying directorial style. (Which I thoroughly enjoyed even though it occasionally overdoses on manufactured quirk and is a bit too proud of its cleverness.) The film glosses over Scott and Ramona’s wooing process in its rush to commence with its succession of comic-book battles which grow somewhat tedious toward the end. It’s simply assumed that Ramona would fall for our protagonist as it’s likewise assumed that we already have. But not everyone will embrace Scott’s castrati hipster affect which too often comes across as grating rather than charming. (The movie’s funniest moments come courtesy of Scott’s sassy gay roommate played by Kieran Culkin who is never without a clever barb for his lovelorn pal.) And beneath Cera’s self-effacing sheen exists an unmistakable whiff of pretentiousness that isn’t entirely justified — at least not yet. Far less debatable is the appeal of Winstead whose spunky Ramona appears every bit worth the hassle of fending off seven or more ex-lovers.
God knows what she sees in him.
After being awakened by the echoing of scary sounds and discovering big footprints the gang--including Rabbit Tigger Piglet Eeyore and of course Pooh--decide to find and capture a Heffalump one of the most feared creatures in the Hundred Acre Wood. Little Roo is the only one not allowed to help in their endeavor because he is too small and too young to partake in such a dangerous expedition. But Roo is determined to convince everyone he is big enough to catch a Heffalump and sets out on his own. Luckily he is much more successful than the rest snaring a Heffalump named Lumpy. Roo soon finds out however that the scariest creature in the woods is not really scary at all but kind and gentle and just as scared as he or his friends ever were. Lumpy and Roo become fast friends. It is now up to Roo to get his friends and everyone else in the Hundred Acre Wood to throw away their fears and accept the Heffalumps as one of them.
All the actors portraying the Hundred Acre wood gang do a great job. They include Jim Cummings as friendly Winnie the Pooh and bounce-happy Tigger; Ken Sansom as the know-it-all Rabbit; Kath Soucie as Roo's loving mother Kanga; John Fiedler as little Piglet; Peter Cullen as the endearingly dreary Eeyore; Nikita Hopkins as the effervescent Roo. But it's the voice of Lumpy the Heffalump who steals the show. Eight-year-old Brit Kyle Stanger voices the soft-spoken but happy-go-lucky Lumpy melting your heart at every turn while two-time Oscar nominee Brenda Blethyn as his Mama Heffalump adds just the right touch.
Under the helm of veteran animation director Don MacKinnon and director Frank Nisson Pooh's Heffalump Movie uses the basic pen and ink animation but that suits the gang of the Hundred Acre Wood just fine. In classic Disney form music is also as much a part of the movie as anything else. Award-winning recording artist Carly Simon who also scored the delightful Piglet's Big Movie worked closely with DisneyToon Studios music department's Matt Walker and composer Joel McNeely to introduce several new songs that give the movie added spirit and bounce bringing the old and new characters together harmoniously.