Hey, guys: look! Did your afternoon feel lacking and without a nice little sight gag involving a giraffe hurtling towards death on the freeway? Look no further, my friends, because, oh man, the chuckle brigade has reunited one last time to bring us the third iteration of The Hangover films, and the studio behind the comedy clusterf**k has released a few new clips for the hee-haw raucous romp of rehashed proportions.
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The Hangover Part III shows the Wolf Pack reunited at long, long, long last (you've all been waiting with breath that is bated for so eons — how have you managed to survive?!) to tackle one last shenanigansy-filled trip to Vegas: where things all began for Stu (Ed Helms), Phil (Bradley Cooper), Alan (Zach Galifinakis), and Doug (Justin Bartha). And — dear lord — hopefully where they will end.
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Do we really need to rehash what is likely to be the plot of this film? A seemingly inocuous trip turns into a vacation from h-e-double-hockey-sticks, and John Goodman is there. As is Ken Jeong. Oh, and look! Melissa McCarthy! If The Hangover II taught us anything, this will be another lesson in groan-worthy mediocrity. Because what isn't funny about making the same movie over and over again, amirite? Hollywood at its best!
Check out the new international trailer and TV spot, below:
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[Photo Credit: Warner Brothers]
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For everybody wishing to avoid even the most loosely defined of Mad Men spoilers, we suggest you hop on out of this article and perhaps redirect your attention to this. But to those of you hungry for all of the Season 6 info you can find, here's something to think on.
E!'s Spoiler Chat has enlightened the world unto what's in store for the next chapter of the AMC gem. In the season premiere alone, fans will be treated to a wedding and two deaths (and no, Hugh Grant is not in this episode). So who are the lucky bride and groom? And far more interestingly, who are the ill-fated corpses-in-the-making?
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Mad Men proved last year that even its spotlit characters are unsafe: Lane Pryce (Jared Harris) bade his farewell to the world in one of the best, though saddest and most jarring, episodes of the show to date. So who else might be hitting the road in the forthcoming season? Let's consider the options...
Don DraperNo chance. He's the central player, the most intricate and haunting character, and the primary appeal to the key demographic of people who appreciate a strong jawline.
Peggy OlsonQuite unlikely. Her ascension from mild-mannered secretary to industry bigshot is the narrative that carries Mad Men forth.
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Roger SterlingMeh... it wouldn't be beyond the realm of possibility, but we'd be shocked considering the flavor he adds to the program, as well as the wealth of misguided self-exploration he's undertaken of late.
JoanGetting warmer, though still in the "would be a shocker" territory. Joan has been through too much, and is a new mother — its unlikely that the show would give her the boot.
MeganShe's minor enough that this twist would not be beyond the show's plausible reach, but important enough that a season premiere axing would seem a bit insensitive to her and Don's story. We think she's safe, too.
PeteHere's where it gets interesting. See, Pete is at once a supercharged force for the show's story, an important character both thematically and contextually... and the sort of character you could totally see getting his comeuppance. His deficit of redeeming qualities is bound to get him killed one of these days. Could he be the one?
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BettyWould you miss her?
Bert CooperNow we're getting somewhere! He's old, he's senile, he's curmudgeonly... Bert's not a bad candidate for this race. Although we can't say SCDP would be as entertaining without his malignant psychoses. We're thinking some combination of old age and years of bigotry that'll dig his grave this season.
HarryIf somebody doesn't murder him soon, then this show's just not realistic. He's our biggest bet.
Follow Michael Arbeiter on Twitter @MichaelArbeiter
[Photo Credit: AMC]
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We all know that when famous sprite Daniel Radcliffe should have been going through his growth spurt he was too busy earing $17 quintrillion to bother with, you know, growing up. Unlike Peter Pan, he's matured but – how can we put this politely – he's short. There was evidence of this everywhere last night at the Oscars, where he seemed to be the smallest person in teensy tiny Hollywood.
He was shorter than notorious dwarf Ryan Seacrest.
He was shorter than diminutive Entertainment Weekly editor Jess Cagle.
He was shorter than both average Seth MacFarlane and Joseph Gordon-Levitt (aka, the threeway of my dreams).
Even though she was wearing heels, Les Misérables' (soon-to-be-forgotten) ingenue Samantha Barks towered over him at the Vanity Fair Oscar party.
So, is there anyone who is actually shorter than the boy who lived (but didn't grow)? There isn't any photographic evidence of it from last night, but we have some contenders from the Oscars.
Both Kristin Chenoweth and Bradley Cooper's mom.
And, of course, Ted.
Follow Brian Moylan on Twitter @BrianJMoylan
[Photo Credit: ABC(5); E!; Kevin Mazur/WireImage]
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It was the trickle of pee heard around the world. Cannes attendees were aghast and/or amused an infamous scene from The Paperboy that shows Nicole Kidman urinating on Zac Efron; this is apparently a great salve for jellyfish burns which were covering our Ken Doll-like protagonist. (In fact the term protagonist should be used very loosely for Efron's character Jack who is mostly acted upon than active throughout.)
Lurid! Sexy! Perverse! Trashy! Whether or not it's actually effective is overshadowed by all the hubbub that's attached itself to the movie for better or worse. In fact the movie is all of these things — but that's actually not a compliment. What could have become somethingmemorable is jaw-droppingly bad (when it's not hilarious). Director Lee Daniels uses a few different visual styles throughout from a stark black and white palette for a crime scene recreation at the beginning to a '70s porno aesthetic that oscillates between psychedelic and straight-up sweaty with an emphasis on Efron's tighty-whiteys. This only enhances the sloppiness of the script which uses lines like narrator/housekeeper/nanny Anita's (Macy Gray) "You ain't tired enough to be retired " to conjure up the down-home wisdom of the South. Despite Gray's musical talents she is not a good choice for a narrator or an actor for that matter. In a way — insofar as they're perhaps the only female characters given a chunk of screen time — her foil is Charlotte Bless Nicole Kidman's character. Anita is the mother figure who wears as we see in an early scene control-top pantyhose whereas Charlotte is all clam diggers and Barbie doll make-up. Or as Anita puts it "an oversexed Barbie doll."
The slapdash plot is that Jack's older brother Ward (Matthew McConaughey) comes back to town with his colleague Yardley (David Oyelowo) to investigate the case of a death row criminal named Hillary Van Wetter. Yardley is black and British which seems to confuse many of the people he meets in this backwoods town. Hillary (John Cusack) hidden under a mop of greasy black hair) is a slack-jawed yokel who could care less if he's going to be killed for a crime he might or might not have committed. He is way more interested in his bride-to-be Charlotte who has fallen in love with him through letters — this is her thing apparently writing letters and falling in love with inmates — and has rushed to help Ward and Yardley free her man. In the meantime we're subjected to at least one simulated sex scene that will haunt your dreams forever. Besides Hillary's shortcomings as a character that could rustle up any sort of empathy the case itself is so boring it begs the question why a respected journalist would be interested enough to pursue it.
The rest of the movie is filled with longing an attempt to place any the story in some sort of social context via class and race even more Zac Efron's underwear sexual violence alligator innards swamp people in comically ramshackle homes and a glimpse of one glistening McConaughey 'tock. Harmony Korine called and he wants his Gummo back.
It's probably tantalizing for this cast to take on "serious" "edgy" work by an Oscar-nominated director. Cusack ditched his boombox blasting "In Your Eyes" long ago and Efron's been trying to shed his squeaky clean image for so long that he finally dropped a condom on the red carpet for The Lorax so we'd know he's not smooth like a Ken doll despite how he was filmed by Daniels. On the other hand Nicole Kidman has been making interesting and varied career choices for years so it's confounding why she'd be interested in a one-dimensional character like Charlotte. McConaughey's on a roll and like the rest of the cast he's got plenty of interesting projects worth watching so this probably won't slow him down. Even Daniels is already shooting a new film The Butler as we can see from Oprah's dazzling Instagram feed. It's as if they all want to put The Paperboy behind them as soon as possible. It's hard to blame them.
So much news has emerged from this week's CinemaCon gathering in Las Vegas, it might as well be Comic-Con! The latest development from the convention formerly known as ShoWest involves The Dark Knight Rises.
Director Christopher Nolan promised the theater owners in attendance that the upcoming conclusion to his Batman trilogy would be "thrilling" and proceeded to unveil to previously unseen clips from Dark Knight Rises that are said to include more interplay between the Caped Crusader himself and his foe (or is she? dun-dun-dun!) Catwoman. Most promising, though, are reports that Bane's voice — which caused a stir on the blogosphere when the trailer was released, because of its relative lack of clarity — is much clearer in the new clips.
And with that, here is a recap of the news that has trickled out thus far (there are still almost two days left!) from Sin City.
The Hobbit Footage Causes a Stir: Around the same time that Nolan showed off some footage from TDKR, director Peter Jackson made a video appearance to introduce a brand-new 10-minute clip from his December film The Hobbit: An Unexpected Journey — only it wasn't quite met with the same enthusiasm. Jackson shot the film at 48 frames per second, twice the long-standard frame rate of 24, and the early word is that those in attendance thought the video looked amazing some of the time and off-putting elsewhere, essentially for the same reason: It is "hyper-real." Will the new technology backfire? It has been the talk of CinemaCon thus far, and you can bet James Cameron will be listening closely to the chatter, because he's shooting his Avatar sequel at a mind-blowing 60fps!
Pixar's Promising Promises: While we were treated to a new, exciting trailer for the studio's upcoming female-led movie Brave on Tuesday, Toy Story 3 director Lee Unkrich was in Vegas giving scant info about his secretive 2015 project, Dia de los Muertos, said to be a "spooky" film based on the Mexican holiday that honors the dead. Virtually no details were given about that film, but Disney animation chief John Lasseter did unveil a trailer for the sequel Monsters University — due out June 21, 2013 — and promised that a teaser would hit the Web soon. Plus: "We previously announced a film that was titled The Untitled Pixar Movie About Dinosaurs. Now, I think this title rocks, but I am absolutely the only one at the studio. Sooooo, today we’d like to announce an even better title we’ve come up with for it — this is now going to be titled The Good Dinosaur." The film, about a modern world in which dinosaurs were never extinct (personal aside: How has Pixar not made a movie like that yet?!?!), will be directed by Up's Bob Peterson and released May 30, 2014.
Jack White's Next Side Project Is The Lone Ranger: Jerry Bruckheimer, producer of next summer's The Lone Ranger (and pretty much everything else) announced on Tuesday that the movie would "have a little rock 'n' roll score," courtesy of White Stripes/Raconteurs/Dead Weather mastermind Jack White; it's his first such involvement in a movie — and hopefully not his last. "I can't wait to hear his rendition of the William Tell Overture," said Bruckheimer. Neither can we, Jer!
Speaking of The Lone Ranger...: Its star, Johnny Depp, took the stage with director Tim Burton to discuss their latest collaboration, Dark Shadows, and muttered all of two words the entire time: "Have fun." (In his defense, he's Johnny Depp.) Burton, meanwhile, summed up their relationship when he urged Depp to join him on stage with "Come on, Sweetsie." Cute! The clips they presented are said to have included more action than is featured in the trailer, as well as a glimpse at Alice Cooper's cameo. Luckily, moviegoers are a mere two and a half weeks away from seeing it all for themselves.
Dictator Publicity Tour Rolls Into Town: This convention is for theater owners, which is to say, it's not the most excitement-filled affair, even when big news (see above, below) breaks. Sacha Baron Cohen attempted to lighten — or tighten? — the mood when he made an unexpected appearance as General Aladeen to promote May 16's The Dictator. His publicity tour prior to CinemaCon has been full of physical stunts, but the shenanigans this time around were more verbal: "Hello, and death to the West!" was his opening. What followed wasn't exactly tame, either (but was pretty fantastic); a couple of the zings, er, zeengs [Aladeen-speak]: "It is a pleasure to be here to address Cinnabon. I love movies. In fact, I have starred in every single film made in my country — blockbusters such as When Harry Kidnapped Sally, Beheading Private Ryan, The 14-Year-Old Virgin, and the family comedy Planet of the Rapes. ... I thought I would be the only dictator here tonight, so imagine my surprise when I found out Jeffrey Katzenberg was speaking!"
Finally, the Trailer for G.I. Joe: Retaliation: We hadn't heard from the G.I. Joe sequel, video-wise, since Super Bowl time, which is an eon nowadays, but Paramount finally served up the movie's long-awaited trailer at its CinemaCon gig and then online — and it didn't disappoint (unless you were hoping for a lot of Channing Tatum). Plus, Dwayne 'The Rock' Johnson received a new nickname from Retaliation director Jon Chu: franchise Viagra.
It's Safe to Get Excited for The Great Gatsby: Director Baz Luhrmann's decision to shoot his adaptation of the Great American Novel in 3D struck some as curious (to put it nicely). But the raw footage he (very reluctantly) showed off was reportedly quite a site to behold, immediately drawing comparisons to Martin Scorsese's recent Best Picture nominee Hugo — whose 3D conception, it's worth noting, was initially met with similar head-scratching. And it makes sense: Luhrmann has always had a knack for visuals and design, and Gatsby, full of 1920s set pieces and shows of affluence, will likely look amazing with the extra dimension.
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[THR, L.A. Times, EW, Variety, HuffPost]
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.