Skyfall is the perfect film to accompany the 50th Anniversary of the first big screen Bond movie Dr. No. The movie is a crossroads for 007; the spy is an old soul with unconventional archaic methods struggling to exist in a high-tech world with enemies who swap laser beams and nukes for Internet viruses and data infiltration. This conflict is the core of Skyfall — perfect for director Sam Mendes (American Beauty Revolutionary Road) — and the human drama gives every moment of the espionage thriller additional weight. Sure there are the grandiose set pieces we've come to expect from the series. But like the older films Mendes keeps most of the action contained the focus always on star Daniel Craig as he evades and confronts danger. He even pushes further allowing the evildoers into MI-6's home and through the magic of performance the audience into the mind of Bond.
After a botched mission sends him off the grid James Bond returns to his homebase in London to discover the MI-6 in disarray. The target of system attacks seemingly designed to screw with M (Judi Dench) MI-6 calls upon a noticeably shaken (not stirred) Bond to get back on his feet and track down the nefarious face behind the online terrorism. While politico Gareth Mallory (Ralph Fiennes) would prefer to use the magic of computers and drones to dig up the bad guy M knows even Bond at 50% is unlike any machine in the world. A few training sessions and a weapon upgrade from Q (Ben Whishaw) later Bond hits the road.
In pure Bond fashion Skyfall traverses some beautiful landscapes. From China's glowing waterside gambling epicenter Macau to the remains of a South Pacific isle to the foggy country side of Scotland. Departing from action movie aesthetics and embracing shadows atmosphere and imperfection Bond's journey feels even more tangible than the "realistic" approach of Casino Royale. The haunting locations reflect his deeply personal mission. It helps too that Bond is faced by one of his best villains yet: Javier Bardem as the charming psychopathic Raul Silva. Silva acts as another mirror for Bond albeit a version completely off the rails. Like a mix of Hannibal Lecter and Heath Ledger's Joker in The Dark Knight Silva is determined to burn his opponents in any fashion possible. Bardem plays it all with a sinister smirk — a twist on the maniacally-laughing Bond villains of yesteryear.
Skyfall's concentration is on the dramatic but continuously delivers in the action department. Mendes finds innovative new ways to stage classic Bond moments; a one-shot fist fight in the windows of skyscraper bubbles over with intensity while another in the Chinese casino tips its hat to the campier side of the franchise. And the movie goes big with an opening sequence on par with any of Bond's past outings and a foot chase through London's Tube that tests Craig's limits as a physical performer. He never misses a beat.
Impressively Skyfall is a movie pulled from this moment in history while encompassing everything that made James Bond a long-lasting character. It's one of the best Bond entries of all time a heart-pounding action flick from start to finish (with a rousing conclusion evoking everything from Terence Young to Sam Peckinpah) and one of the best movies of the year.
Since his days directing sketches for comedy troupe The State and his seminal debut feature Wet Hot American Summer David Wain has been expertly calculating ways to make his brand of absurdist humor work within the rigid conventional world of Hollywood movies. His latest Wanderlust is the perfect example of a hollow rom-com template that Wain fills to the brim with bizarre jokes and perfectly timed physical humor. His soldier of fortune is Paul Rudd who brings the golden ratio: looks of a leading man and a comedic gravitas that is unmatched. Rudd's at the top of his game whether he's landing a one-liner stretching his face to Jim Carrey-like proportions or reacting to his maniac co-stars the actor delivers—making Wanderlust charming deranged and very funny.
George (Rudd) and Linda (Jennifer Aniston better suited for this wacky comedy than you'd think) are a happily married couple living in New York attempting to live the dream lifestyle without any of the reality to fall back on. It doesn't work—George loses his job Linda fails to sell her documentary on penguin testicular cancer and the two find themselves forced to sell their "micro-loft" in the West Village and move in with George's brother in Atlanta. During their epic car ride George and Linda make a pit stop at a local Georgian B&B only to discover it's a counterculture commune home to an eclectic group determined to live on their own alternative terms. The inhabitants of "Elysium" range from nudists to tai chi experts to organic farmers but they all have one goal: live free. Realizing they don't have too much else going on in their lives (their alternative is shacking up with George's materialistic misogynistic businessman brother Rick played by the amazing Ken Marino) George and Linda dive head first into the off-beat world of Elysium.
Wanderlust dishes out its fair share of oddities when exploring the world of Elysium but isn't content in simply exploiting those quirks. Wain who co-wrote the script with Marino fleshes out the ensemble and makes keen choices so that no character is just a face in a crowd. Comedy pros like Justin Theroux Alan Alda Malin Akerman Joe Lo Truglio Kathryn Hahn Kerri Kenney Lauren Ambrose and more round out the cast and help color the world of Elysium piling laughs on top of laughs with every scene. Theroux stands out as Seth a spiritual leader for the group who begins to woo Linda away from George with his savvy guitar skills and potent herbal teas. Seth's slow and steady demeanor is a welcome change from the usual rapid-fire style seen in the modern comedy (the movie was produced by Judd Apatow so it wouldn't have been a surprise to see the approach replicated in Wanderlust) making us laugh in a zen fashion.
Meanwhile George just can't get anything right from group "truth circle" exercises to drinking coffee made of dirt to Elysium's "free love pact " which gives both he and his wife the chance to sexually explore outside of their relationship. The couple quickly realizes the freedom of their new home divides them and Wain's sensitivity to story and character evolve the relationship in a rather conventional yet desirable fashion.
Wanderlust falls somewhere between a Katherine Heigl romantic comedy vehicle and the pleasantly obscene work of Wain's past—and it may catch some off guard. The movie doesn't mind throwing in a bit of male nudity playing with abrasive repetition or those who find laughs in patience. The movie fully embraces the weird while never lettings its characters slip fully into caricature. Much like George and Linda's own dilemma Wanderlust wants to find harmony between the mainstream and the not-so-much. Thankfully it achieves inner peace.
Kids' movies may be the most difficult cinematic mountains to climb. The filmmakers must cater to two perspectives at constant odds with one another: young ones who find amusement in simplistic stories and broadly painted humor and their parents who need enough of a grounded hook emotional core and clever jokes to keep them from nodding off. Not an easy task.
To see this winning combination pulled off by a 3-D animation/live-action hybrid adaptation of a rather irritatingly sweet cartoon from the '80s…well it's both a shocking and welcome surprise. The Smurfs transcends recent property-grabs like Garfield Alvin and the Chipmunks and Marmaduke by embracing the cartooniness relishing in the fact that it can get away with anything with the help of adorable little blue people.
Smurfs takes the model employed by 2007's Enchanted kicking things off in the colorful fantasy world of Smurf Village and quickly bringing its cheery clueless characters to the terrifying metropolis of New York. After Clumsy Smurf accidentally leads the Smurf-obsessive Gargamel (Hank Azaria) to the hidden mushroom haven of his brethren the bumbling black sheep of the Smurf family finds himself and a few clan members Papa Brainy Grumpy Gutsy Smurfette at the wrong end of a Blue Moon-induced worm hole. The group (along with Gargamel and his cat) find themselves face-planted in NYC's Central Park where they meet Patrick Winslow (Neil Patrick Harris) yes man to the cosmetic titan Odile. This sets the race in motion—the Smurfs enlisting the help of Patrick to find a way back home Patrick seeking the perfect ad campaign for Odile's new make-up line and Gargamel questing hungrily for a few drops of Smurf essence.
If Smurfs was simply a barrage of fart jokes and pop culture references the movie wouldn't click but by giving each of his characters something to do (seems obvious no?) director Raja Gosnell injects the film with a helpful dose of heart. Along with Clumsy's quest to be more than his name insists Harris' Patrick also has his own problems to overcome. Namely preparing to be a Papa Smurf to the kid he's about to have with his wife Grace (Glee's Jayma Mays). Harris and Mays take their roles here seriously going all out when they need to chase the adventurous Smurfs around town in one slapsticky sequence after another but they put just as much into their smaller scenes. One moment where Papa Smurf sits Patrick down for a "Dad talk" even has weight—a near impossible task for a "kids" movie.
But let's not get too sappy: the movie is funny plain and simple. Azaria makes a living bringing cartoon characters to life—he's a reason why The Simpsons has been on for more than 20 years—and his goofy Gargamel antics are inspired. A recurring gag where the evil wizard continually steps through ventilation steam grates probably read fine on paper but Azaria knows how to play big and doesn't allow any moment of physical comedy to lazily fall through the cracks. On the flip side Harris nails the straight man role and acknowledges that hanging out with Smurfs is just as bizarre as you'd imagine. Think The Brady Bunch Movie for the world of animation.
With solid kids' flicks becoming a rare occurrence Smurfs is a breath of fresh air a film that believes in its own simple message while simultaneously being self-aware of its cartoonish heritage. The movie's a smurfy good time but it takes a particularly smurfy Smurf to let go of cynical baggage and smurf it.
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.
Maybe it’s Accepted’s whole getting-into-college experience that grabs you. Most people have gone through it at one point or another--and for those high school seniors who are about to go through it Accepted should ring true for them too. The film revolves around Bartleby “B” Gaines (Justin Long) who has been rejected again and again from the colleges he’s applied to. It’s very frustrating especially with his parents breathing down his neck. So what does the clever B do? Simple: Open his own university the esteemed South Harmon Institute of Technology (of course the acronym is not missed). Juggling the balls delicately in the air B and his other college-less friends forge ahead with maintaining a fake functioning university. But it may take more than just sleight of hand to keep the very free-forum South Harmon going which has now gained quite a name for itself in the short time its been open. A lot more. Long has been turning in hilarious performances as awkward but lovable goofballs in comedies such as Dodgeball and Galaxy Quest--and is probably most recognizable right now as the Mac guy who makes fun of the Dell guy in those Apple computer ads. But the affable actor finally gets his big shot at full-fledged goofball-hood successfully carrying Accepted on his own. As B you quickly warm up to his easygoing yet quietly sarcastic style a method he told Entertainment Weekly he developed under the tutelage of fellow Frat Packer Vince Vaughn. Of course in Accepted Long has some help too. There’s some strong supporting bits especially from comedian and The Daily Show regular Lewis Black as Uncle Ben the university’s neurotic “we’re mad as hell and we aren’t going to take it anymore” make-believe dean. Good stuff. Rounding out the colorful cast is cute-as-a-button Blake Lively (The Sisterhood of the Traveling Pants) playing the girl-next-door B adores who defects to SHI...well you get the picture. You have to admit college-based comedies are usually mindless fun and Accepted is no exception. The premise alone lends itself to all kinds of mishaps and guffaws especially when B and the gang turn a deserted former mental institution into an institution of higher learning. In his directorial debut Steve Pink--best known for co-writing comedies such as High Fidelity and Grosse Pointe Blank--understands this and hits most of the right beats. But unfortunately Accepted can’t keep up its inimitable momentum--as B fights for the school’s unique curriculum as well as its right to exist at all--becoming Revenge of the Nerds meets Animal House meets Old School meets...I could go on forever. Maybe in the hands of a more experienced filmmaker Accepted could have been taken to its own higher level instead of lapsing into standard underdog territory.