Tomorrow has finally arrived, and it has brought with it the trailer for the upcoming Annie remake, starring Quvenzhané Wallis as the titular orphan and a supporting cast that includes Cameron Diaz as Miss Hannigan and Jamie Foxx as the modern-day Daddy Warbucks, Will Stacks. In this version of the classic story, Wallis' Annie lives with her evil foster caretaker (Diaz) and several other over-worked, unappreciated girls in Harlem before she is plucked out of her apartment by the billionaire mogul Stacks, who is running for mayor and looking for an attention-grabbing photo opp. After she moves into his penthouse apartment, the two grow closer and both of them find the family they've been searching for.
Of course, any time a beloved classic is remade or updated, people are bound to be apprehensive. But no matter how you feel about the score getting a vaguely hip-hop remix or Diaz chewing the scenery as the obnoxious Miss Hannigan, Annie fans can take comfort in the fact that the trailer shows the new film featuring an important staple of musical cinema. We are instead referring to the scenes of Wallis and the rest of the cast dancing around the rooftops of New York City, which has long been a feature of films, movies and musicals.
In honor of the new Annie trailer, we've decided to salute Wallis and her castmates for their bravery and and well-executed choreography with a list of ten great rooftop dance sequences from film and television. Although please, don't actually try this home. We really don't want to be responsible for inspiring a wave of severe injuries just for the sake of a light-hearted dance routine. We're including clips, just live vicariously through them.
Empire Records After you've damned the man and saved the Empire, what better way to celebrate than with a rooftop dance party? Joe owns the store now, everyone's forgotten about Lucas stealing the money, Warren has a job, Corey and AJ are officially together, Gina and Deb are finally getting along and Mark... well, he's Mark, so everyone gets to spin around the roof in the glow of the newly-fixed sign. If you're looking for a way to celebrate Rex Manning Day, this is it.
10 Things I Hate About You If we've learned anything from the teen movies of the '90s, it's that a story has never properly ended until someone gives a rooftop performance while the credits roll, and 10 Things I Hate About You wrapped up the love story of Heath Ledger and Julia Stiles by having Letters to Cleo perform a Cheap Trick cover on what appeared to be the tallest castle spire in all the land. And lest you worry that this scene doesn't fit the "dancing" criteria of this list, we'd like to remind you of the two guys in this band whose sole purpose it is to arm-dance behind the lead singer. Don't shatter their dreams.
The Princess and the FrogTeen movies aren't the only ones that like to wrap up a story with some well-lit, rooftop dancing; Disney has fallen victim to the same urge, and The Princess and the Frog ends with Tiana and Naveen dancing a giddy Charleston in the skyline over New Orleans at sunset. You know how people say that Disney films have given them unrealistic expectations about love and life? This scene is one of the reasons why.
West Side Story Yes, the main character of this film is technically sweet, innocent Maria, but everyone knows the real star was Anita, who was played to perfection by Rita Moreno. The scene that established her dominance over the movie musical genre is the rooftop-set dance off "America." She gets all the best lines, all the best dance moves, and once she starts sassing the boys and twirling her skirt, it's impossible to care about Tony and Maria's sappy romance anymore. If you watch carefully, you can pinpoint the exact high kick that earned Moreno that Oscar.
Friends, "The One With the Ballroom Dancing" In order to keep the superintendent, Mr. Traeger, from evicting Rachel and Monica, Joey sucks up to him by helping him learn how to dance for "The Super Ball," which culminates in a tender, beautifully choreographed dance sequence between the two on the roof of the building. Who knew Joey was so smooth?
Mary Poppins When you think "dancing on the roof," it's almost impossible not to think about the chimney sweeps tap dancing and high kicking around the roofs of London. Thanks to the repetitive lyrics, everyone can learn to do this dance (once you figure out what Dick Van Dyke is saying through that terrible accent), and everyone did when they were little, stomping and twirling their way around the living room along with all of the chimney sweeps. And if you were really adventurous, you probably threw in some couch-hopping as well.
Clerks IINo matter how foul-mouthed your characters are, there's always an opportunity to work in a romantic rooftop dancing scene, and so Kevin Smith managed to work on into Clerks II with Becky attempting to teach Dante how to dance to "ABC" by the Jackson 5. Unlike the rest of the films on this list, this one turns into an all-out, elaborate dance party, but it all started with Rosario Dawson shimmying around the roof.
High School Musical 3 Sometimes the rooftop dance sequence is important to the plot, sometimes it's a fun moment of celebration, and sometimes it's just there to look pretty, which is the case with Troy and Gabriella's number in High School Musical 3. Theoretically, it's part of Troy asking her to the prom, but mostly it's just in there because Zac Efron and Vanessa Hudgens hadn't sung a touching ballad to each other since the pervious movie. However, we do give director Kenny Ortega bonus points for managing to work in a second rom-com staple: dancing in the rain.
Victorious, Multiple Episodes What can we say? Tween movies and television shows love to feature people dancing on top of roofs. No show made more use of this trope than Victorious, where seemingly every performance took place on the school's roof, including a prom number featuring Victoria Justice and a pre-pop stardom Ariana Grande singing a song about having a crush on your best friend's older brother. Again, bonus points to Dan Schneider for managing to work a thunderstorm into this performance, which surprisingly doesn't concern the kid playing the electric guitar at all.
Moulin Rouge In a film that featured characters singing, dancing and falling in love all over Paris, it's no surprise that the biggest, most romantic moment occurred on a rooftop that was covered in flowers, fairy lights, and a giant windmill that was often utilized for dramatic moments. We are, of course, referring to the "Elephant Love Medley," which is less formally known as the moment that everyone fell head over heels in love with Ewan McGregor. Forget "Come What May," this is the dance sequence that teenage girls the world over dream about.
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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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.
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.
With the unveiling of the official competition and Un Certain Regard lineups for the Cannes Film Festival Thursday morning in Paris came the news that Mel Gibson will be striding up the red carpet next month.
The actor will be out to support Jodie Foster’s The Beaver which has an out-of-competition berth. That news, which was imparted by the festival’s general delegate Thierry Fremaux ahead of announcing the films in official competition, was just one bit of info which appeared to get the assembled journalists all a-Twitter.
The rest of the announcements, while somewhat anticipated, make for a Cannes festival that will be heavy on art house bigwigs and newcomers alike.
The roster of returning talent includes such powerhouse auteurs as Lars von Trier with Melancholia, Pedro Almodovar with The Skin I Live In, Jean-Pierre and Luc Dardenne with Le Gamin au Velo, Aki Kaurismaki with Le Havre, Radu Milhaileanu with La Source des Femmes, Nanni Moretti with We Have a Pope, Paolo Sorrentino with This Must Be the Place and, of course, Terrence Malick with Tree of Life. That film had actually been expected to be in competition last year but was not ready in time. Malick won the directing prize for Days of Heaven when he was last in competition in 1979.
Sean Penn stars in the English-language Sorrentino film and in Tree of Life which also has Brad Pitt – a near-certain bet to make an appearance in Cannes – and Jessica Chastain. Other stars potentially gracing the red carpet in support of their films include Kirsten Dunst and Kiefer Sutherland who star in Melancholia while Pitt’s partner Angelina Jolie is a likely attendee for the Kung Fu Panda sequel, although that film is not among the official selections.
The cast of Woody Allen’s opening night film, Midnight in Paris includes Owen Wilson, Rachel McAdams and model/singer-turned-first-lady Carla Bruni Sarkozy while Rob Marshall’s Pirates of the Caribbean: On Stranger Tides is screening out of competition which can only mean that Johnny Depp and French partner Vanessa Paradis will be on hand on the Riviera.
But, while a major element of Cannes is the glitz and glamour, the most important component is the films.
Along with the big name auteurs this year will be new talent like Australian Julia Leigh whose first film Sleeping Beauty has scored a competition berth. There are 19 films in competition and 19 in the complementary Un Certain Regard sidebar. All told, there are six female directors with films across the two sections which marks a first for the festival.
Austrian Markus Schleinzer is no stranger to Cannes having acted as casting director for many of the films of Palme d’Or winner Michael Haneke, but this time he’ll be on the Croisette with his directorial debut, Michael.
Making his first trip to Cannes is cult favorite Nicolas Winding Refn. The Pusher director will be on hand with competition entry Drive which stars Ryan Gosling and Carey Mulligan.
Other English-language titles include Sean Durkin’s feature debut, Martha Marcy May Marlene which originally premiered in Sundance and stars Elizabeth Olsen. That film will run in Un Certain Regard. Lynne Ramsay’s We Need to Talk About Kevin with Tilda Swinton and John C. Reilly is in competition.
In introducing the selection, which has some notable absences (Dominik Moll’s The Monk and David Cronenberg’s A Dangerous Method among them), Fremaux remarked that although he and his committees chose 49 films for the official selection, “there were a lot more than 49 films that we liked.”
Cannes runs from May 11-22 with Robert De Niro overseeing the main jury as president. Keep an eye out for Hollywood.com’s Cannes blog which will run down the daily festivities direct from the Riviera and the red carpet.
Full list of official selection films:
Midnight in Paris - Woody Allen
The Skin I Live In - Pedro Almodovar
House of Tolerance - Bertrand Bonello
Pater - Alain Cavalier
Footnote - Joseph Cedar
Once Upon a Time in Anatolia - Nuri Bilge Ceylan
Le Gamin au Velo - Jean-Pierre and Luc Dardenne
Le Havre - Aki Kaurismaki
Hanezu No Tsuki - Naomi Kawase
Sleeping Beauty - Julia Leigh
Poliss - Maiwenn
The Tree of Life - Terrence Malick
La Source des Femmes - Radu Mihaileanu
Hara-kiri: Death of a Samurai - Takashi Miike
We Have a Pope - Nanni Moretti
We Need to Talk About Kevin - Lynne Ramsay
Michael - Markus Schleinzer
This Must Be the Place - Paolo Sorrentino
Melancholia - Lars Von Trier
Drive - Nicolas Winding Refn
Out of Competition
The Conquest - Xavier Durringer
The Beaver - Jodie Foster
The Artist - Michel Hazanavicius
Pirates of the Caribbean: On Stranger Tides - Rob Marshall
Un Certain Regard
Restless - Gus Van Sant (opening film)
The Hunter “ Bakur Bakuradeze
Halt auf freier Strecke - Andreas Dresen
Hors Satan - Bruno Dumont
Martha Marcy May Marlene - Sean Durkin
The Snows of Kilamanjaro - Robert Guedeguian
Skoonheid - Oliver Hermanus
The Day He Arrives - Hong Sang-soo
Bonsai - Cristian Jimenez
Tatsumi - Eric Koo
Arirang - Kim Ki-duk
Where Do We Go Now? - Nadine Labaki
Loverboy - Catalin Mitulescu
Yellow Sea - Na Hong-jin
Miss Bala – Gerardo Naranjo
Trabalhar Cansa - Juliana Rojas and Marco Dutra
L’Exercice de l’Etat - Pierre Schoeller
Toomelah - Ivan Sen
Oslo, August 31 - Joachim Trier
Wu Xia - Chan Peter Ho-Sun
Dias de Gracia - dir. Tekla Taidelli
Labrador - Frederikke Aspock
Le Maitre des Forges de l’Enfer - Rithy Panh
Michel Petrucciani - Michael Radford
Tous Au Larzac - Christian Rouaud