The Amazing Spider-Man would prefer if you didn't call it the fourth Spider-Man movie. See this ain't the Spider-Man your older brother knew from ten years ago — it's a reboot. The latest adventure to feature the comic book webslinger throws three movies worth of established mythology straight out the window swapping the original cast with an ensemble of fresh faces and resetting the franchise with a spiffy new origin story. "New" in the loosest sense of the word — the highlights of ASM mainly a sleek new design and spunky reinterpretation of Peter Parker (Andrew Garfield) and gal pal Gwen Stacey (Emma Stone) are weighed down by overpowering sense of familiarity. Nearly a beat for beat replica of the 2002 original with some irksome twists of mystery thrown in Amazing Spider-Man fails to evolve its hero or his quarrels. The film has a great sense of cinematic power but little responsibility in making it interesting.
We're first introduced to Peter Parker as a young boy watching as his parents rush out of the house in response to a hidden danger. Mr. and Mrs. Parker leave their son in the care of his Aunt May (Sally Fields) and Uncle Ben (Martin Sheen) who raise him into Andrew Garfield's geeky cool spin on the character. Parker's a science whiz but faces the challenges of every day life — passing classes talking to girls the occasional jock with aggression issues — but all of life's woes are put on hold when the teen discovers a new clue in the mystery behind his parents' disappearance. The discovery of his dad's old briefcase and notes leads Peter to Dr. Curt Connors (Rhys Ifans) a scientist working for mega-conglomerate Oscorp and his Dad's old partner. When they cross paths Connors instantly takes a liking to the wunderkind and loops him into the work he started with his father: replicating the regeneration abilities of lizards in amputee humans (Connors is driven to reform his own missing arm). But when Parker wanders into Oscorp's room full of spiders (a sloppily explained this-needs-to-be-here-for-this-to-happen device) he receives his legendary spider bite that transforms him into the hero we know.
Director Marc Webb (500 Days of Summer) desperately wants Amazing Spider-Man to work as a high school relationship movie but with the burden of massive amounts of plot and mythology to introduce the movie sags under the sheer volume of stuff. Stone turns Parker's object of affection Gwen Stacey into a three-dimensional character. Whenever they happen upon each other an awkward exchange in the hallway a flirtatious back-and-forth in the Oscorp lab (where Stacey is head…intern) or when the two finally begin a romantic relationship the two stars shine. They're vivid characters chopped to bits in the editing room diluted by boring franchise-building plot threads and routine action sequences. Seriously Amazing Spider-Man another mad scientist villain who uses himself as a test subject only to become a monster? And another bridge rescue scene? Amazing Spider-Man desperately wants to disconnect from the original trilogy but it's trapped in an inescapable shadow and does nothing radical to shake things up. Instead it settles for the same old same old while preparing for inevitable sequels instead of investing in its dynamic duo.
There's a sweet spot where the film really hits his stride. After discovering his spider-abilities Peter hits the streets for the first time. He's superhuman but still a headstrong teen full of obnoxious quips and close calls with shiv-wielding thugs. The action is slick small and playful Webb showing us something new by melding his indie sensibilities with big scale action. If only it lasted — the introduction of Ifans reptilian half The Lizard implodes Amazing Spider-Man into incomprehensible blockbuster chaos. A gargantuan beast wreaking havoc around New York City promises King Kong-like escapades for the friendly neighborhood Spider-Man but the lizard man has other plans: to rule the world! Or something. Whatever it takes to get Lizard and Spider-Man fighting on the top of a skyscraper over a doomsday machine — logic be damned.
Amazing Spider-Man peppers its banal foundation with great talent from Denis Leary as Gwen's wickedly funny dad and the police captain hunting down Spider-Man to Fields and Sheen as two loving adults in Peter's life to Garfield and Stone whose chemistry demands a follow-up for the sake of seeing them reunited. But it's all at the cost of putting on the most expensive recreation of all time with new demands imposed by the success Marvel's other properties (except that franchise teasing worked). Amazing Spider-Man introduces too many ideas that go nowhere undermining the actual threat at hand. No one wants to be unfulfilled but that's the overriding difference between the original movie and the update. You need to pay for the sequel to know what the heck is going on in this one.
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.
Paranormal Activity’s unlikely run atop the box-office chart may have come to an end but the moviegoing public’s nascent fascination with otherworldly phenomena — the unfriendly variety in particular — shows no signs of waning. The Fourth Kind a supernatural thriller from writer-director Olatunde Osunsanmi represents Hollywood’s latest attempt to capitalize on this peculiar trend.
Paranormal Activity and The Fourth Kind are very different movies to be sure but they share the same basic approach employing gritty documentary-style footage to convince us that what we’re watching unfold onscreen is more “real” — and thus more convincing — than the typical glossy Hollywood thriller.
But The Fourth Kind goes far beyond Paranormal Activity in its effort to establish its legitimacy. In an unprecedented — and exceedingly ballsy — maneuver star Milla Jovovich begins the film by breaking the fourth wall and addressing the camera directly. In a lengthy monologue she introduces herself as “actress Milla Jovovich ” explains that she’ll be portraying real-life psychologist Dr. Abigail Tyler and declares that the documentary footage scattered throughout The Fourth Kind is authentic recorded during a sleep-disorder study conducted in Nome Alaska a few years ago.
Why Nome? Because we’re told its citizens are afflicted with an unusual number of nighttime sleep disturbances the bulk of which are accompanied by terrifying visions of hostile alien-like creatures. Nasty fellows these extra-terrestrials are taunting and tormenting and probing their victims as they lie helpless paralyzed with fear. Some of the otherworldly visitors even have the audacity to take possession of their somnolent subjects using them as vessels to deliver ominous warnings to Abby and her colleagues. Speaking in ancient tongues with voices horribly distorted they demand that she end her research.
But Abby won’t listen to them and her persistence effects increasingly dire consequences. One of her afflicted patients kills himself and his family; another is paralyzed after levitating during a harrowing hypnotic episode; finally the aliens set their sights on Abby herself. One might be tempted to dismiss these episodes as merely the hallucinations of a badly traumatized woman — the classic unreliable narrator — if it weren’t all captured on video.
For those willing to buy into The Fourth Kind’s claims of authenticity the experience is at times genuinely terrifying. But after a while it becomes increasingly obvious that the film’s documentary sequences are staged — and often badly so. Director Osunsanmi brought a clever idea to the table but he didn't quite have the skills — or the actors — to pull it off and the result feels like an elaborate cinematic con job.
We all know Adolf Hitler did not die as a result of an organized assassination plot against him but this fact does not hinder the enjoyment of watching how that attempt by members of his own Nazi command plays out. Reminiscent of great ‘60s WWII conspiracy thrillers such as 36 Hours and Night of the Generals this film centers on the actions of Colonel Claus von Stauffenberg (Tom Cruise) a loyal German officer who nevertheless is horrified by what he sees Hitler doing to his country and is determined to find a way to stop him. In 1942 he tries to persuade senior commanders to overthrow Hitler and later in 1943 while recovering from combat injuries he joins the German Resistance a secretive anti-Hitler group comprised of several men in the highest ranks on the inside. Using Hitler’s own contingency plan labeled Operation Valkyrie to prop up the government should he die this group puts their assassination and take over plan in motion. As the eye patch-wearing SS colonel Tom Cruise is excellent. He comfortably manages to get to the heart of Stauffenberg and portray a man who clearly loves his country and feels it’s a patriotic duty to stop the madness. Wisely Cruise (who produced through his United Artists studio) surrounds himself with actors of the first stripe. Among those supporting the mission are: Kenneth Branagh in a relatively brief turn as an German officer; Bill Nighy as one of von Stauffenberg’s closest allies in the venture; and Eddie Izzard as a communications specialist charged with cutting Hitler’s contact to the rest of Germany. There’s also superb work from Terence Stamp as another high-ranking conspirator and the always great Tom Wilkinson as career officer Fredrick Fromm who seems to be playing all sides despite appearing to be a stern supporter of the Fuhrer. And as Stauffenberg’s loyal wife Carice van Houten (Black Book) looks lovely and hits just the right notes as her husband’s sounding board. Although he has guided big popcorn pictures such as Superman Returns and X-Mens director Bryan Singer has also given us intense thrillers like the Oscar winning Usual Suspects and Apt Pupil. So the command he shows in turning out this nifty thriller should come as no surprise. Clearly Singer knows how to grab hold of an audience and keep them on the edge of their seats -- no easy trick here since the outcome is never in doubt. He keeps this going like a speeding train ratcheting up the suspense at every turn and focusing his camera directly into the eyes and sweat of these courageous conspirators. Valkyrie is a pulse-pounding heart-racing excitement from start to finish.