Relativity Media via Everett Collection
It's easy to compare 3 Days to Kill to Luc Besson's flagship franchise Taken. The film itself practically encourages those comparisons, what with the older man who reluctantly returns to a life of killing for the good of his daughter. The hero's quest of hunting down international criminals in a stunning foreign locale is punctuated by all of the explosions and gore your heart could desire. Neither 3 Days screenwriter Besson nor director McG are attempting to blaze a trail or reinvent a wheel. They're simply attempting to create a film that will keep you entertained for two hours, and on that front, at least, they succeed.
Stepping into the Liam Neeson role this time around is Kevin Costner as Ethan Renner, who is either an assasssin or a spy that works for either the CIA or the Secret Service (it's not really all that important in the end), forced to walk away from the job after he is diagnosed with cancer (or maybe a brain tumor). In an attempt to spend his remaining months bonding with his estranged daughter Zoey (Hailee Steinfeld), he moves to Paris to settle down. Of course, that's when Vivi (Amber Heard), a CIA agent/spy/assassin arrives, along with an experimental new drug that could extend Ethan's life, which she will happily pass along... if he takes out their two most wanted criminals within three days.
From there, the film veers wildly between graphic fight sequences, with enough chaos and destruction to equal both Taken movies, and the story of Ethan and Zoey’s growing relationship. Much of the plot is confusing and barely explained – Ethan and Vivi vaguely work for the CIA, although they're unconcerned by the devastating destruction they leave in their wake. The drug is “experimental,” but how it helps or why it’s only available through a giant purple syringe is waived away by the presence of a stack of “research.” Ethan only has three days to complete his mission, but seems to hang around Paris for a lot longer. The villains are wanted by the government for being tangentially involved with a “dirty bomb.” There's a shoehorned-in subplot about family of African immigrants squatting in Ethan's apartment. But despite the fact that so many of these elements never find a way to coalesce into a coherent whole, once the body count starts to rise and the buildings start to fall, it's easy to simply ignore all of that in favor of massive explosions.
When the film works, Ethan's job and his relationship with Zoey blend together in a way that gives 3 Days to Kill some much needed heart and humor — like when he's interrupted in torturing a target by her constant phone calls — but when it doesn’t, the transitions between Ethan taking out the criminals he's hunting and his slightly cloying bonding experience with Zoey can be jarring. As Ethan, Costner is a serviceable action hero; he growls threateningly and stares fondly at Steinfeld when the script calls for it, but for the most part, he appears to be phoning it in. Of course, for this kind of film, that’s all he really needs to do, but it means that by the time the credits roll, much of his performance is already forgotten. As Zoey, Steinfeld does her best with the material, and makes some of the more emotional scenes between herself and Costner affecting. However, even she can’t save the father-daughter plot of the film from becoming trite and stale at times, and so her scenes mostly feel like a quick breather in between the rounds of graphic violence.
Relativity Media via Everett Collection
Heard feels out-of-place as Vivi, who is introduced as the buttoned-down second-in-command to the head of the CIA, but then proceeds to spend the rest of the film speeding around Paris in sports cars, and prancing about in a wardrobe of leather, corsets, and high heels. Costner is clearly in an older-man action film, but Heard is in another film entirely, one in which she’s a sexy super spy single-handedly taking down international criminals. Despite the fact that she’s mostly there to provide exposition and to look pretty, there are moments where you almost wish that she was the focus of 3 Days to Kill instead — or, at the very least, that one of the many subplots had been dropped in favor of expanding her character.
And yet, despite all of the unanswered questions and the weird disparities in tone, 3 Days to Kill is a surprisingly entertaining film. The fact that one of the best fight sequences in the film takes place in a supermarket, while Ethan and an unnamed hitman grapple behind a deli counter, means that it's ridiculous enough to keep you engaged, but it's still able to amp up the tension when it needs to. And when you need a break from watching people come perilously close to being decapitated, there's a well-timed visual gag already lined up. It hits all of the notes required of a cheesy action film, and even though it gets far too bogged down in sentiment at times, it's still got enough heart to add a little substance to the flimsy plot.
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3 Days to Kill does exactly what it needs to, and little more. It doesn't want to make you think — in fact, it actively encourages you not to — and it doesn't try to accomplish anything that will stay with you after the credits have rolled. All 3 Days to Kill wants is to keep you amused for a few hours, with a few explosions and some mindless fun. In the end, that's sometimes that's all you really need out of a movie.
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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A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
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.
The Writers Guild of America, west and East announced nominations for outstanding achievement in writing for the screen, television and radio during the 2003 season.
Nominees in the original category went to independent art-house films, including Gurinder Chadha, Paul Mayeda Berges and Guljit Bindra for Fox Searchlight's Bend It Like Beckham; Steven Knight for Miramax's Dirty Pretty Things; and Tom McCarthy for Miramax's The Station Agent.
Nominees for the adapted category went mostly high-profile releases, including Anthony Minghella for Miramax's Cold Mountain; Frances Walsh & Philippa Boyens & Peter Jackson for New Line's The Lord of the Rings: The Return of the King; and Gary Ross for Universal's Seabiscuit.
WGA noms are closely tracked as an indicator of Academy Awards sentiment. Guild winners in the original screenplay category have matched Oscar choices in 11 years over the past 21 while the WGA adapted screenplay award has matched with the Oscar winner in 14 years during the same period.
The films eligible for Writers Guild Awards were released in the year 2003 under the jurisdiction of Writers Guild of America, East and west and affiliate guilds in Australia, Canada, French Canada, Great Britain, Ireland, and New Zealand.
In television, the nominated scripts were originally broadcast between December 1, 2002, and November 30, 2003.
The winners will be announced Saturday, February 21, 2004, at the 56th Annual Writers Guild Awards ceremonies on both coasts.
The Writers Guild of America, west ceremonies will be held in Los Angeles at the Century Plaza Hotel, and the Writers Guild of America, East ceremonies will be held in New York at The Pierre Hotel.
BEND IT LIKE BECKHAM, Written by Gurinder Chadha and Paul Mayeda Berges and Guljit Bindra, Fox Searchlight Pictures
DIRTY PRETTY THINGS, Written by Steven Knight, Miramax Films
IN AMERICA, Written by Jim Sheridan & Naomi Sheridan & Kirsten Sheridan, Fox Searchlight Pictures
LOST IN TRANSLATION, Written by Sofia Coppola, Focus Features
THE STATION AGENT, Written by Tom McCarthy, Miramax Films
AMERICAN SPLENDOR, Written by Robert Pulcini & Shari Springer Berman, Based on the Comic Book Series by Harvey Pekar and the Novel by Harvey Pekar and Joyce Brabner, HBO Films/Fine Line Features
COLD MOUNTAIN, Screenplay by Anthony Minghella, Based on the Novel by Charles Frazier, Miramax Films
THE LORD OF THE RINGS: THE RETURN OF THE KING, Screenplay by Fran Walsh & Philippa Boyens & Peter Jackson, Based on the Novel by J.R.R. Tolkien, New Line Cinema
MYSTIC RIVER, Screenplay by Brian Helgeland, Based on the Novel by Dennis Lehane, Warner Bros. Pictures
SEABISCUIT, Screenplay by Gary Ross, Based on the Book by Laura Hillenbrand, Universal Pictures
Episodic Drama --any length--one airing time
"ABOMINATION (Law & Order: SVU), Written by Michele Fazekas & Tara Butters; NBC
"BOUNTY (Law & Order), Written by Michael S. Chernuchin; NBC
"DISASTER RELIEF (The West Wing), Teleplay by Alexa Junge, Story by Alexa Junge & Lauren Schmidt; NBC
"LOSS (Law & Order: SVU), Written by Michele Fazekas & Tara Butters; NBC
"PILOT (The O.C.), Written by Josh Schwartz; Fox
"7:00 P.M. -- 8:00 P.M. (24), Written by Evan Katz; Fox
Episodic Comedy--any length--one airing time
"DAY CARE" (Malcolm in the Middle), Written by Gary Murphy & Neil Thompson; Fox
"MALCOLM FILMS REESE" (Malcolm in the Middle), Written by Dan Kopelman; Fox
"NO SEX, PLEASE, WE'RE SKITTISH" (Frasier), Written by Bob Daily; NBC
"A WOMAN'S RIGHT TO SHOES" (Sex and the City), Written by Jenny Bicks; HBO
Original Long Form--over one hour--one or two parts, one or two airing times
AND STARRING PANCHO VILLA AS HIMSELF, Written by Larry Gelbart; HBO
Episode 1, "BEYOND THE SKY" and Episode 2, "JACOB AND JESSE" (Taken), Written by Leslie Bohem; USA
CAESAR, Written by Peter Pruce and Craig Warner; TNT
WILDER DAYS, Written by Jeff Stockwell; TNT
Adapted Long Form--over one hour--one or two parts, one or two airing times
NORMAL, Teleplay by Jane Anderson, Based on the play Looking for Normal by Jane Anderson; HBO
OUT OF THE ASHES, Teleplay by Anne Meredith, Based on the book I Was a Doctor in Auschwitz by Dr. Gisella Perl; Showtime
RUDY: THE RUDY GIULIANI STORY, Written by Stanley Weiser, Based on the book Rudy! by Wayne Barrett; USA
THE STRANGER BESIDE ME, Teleplay by Matthew McDuffie and Matthew Tabak, Based on the book by Ann Rule; USA
Animation--any length--one airing time
"THE DAD WHO KNEW TOO LITTLE" (The Simpsons), Written by Matt Selman; Fox
"MOE BABY BLUES" (The Simpsons), Written by J. Stewart Burns; Fox
MY MOTHER THE CARJACKER" (The Simpsons), Written by Michael Price; Fox
"REBORN TO BE WILD" (King of the Hill), Written by Tony Gama-Lobo & Rebecca May; Fox
"RESCUE JET FUSION" (The Adventures of Jimmy Neutron, Boy Genius), Written by Steven Banks; Nickelodeon
"THE STING" (Futurama), Written by Patric M. Verrone; Fox
Comedy/Variety--Music, Awards, Tributes -- Specials -- any length
THE KENNEDY CENTER HONORS, Written by George Stevens, Jr., Sara Lukinson and David Leaf; CBS
THE 75TH ANNUAL ACADEMY AWARDS, Written by Hal Kanter, Rita Cash, Buz Kohan, Special Material Written by Steve Martin, Beth Armogida, Dave Barry, Dave Boone, Andy Breckman, Jon Macks, Rita Rudner, Bruce Vilanch; ABC
Comedy/Variety--(including talk) Series
LATE NIGHT WITH CONAN O'BRIEN, Written by Mike Sweeney, Chris Albers, Jose Arroyo, Andy Blitz, Kevin Dorff, Jonathan Glaser, Michael Gordon, Brian Kiley, Michael Koman, Brian McCann, Guy Nicolucci, Conan O'Brien, Andrew Secunda, Allison Silverman, Robert Smigel, Brian Stack, Andrew Weinberg; NBC
MAD TV, Writing supervised by Scott King, Written by Dick Blasucci, Lauren Dombrowski, Bryan Adams, Bruce McCoy, Michael Hitchcock, Steven Cragg, Chris Cluess, John Crane, Jennifer Joyce, Tami Sagher, David Salzman, Richard Talarico, Jim Wise, Kal Clarke, Sultan Pepper, Bill Kelley, Maiya Williams, Dino Stamatopoulos, Rick Najera, Brooks McBeth, Jason Kordelos, Michael McDonald, Stephnie Weir; FOX
PENN & TELLER: BULLSHIT!, Written by Penn Jillette, Teller, David Wechter, John McLaughlin; Showtime
REAL TIME WITH BILL MAHER, Written by Billy Martin, Scott Carter, David Feldman, Brian Jacobsmeyer, Jay Jaroch, Chris Kelly, Bill Maher, Ned Rice, Paul F. Tompkins; HBO
ALL MY CHILDREN, Written by Agnes Nixon, Megan McTavish, Gordon Rayfield, Anna Theresa Cascio, Frederick Johnson, Jeff Beldner, Janet Iacobuzio, Lisa Connor, Addie Walsh, Victor Miller, Mimi Leahey, Bettina F. Bradbury, John PiRoman, Karen Lewis, Amanda Robb, Rebecca Taylor, Christina Covino, David A. Levinson; ABC
ONE LIFE TO LIVE, Written by Josh Griffith, Michael Malone, Shelly Altman, Lorraine Broderick, Richard Backus, Ron Carlivati, Anna Theresa Cascio, David Colson, Leslie Nipkow, Michelle Poteet Lisanti, Becky Cole, James Fryman, Katherine Schock, Ginger Redmon, Daniel Griffin; ABC
"DON'T LOOK BACK" (Out There), Written by Willie Reale and Mark Palmer; PBS
FULL COURT MIRACLE, Written by Joel Silverman and Joel Kauffmann & Donald C. Yost; Disney Channel
I WAS A TEENAGE FAUST, Written by Thom Eberhardt; Showtime
THE MALDONADO MIRACLE, Teleplay by Paul W. Cooper, Based upon the novel "The Maldonado Miracle" by Theodore Taylor; Showtime
Documentary - Current Events
"TRUTH, WAR AND CONSEQUENCES" (Frontline), Written by Martin Smith; PBS
"THE WAR BEHIND CLOSED DOORS" (Frontline), Written by Michael J. Kirk; PBS
Documentary - Other Than Current Events
BECOMING AMERICAN: THE CHINESE EXPERIENCE--BETWEEN TWO WORLDS (PART 2), Written by Thomas Lennon & Mi Ling Tsui and Bill Moyers; PBS
"CYBER WAR!" (Frontline), Written by Michael J. Kirk; PBS
"THE ELEGANT UNIVERSE: THE STRING'S THE THING" (Nova), Written by Joseph McMaster; PBS
"THE ELEGANT UNIVERSE: WELCOME TO THE 11TH DIMENSION" (Nova), Written by Julia Cort & Joseph McMaster, PBS
"THE MURDER OF EMMETT TILL" (The American Experience), Written by Marcia Smith, PBS
"SEABISCUIT" (The American Experience), Written by Michelle Ferrari; PBS
News - Regularly Scheduled, Bulletin or Breaking Report
"PASSING OF MUSIC LEGENDS" (CBS News Sunday Morning), Written by Robert Mank;
"CBS SHOWDOWN WITH SADDAM" (CBS News), Written by John Craig Wilson; CBS
News - Analysis, Feature, or Commentary
"BAPTISM BY FIRE" (60 Minutes), Written by Barbara Dury & Morley Safer; CBS
"WALL STREET" (NOW with Bill Moyers), Written by Michael Winship & Bill Moyers; PBS
AUTISM: SHADES OF GRAY, Written by Julia Kathan; ABC News Radio
AFTERNOON DRIVE, Written by Bill Spadaro; 1010 WINS Radio
WORLD NEWS THIS WEEK, Written by Stuart H. Chamberlain, Jr.; ABC News Radio
News--Analysis, Feature or Commentary
REMEMBERING ED BLISS, Written by Mike Silverstein; ABC News Radio
THE ROAD TO LAUGHTER: A TRIBUTE TO BOB HOPE, Written by Steven Gosset; CBS Radio Network
On-Air Promotion (Radio or Television)
BUFFY/ENTERPRISE, Written by Eric Jacobson; CBS/UPN
Chris Remi is a responsible mostly serious accountant with the nickname Goat of Fire. Tony is his younger brother a struggling actor who's popular with the ladies and goes by the nickname Smiling Fish. When their parents die the two must learn to adjust to life without Mom and Dad. Meanwhile Chris attempts to reconcile with his estranged wife before meeting an Italian beauty while Tony must decide what he wants when he meets his perfect match.
Chris and Tony played by real-life brothers Derick and Steven Martini respectively are relatively newcomers to the big screen and their acting doesn’t necessarily leave a lasting memory. They’re brothers playing brothers no real stretch there. The best performance by far is provided by Bill Henderson who plays Clive Winters -- a retired soundman from Hollywood’s Golden Age. Clive warms up to Chris taking him under his wing to teach him a thing or two about the wonders of love and weaving the films various subplots into a sweet package.
Director Kevin Jordan also wrote this film with the Martini brothers and produced it on a shoestring budget of $40 000. Clearly then it's all about the story. Shot in Los Angeles over 12 days Jordan draws you in with the appealing story line wins you over with some comic relief and keeps you hoping that each brother will get his girl.