Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
There's probably still someone somewhere that would fall for one of Sacha Baron Cohen's weird and wooly scenarios but let's face the facts: the days when Ali G. could snag an interview with Pat Buchanan or Gore Vidal are long gone. 2009's Bruno definitely let some steam out of Borat's tires not to mention the ensuing lawsuits. But it's refreshing to see Cohen and his Borat/Bruno cohort director Larry Charles flex their muscles in the fictional universe of The Dictator a vehicle that doesn't skimp on their signature cringe-worthy humor.
The world of The Dictator gives them the leeway to create crazy spectacles — at one point Cohen's General Aladeen rides down Fifth Avenue on a camel surrounded by a giant motorcade. Having a plot helps too; although part of the genius of Sacha Baron Cohen's schtick is how the viewer is made culpable by proxy by our amusement and horror at how he tricks and torments people who aren't in on the joke The Dictator continues the self-reflexive satirical bite. We're certainly not off the hook. Aladeen says and does truly outrageous things but they're also exaggerations of the world we live in. It might be a stretch to call Sacha Baron Cohen the British Lenny Bruce or George Carlin in a face merkin but rest assured that no topic is off limits. If you are offended by jokes about abortion rape feminists body hair race religion politics STDs war crimes ethnic cleansing necrophilia and/or bestiality don't even bother. However if you like the kind of comedy that makes you hide your face in your hands feeling like each laugh is being pried from you against your will you're in business.
Cohen eats up the screen as both General Aladeen and his incredibly dumb body double; the latter prefers the intimate company of one of his goats to a human while the former is a fairly stupid ruthless dictator whose own people are so disloyal to him that they actually ignore his commands to execute people. (He really likes to execute people.) When he arrives in New York City to attend a summit at the UN his uncle Tamir (Ben Kingsley) has the two switched so he can easily manipulate the "General" into signing a treaty to make Wadiya a democracy and reap the financial benefits. Aladeen finds refuge with Zoe a hairy-pitted activist who thinks he's a political dissident and is excited to be able to give him a safe haven in her touchy-feely Brooklyn grocery co-op. Instead of being typecast as another blonde dummy Anna Faris is finally given room to play as the wide-eyed naïf who takes Aladeen's very serious statements as jokes or simple miscommunications. She's a great foil to Baron Cohen who is easily half a foot taller than she is and has a wolfish grin. Their banter is often the most politically incorrect of the bunch but also the funniest.
Alas the plot. It's a bare bones situation to get a very broad character from A to B. Aladeen is obviously an outlandish mishmash of modern dictators; he spouts racist misogynist rhetoric endlessly and after a while...yeah we get it. However like all of Sacha Baron Cohen's humor The Dictator also takes a direct shot at Western countries (specifically the United States) which would be all fine and dandy if he didn't wedge an expository speech in about it as well. The problem with making a traditional narrative movie is that with some exceptions you've got to play within the guidelines. The Dictator isn't trying to do anything fancy; all it needs a few big beats and a neat ending to wrap it all up. It doesn't quite manage to tie it all together in a way that makes The Dictator more than an hour and a half or so of laughing and cringing.
Besides Faris and Kingsley there are a number of cameos by a very wide variety of comics and actors. Megan Fox plays herself Kevin Corrigan appears as a creepy dude who works at the co-op John C. Reilly is a racist security guard and Fred Armisen runs an anti-Aladeen café in New York's Little Wadiya district. The very funny Jason Mantzoukas has a large role as Nadal the former head of rocket science who was supposedly executed for not making Aladeen's nuclear warhead pointy. It's a good ensemble and hopefully Sacha Baron Cohen's next feature-length film will build on The Dictator's weaknesses.
Mooseport is an idyllic little Maine town populated with equally idyllic folk including Handy Harrison (Romano) who owns the local hardware store and his veterinarian girlfriend of six years Sally (Maura Tierney). But Mooseport is also the vacation home of the former president of the United States Monroe "Eagle" Cole (Gene Hackman) who after two successful terms in office decides the sleepy community would be a great place to quietly live out the rest of his days. But the people of Mooseport delay the president's retirement when they convince him to run for Mayor which doesn't sit well with Handy. Unbeknownst to the town council he's also put in a bid for mayoral candidacy. Certain he could never beat the former president in an election Handy nearly backs down--but when the ex-prez makes a move on Sally unaware she is Handy's significant other he decides to stay in the races for both mayor and boyfriend. Regrettably it might be too late for the latter since Sally resents Handy's commitment phobia and has accepted a date with the president in retribution. Oh but who will she choose? The campaign gets thorny when Eagle's ex-wife Charlotte (Christine Baranski) arrives in town to help with Handy's campaign and the president's chief advisor of 15 years Grace (Marcia Gay Harden) discloses she has feelings for him.
All eyes are on Romano known to TV viewers since 1996 for his portrayal of New York City sportswriter and father of three Ray Barone on the CBS sitcom Everybody Loves Raymond. Welcome to Mooseport is Romano's big-screen acting debut and he does a fine job shedding his popular television persona for that of a small-town handyman. But while Romano successfully crafts a character devoid of any Barone family attributes that character Handy is as one-dimensional as a blank script sheet. His love interest in the film played by Tierney (ER's nurse Abby Lockhart) gets fleshed out a little more and--unlike Handy--her character actually shows thoughts and feelings. A dedicated veterinarian Sally is a tough and outspoken woman with a heart of gold and she's impossible to dislike. More engaging is the relationship between Hackman and Harden two veteran actors who make the most of their cookie-cutter roles. As the charismatic onetime leader of the free world Hackman does his best Bill Clinton while Harden seemed more inspired by Condoleezza Rice a consummate professional and the president's indispensable right-hand woman. Welcome to Mooseport doesn't tap into its supporting talents as well: Baranski as the president's ex-wife and Fred Savage as his fresh-faced PR director deliver the film's rare laugh-out-loud moments but they're brought in for a couple of zingers and then left out to dry.
Donald Petrie who made his directorial debut in 1988 with the Julia Roberts starrer Mystic Pizza has a flair for helming fluffy comedies that succeed because of their star power rather than their stories (read: 1993's Grumpy Old Men starring Jack Lemmon Walter Matthau and Ann-Margret; Sandra Bullock's 2000 comedy Miss Congeniality; and last year's How To Lose a Guy in 10 Days with Kate Hudson and Matthew McConaughey). Now Petrie can add Welcome to Mooseport to the list. Although scribe Tom Schulman's (Dead Poets Society) screenplay is pretty imaginative his characters are unexciting and too goody-goody. Unfortunately the clever dialogue has been reserved for the supporting characters rather than its stars Romano and Hackman. Thus there are no bad guys to loathe (Eagle a career politician refuses to fight a dirty campaign) and Handy the underdog is too uninteresting to root for. Then there are all the unanswered questions: Where and how does Handy live? We only see him stacking shelves in the store and driving around in his truck. And why he hasn't made a commitment to Sally after so many years? While we find out somewhat at the end of the film why Handy has never proposed the revelation comes too late for us to care and until then the most personal thing we know about him is that he has a dog named Plunger.