Everyone knows the best part of every The Simpsons episode without Ralph Wiggum is the opening sequence where we can see what Bart is writing on the chalk board and just how the family is going to sit on the couch. Well, now there are some very bad humans invading the living room of the world's oldest living animated cast. Check out this Sunday's opening, where Walter White and Jesse Pinkman are integrated into the show. It not only breaks the fourth wall, it breaks bad too.
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Alfred Hitchcock is noted as one of the greatest filmmakers of all time and rightfully so — his body of work comprised of over 60 films is skillfully composed highly dramatic and eclectic from beginning to end. So pulling back the curtain on the legend in his own medium was only a matter of time a how'd-he-do-it biopic that could pay respects to the collected works while revealing the master's process. Hitchcock directed by Sacha Gervasi (Anvil: The Story of Anvil) pays its respects but also reveals another unexpected quality of the auteur's behind-the-scenes life: it wasn't all that dramatic.
Anthony Hopkins slides into the silhouette of the recognizable director and does a reasonable job nailing his cadence and posture. Side by side with his wife Alma (Helen Mirren) who as the movie reveals was the director's close collaborator Hitchcock strides confidently into the world of independent cinema for the first time balking at studio heads who demand something more audience-friendly than the gruesome Psycho. Investing his own money into the film Hitchcock risks everything to turn the story of murderer Ed Gein into a high art horror picture. He finds a leading lady in Janet Leigh (Scarlett Johansson) a script in a screenwriter with mommy problems and a closeted actor to portray the sexually exploratory Gein.
And that's about it. Hitchcock disguises the usual stresses of moviemaking as major hurdles even representing Gein as a specter who haunts Hitchcock's every decision. Aside from the brief suspicion that Alma abandons him mid-production for charming writer Whitfield Cook (Danny Huston) which feels stuffed in and meandering rather than intrinsic to the making of Psycho there's little explanation for Hitchcock's anxiety and downward spiral. The film even dabbles in Hitch's well-known infatuation with his leading ladies — explored to a terrifying degree in last month's The Girl — but places the director on too high a pedestal to ever dig deep.
The real star of the show — and perhaps one who would have made a better subject for feature film — is Alma a complex second fiddle overshadowed by the greatness of Hitchcock. Mirren once again delivers a lively performance as a woman desperate to live her own life; the scene when she lets loose on Hitchcock is easily the high point of the movie. But like the audience who unknowingly appreciated her work behind-the-camera Hitchcock is too obsessed with the man at the center of it all to open up and give the character or Mirren the spotlight.
Hitchcock's time period flourishes and camera work are presented simply (Gervasi keeps hat tipping to the auteur's oeuvre to a minimum) while Danny Elfman whips up a score that riffs appropriately on longtime Hitchcock collaborator Bernhard Hermann's works. But there's no hook to elevate the film from a puff piece and even the biggest Alfred Hitchcock fan will be grasping for something more.
WHAT’S IT ABOUT?
G.I. Joe is a top-secret multi-national special forces unit comprised of highly-trained physically attractive military personnel from around the world. Equipped with the latest in superawesome vehicles and weaponry and guided by the tough but fair General Hawk they take on the baddest of the bad guys the kind of terrorists that scoff at conventional organizations. As the General himself so aptly states “When all else fails we don’t.”
That credo is put to the test however when a shadowy terrorist group armed with even awesomer vehicles and weaponry like crazy-ass laser guns and computer-guided zombie troopers infiltrates the Joes’ compound and makes off with a cache of four WMDs each of which is capable of leveling an entire city. Do the men and women of G.I. Joe have what it takes to defeat these menacing new adversaries before they mount their next devastating attack?
WHO’S IN IT?
It takes an elite group of actors to play an elite group of soldiers and the cast of G.I. Joe: The Rise of Cobra is stocked with an abundance of Hollywood’s most talented performers all adorned in various types of leather fetish apparel. White Chicks star Marlon Wayans plays Ripcord a flight specialist who can pilot any type of airplane even enemy crafts that respond only to voice commands uttered in Celtic. Channing Tatum star of Step Up and Step Up 2: The Streets plays his best pal Duke a badass infantryman who knows no fear. Preeminent ginger chick Rachel Nichols showcases her fiery crimson locks as Scarlett a shrewd intel expert whose stoic exterior hides a growing attraction to Ripcord. Barking out the orders as General Hawk is Enemy Mine star Dennis Quaid.
On the side of the bad guys is the Baroness played by Factory Girl star Sienna Miller in a push-up bra dirty librarian glasses and a raven-colored dye job. She’s the point woman for McMullen a shady Scottish weapons magnate played by Christopher Eccleston. But McMullen is no ordinary shady Scottish weapons magnate; he’s covertly amassed a huge terrorist empire headquartered beneath the polar ice caps. It’s there that “The Doctor ” a horribly disfigured mad scientist played by (500) Days of Summer star Joseph Gordon-Levitt concocts all sorts of diabolical new weapons and gadgets to unleash on the innocent.
Oh and there are ninjas too. Good guy Snake Eyes played by Ray Park wears sleek black body armor while the evil Storm Shadow played by Byung-hun Lee runs around in a updated version of Elvis Presley’s classic all-white jumpsuit.
Loaded with scene after scene of high-tech action-movie eye candy G.I. Joe: The Rise of Cobra assaults the senses with such a relentless barrage of over-the-top stunts eye-popping visual effects and stylized fight sequences that only the most coldly cynical of viewers will be able to resist submitting to its visceral charms.
As with most sugary indulgences the sweet dizzying high is followed almost immediately by a painful crash. Feelings of guilt and shame start to simmer as you kick yourself for yielding to such soulless gluttony. The next morning you awake with a throbbing headache and a heart filled with regret. The following day a doctor informs you that you have adult-onset diabetes. So in a nutshell G.I. Joe: The Rise of Cobra is the cinematic equivalent of adult-onset diabetes.
The scene where they have the big fight with all the advanced weapons and a whole bunch of stuff blows up. Oh wait that’s EVERY scene.
For the bulk of his performance Joseph Gordon-Levitt’s face is obscured by a bulky breathing apparatus and his voice is altered to sound like the computerized movie trailer's narrator. Which makes one wonder why they bothered to hire a name actor for the role in the first place.
In the summer of 1977 disgraced former President Richard Nixon (Frank Langella) sat down with British TV talk show host and interviewer David Frost (Michael Sheen) for a series of interviews that Nixon hoped would resuscitate his Watergate-tarnished image and Frost hoped would lift his own career to another level. While it made for good TV at the time it certainly didn’t seem likely fodder for a hit Broadway play and now a major motion picture. Peter Morgan (The Queen) wrote the play and adapted it for the screen turning it into a riveting cat-and-mouse game between these two made-for-television adversaries. Director Ron Howard emphasizes the behind the scenes machinations and all the negotiations between both camps. The off-camera material is priceless based in large part on speculative research. Whatever the final truth of the story the film gains its real power from it’s the telling. Ron Howard turns to the two original stage stars of Frost/Nixon -- a wise casting decision that almost never happens in Hollywood. It’s true everyone including Warren Beatty reportedly wanted to play Nixon but it’s hard to imagine anyone doing a better job than Langella in recreating his Tony-winning interpretation of the infamous Tricky Dick. He has all of Nixon’s mannerisms vulnerabilities and caginess down pat. Sheen certainly captures the confident nature of Frost but also his insecurities and the realization that this whole enterprise is one big roll of the dice. And two actors work in perfect concert with one another. Supporting roles are well played including standouts Kevin Bacon as Nixon’s trusted Chief of Staff Jack Brennan and a hilarious Toby Jones aping the inimitable book agent Swifty Lazar. As key Frost aides and researchers Oliver Platt and Sam Rockwell do a nice job as kind of the Greek chorus to the situation. On the surface Ron Howard -- better known for his large scale Hollywood productions like The Da Vinci Code and Apollo 13 -- doesn’t seem the right fit for this smaller scale drama but his approach transfers what could have been a flat Broadway screen into a highly cinematic and stimulating two hours. He captures the rhythms of this chess match perfectly and chooses camera angles that catch the sweat behind the cool facades of his two principals. Special mention should go to the beautiful nuanced work of his cinematographer Salvatore Totino. Howard is such a gifted filmmaker he makes it all seem effortless easily coaxing two equally superb performances from Langella and Sheen. Frost/Nixon is a first class achievement.
For a few years in the '60s and '70s producer Gerry Anderson made "supermarionation" all the rage in the world of British children's television. His stop-motion puppets starred in a number of sci-fi adventure series most memorably Thunderbirds which followed the exploits of International Rescue -- a team comprised of ex-astronaut Jeff Tracy and his sons. Based out of their secret fortress on Treasure Island the Tracys (aided by lovely secret agent Lady Penelope) used their amazing rocket-powered vehicles to prevent disasters and save lives around the world. Now 40 years after Thunderbirds' TV debut Star Trek vet Jonathan Frakes has brought Anderson's characters to life on the big screen. Front and center is youngest son Alan Tracy (Brady Corbet) who dreams of the day he too can pilot one of his family's fab ships and lead missions. But first he has to prove himself to his father Jeff (Bill Paxton). That opportunity comes sooner than either expects when mysterious villain The Hood (Ben Kingsley) strands Jeff and the older Tracy boys in space and attacks Treasure Island. With only his friends Tintin (Vanessa Anne Hudgens) and Fermat (Soren Fulton) to help him Alan has to grow up quickly if he wants to save his family ... and the world!
It would be easy to mock several of the performances in Thunderbirds-- to chide Paxton for his earnest seriousness as Tracy patriarch Jeff to dismiss Corbet's angst-tinged eagerness as Alan to roll your eyes at Kingsley's over-the-top mystical fierceness as The Hood and to wince at Fulton and Anthony Edwards' nerdy stuttering as science whizzes Fermat and his dad Brains. But actors are only as good as their script and the one Frakes has given his cast (courtesy of screenwriters William Osborne and Michael McCullers) is weak and clichéd at best filled with after-school-special-worthy lessons for Alan to learn. "You can't save everyone " Jeff tells his son somberly and even Tintin has a moral for her crush when he's feeling selfish and indulging in self-pity: "This is hard on all of us Alan." Talk about insight! What makes it even more frustrating is knowing that the actors are capable of much more even the kids: Both Corbet and Hudgens did well with supporting roles in Thirteen. Thunderbirds' only real bright spot is Sophia Myles as Lady Penelope. A cross between Reese Witherspoon's Elle in Legally Blonde and Jennifer Garner's Sydney on Alias Myles' Lady P doesn't let her pink couture wardrobe prevent her from coolly kicking ass when the situation demands it. Attended by her droll driver/man-of-all-trades Parker (Ron Cook) Lady Penelope is a fresh feisty heroine with all of the film's best lines -- and the coolest car to boot.
Frakes cut his directorial teeth on episodes of Star Trek: The Next Generation and his first feature film was Star Trek: First Contact so he would seem like a natural choice to bring a cult sci-fi TV show to the big screen. Unfortunately while he does an admirable job re-creating (and improving on) the original Thunderbirds' mod sets cool ships and special effects (which are fine if a bit more TV-sized than summer blockbustery) Frakes can't seem to decide who his audience is. If he was aiming at grown-ups who remember the show fondly from their own childhood he should have embraced the source material's campiness (à la Starsky and Hutch) rather than restricting it to the Tracys' plastic Barbie-like furniture and Lady P's bouffant hairdo. If on the other hand Frakes was hoping to entertain today's kids he should have really reinvented the show for a 21st-century world (à la Stephen Hopkins'1998 Lost in Space) rather than clinging to the '60s references As it is he's stuck somewhere in the middle leaving adults bored during the kids-on-an-adventure bits and children mystified by the handful of jokes aimed at their parents.