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.
At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.
Actress Kate Winslet is teaming up with her Oscar-winning director husband Sam Mendes to work on a new movie.
Winslet, who has been married to the American Beauty filmmaker for three years, has been interested in playing the role of 1920s circus tiger tamer Mabel Stark since 2003.
And now Mendes' company, Neal Street Productions, has bought the rights to adapt a fictionalized life of Stark by author Robert Hough.
The couple's spokeswoman, Sara Keene, says, "It's a great story, they've had their eye on it for a while. If they can get the script right, it would make a great film."
However, the pair will be keen to avoid the same fate as other husband-and-wife projects, like Guy Ritchie's Swept Away starring Madonna, and Rachel Weisz's role in The Fountain, directed by fiancé Darren Aronofsky--both of which were commercial failures.
COPYRIGHT 2007 WORLD ENTERTAINMENT NEWS NETWORK LTD. All Global Rights Reserved.
A throng of celebrities will participate in the upcoming 16-part public TV show Freedom: A History of Us, which will air in January. The series will feature Julia Roberts, Anthony Hopkins, Angela Bassett, Reese Witherspoon, Billy Crystal and Robin Williams reading from personal historical accounts, Variety reports. The series is based on the controversial textbooks written by amateur historian Joy Hakim in the 1990s. President Bush and first lady Laura Bush will give the show an on-air introduction.
'N Sync band member Lance Bass has received informal word from the Russian space agency that he has qualified as physically fit to fly aboard a rocket flight to the International Space Station, Reuters reports. Bass, 23, is expected to start flight training on Monday at the cosmonaut center in Russia's Star City.
Sylvester Stallone's wife, Jennifer Flavin Stallone, has given birth to their third child, The Associated Press reports. Scarlet Rose was born Saturday at a Los Angeles hospital, weighing 7 pounds, 8 ounces. The couple already has two daughters, Sophia, 5, and Sistine, 3.
Longtime Hollywood couple Susan Sarandon and Tim Robbins may perform in an Irish production of a play based on the Sept. 11 attacks. According to Reuters, the couple has agreed in principle to appear in The Guys at Dublin's Peacock Theatre in late August. The play is based on the experiences of Anne Nelson, a professor at Columbia University's journalism school.
Elton John has resigned as chairman of Watford, a British soccer team, after a 25-year association with the club, Reuters reports. John said in a statement on the club's Web site, "With the huge changes taking place in [soccer], it is obviously necessary for the board to be led by a chairman who will be able to devote more time to the club than I have been able to." Watford finished in 14th place last season.
Former Law & Order star Angie Harmon has been cast as a trainer of teen spies in MGM's upcoming kids movie Agent Cody Banks slated for release next summer, Variety reports. The film will also star Malcolm in the Middle's Frankie Muniz and Hilary Duff of Disney Channel's Lizzie McGuire.
In the Biz
British director Jonathan Glazer, who helmed Sexy Beast, has signed on to shoot the remake of the Japanese film Chaos for Universal Pictures, Variety reports. The film centers on a grifter drafted to stage the kidnapping of a wealthy businessman's wife. Robert De Niro and Benicio Del Toro are in talks to star in the project.
A half-hour reality series based on Anna Nicole Smith will premiere on E! in August. According to The Hollywood Reporter, The Anna Nicole Smith Show will take a glimpse into Smith's daily life and include her 16-year-old son, Daniel, her lawyer Howard K. Stern and assistant Kim.
The FX cable channel and Artisan Television are developing a two-hour TV movie based on American Taliban fighter John Walker Lindh. According to Variety, the film, tentatively titled American Taliban, will attempt to explain what motivated Lindh to fight for the Afghan extremists. If the project gets greenlighted, it wouldn't bow until 2003 at the earliest.
It looks like Sharon Osbourne will host the VH1 broadcast of Queen Elizabeth's Golden Jubilee concert on June 3. The all-star performance will feature Sharon's husband, Ozzy Osbourne, plus Eric Clapton, Phil Collins, Aretha Franklin and Paul McCartney. VH1 will air highlights of the concert, which will take place in the garden of Buckingham Palace in London, on June 9.
Rocker David Bowie may be embarking on a world tour in the near future, but not this year. In a journal posted on his official Web site, Bowie said he is often asked about doing a full-blown world tour and commented, "I have a real need to keep writing this year, and I always go with my gut feeling for what is right. Next couple of years, though? Who knows?"
Metallica drummer Lars Ulrich was sued for breach of contract by former business associate Tim Duffy in Los Angeles Superior Court on Friday, LAUNCH music reports. Duffy claims that, last summer, Ulrich forced him from his role as managing member of The Music Company, a now-defunct boutique label the two formed in 1996.
Mildred Wirt Benson, the original author of the Nancy Drew mystery series, died Tuesday at the Toledo Hospital in Ohio. She was 96. Benson wrote countless books and stories but is best known for creating Nancy Drew, a series that sold more than 200 million books in 17 languages and spawned a TV series. She wrote 23 of the 30 original stories using the pen name Carolyn Keene.
Musical synergy, perhaps?
Easy-listening Burt Bacharach and rockin' Don Was have been tapped as musical directors for this year's Academy Awards ceremony. This is the first Oscar appointment for the veteran composers. Bacharach has won three Academy Awards - including two for his work for 1969's "Butch Cassidy and the Sundance Kid", and one for "Arthur's Theme (Best That You Can Do)," the Oscared Best Original Song from 1981's "Arthur."
Don Was was the creative spirit behind Was (Not Was), which scored intermittent hits on the pop charts throughout the 1980s, including "Walk the Dinosaur." The Grammy-winning Was went on to produce such award-winning hits as the k.d. lang and Roy Orbison duet "Crying" and the B-52s' booty-shaking anthem "Love Shack."
Bacharach and Was have never before collaborated. This leads to the inevitable question: Will the Oscar-night orchestra be playing electric 12-string Fenders -- or trumpets, saxophones and synthesizers?
NEW LOOK? Emmy Award-winning production designer Robert Keene has been tapped to design the telecast sets for the Academy Awards, to be broadcast live March 26 on ABC.
This is the second time Keene's name has been associated with the awards. His first foray was with the 65th Academy Awards in 1992.
Keene has won two Emmys. His TV design credits include such major galas as the Grammys, Emmys and Tonys. As for the Oscars, Keene vows to "create a very different show."
We thought that's what the Bacharach-Was pairing ensured.