For a gal named Carrie White, she's sure got a lot of red on her.
Watching Kimberly Peirce's 'Carrie' is an odd experience. If you've seen Brian De Palma's version from 1976, this new version is - and there's really no point in denying this - like watching a cover band. There's a tweaked scene here and there (including a new, creepy-as-heck opening) plus the addition of cell phones and references to 'Dancing With The Stars.' This remake, more than most, really feels like hitting the same marks. It may be a peculiarity specific to 'Carrie,' because, let's face it, not a whole heck of a lot happens in this story. Considering most moviegoers' familiarity, there's plenty of room to stew and think, "Why is this considered such a classic?"
Before I write anything else about 'Don Jon': yes, there are some guys in Northern New Jersey who really do act this way. Some of the particulars are exaggerated, but not really. Whether the interior life of Joseph Gordon-Levitt's protagonist gym rat, club denizen, muscle car driver is accurate is something I'll never know, and considering the emotional dysfunction on display, I think I'm okay with it.
Here's a tip. If you don't want people to think you are a child molester, pick out different frames than the ones Paul Dano wears in 'Prisoners.'
When neither Jake Gyllenhaal (as Detective Loki - yeah, you read that right) or his CSI crew can find any evidence that suspected molester Dano abducted two little girls that went for an unsupervised walk through a Pennsylvania suburb after Thanksgiving dinner, it's up to one of the two fathers of the girls - Hugh Jackman - to take matters into his own hand...
It's clear from the start that 'Getaway' is not a good movie. The opening sequence is a mess of different video stocks and flashbacks, an easy tell that a team of editors tore out their hair trying to skip as much boring exposition while leaving the first scenes cogent. But once former race car driver Brent Magna (Ethan Hawke) is behind the wheel of his stolen souped-up vehicle and is receiving crazy, destructive orders from the disembodied voice of Jon Voight, there's at least plenty of smashy-smashy to keep you occupied. The bad guy has some master plan – kidnapping Hawke's wife so that he'll be a mobile slave to his chaotic whims is part of laying the ground work.
But more than seeing traffic destruction on the streets of Sofia, Bulgaria (this month's production location low-bidder) there's a bigger catastrophe. Fifteen minutes into the movie, Selena Gomez shows up.
Here's one of my favorite jokes of all time. There's no punchline, it's just a sentence. "I've been rich and miserable, and I've been poor and miserable. And I'll tell ya: rich is better."
I don't know if this is what director Neill Blomkamp had in mind as the ultimate message of 'Elysium,' his visually stunning follow-up to 'District 9,' but beneath the dazzling spectacle, there isn't much else beyond that aphorism to cling to.
I loved 'Rango,' the last time Johnny Depp and Gore Verbinski offered up a madcap spin on the Western. I basically enjoyed 'John Carter,' last year's Western-infused would-be space epic, which, not coincidentally, was the last time Walt Disney stock holders had to reach for a shaker of Tums.
However, 'The Lone Ranger,' this new spazzed-out Western from Depp, Verbinski and Disney, takes unusual and unlikely measures to ensure that audiences have a miserable time. There are momentary flashes of amusement, but it is jumbled, tone-deaf and uninteresting. If I wanted to be kind I'd call it dull and ephemeral, but there are long stretches that seem to strive to be annoying - almost anti-entertainment. The only thing 'The Lone Ranger' has going for it is a long life as to go-to description how not to make a blockbusters movie - this generation's 'Last Action Hero.'
I am not a monster. I want to be very clear and upfront about this. Yes, those little squibbling yellow marshmallows called “minions” in 'Despicable Me' and 'Despicable Me 2' are adorable. I don't care how much of a tough guy you think you are, when these little buggers are vrooming about the screen and warbling and wobbling and making exaggerated facial expressions; it is biologically impossible for a human being not to smile. They're wonderful and the design team that creates them (and the scientists who code the array of imaging rendering computers) should all continue to take a bow. With this qualifier out of the way, allow me to warn anyone over the age of 10 or 11 that 'Despicable Me 2' stinks.
The title is 'World War Z,' but I can think up two other letters: "O" and "K."
'World War Z' is okay because it zips along with the fury of a computer-generated cascade of fast zombies. 'World War Z' is okay because Brad Pitt is a great leading man, even if his character has no depth. 'World War Z' is okay because there is always a fatalistic draw to see our social order tumble and great cities reduced to cinders.
It is also, unfortunately, merely okay because there's nothing in this movie you haven't seen before.
Seventeen summers ago, Will Smith gave us the catch phrase "welcome to Earth" and then punched an alien in the face. This time he's the invading alien (kinda) and his new line "this is Earth" is much more doom and gloom than swagger. An international icon, father and potentially the next great crazy celebrity, Will Smith is finally ready to pass the baton to his son Jaden.
But it isn't a baton he's using in 'After Earth' (an original sci-fi film based on a story of Smith's own creation) but a C-40 Cutlass – a doohickey kinda like Darth Maul's lightsaber, which springs out different blades depending on what you need. Actually, we never quite know how the Cutlass in 'After Earth' works, but it is one of a number of really nifty gizmos that populates the half-baked mythos of this film.
With 'Star Trek Into Darkness,' Abrams' follow up to the 2009 'Star Trek' reboot (or continuation of the series, if you are Spock Prime) he has solidified his position as a master of propulsive, visceral filmmaking. Dude knows where to put the camera, when the music should swell, when the characters should zing each another or when they should project pathos to the cheap seats. The 'Star Wars' films are mostly gut and little brains and, unfortunately, that is what we have here. The movie still works as an exemplary thrill ride – I laughed, I cried, I cheered – but woe be to anyone who gets caught in a conversation afterwards trying to explain the overly complicated and, at times, silly plot. If you expect something a little sharper out of 'Star Trek' you may come away with some mixed emotions.
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