'White House Down' has the disadvantage of being the second 'Die Hard'-in-the-White-House movie of 2013 after 'Olympus Has Fallen,' and the advantage of being superior to its predecessor in every conceivable way. It's better directed, better written, and better acted. The action is better, with more impressive special effects; the production design is better, with a much more convincing replica of the White House; the camerawork is better; with clear, lucid images. Where 'Olympus Has Fallen' was grim and stern, 'White House Down' actually embraces the silliness of its premise. It's more exciting and more faithful to the 'Die Hard' formula. This is still basically a shameless ripoff popcorn movie, but it's a shameless ripoff popcorn movie popped to near-perfection.
The term "product placement" feels insufficient to describe the role of Google in 'The Internship.' This is not so much product placement in a movie as movie placement in a product. For two hours, viewers are treated to a series of bright, high-energy sales pitches for the San Francisco search engine and its vast array of products and services -- Google Play, Google Drive, Google Helpline, Google Maps and, of course, plain-old Googley Google -- plus, occasional attempts at comedy from Vince Vaughn and Owen Wilson while they stand in front of giant Google logos. Shameless? Absolutely. But that wouldn't be such a problem if 'The Internship' wasn't so mirthless, as well.
From the earliest days of his appearances in Marvel Comics' 'Tales of Suspense,' Tony Stark has always been modeled after aviator/inventor/industrialist Howard Hughes. With 'Iron Man 3,' Stark assumes a new dimension of Hughes' persona: that of the paranoid shut-in who, in his later years, became notorious for roaming his private floor of the Desert Inn Hotel in Las Vegas, freaking out about invisible germs and collecting jars of his own urine. 'Iron Man 3's' Tony Stark, played once again by the inimitable Robert Downey Jr.isn't quite that bad, but he's getting there.
After the events chronicled in 'The Avengers,' where Manhattan was nearly leveled by invading aliens and Tony himself was almost killed, he's become obsessed with upgrading his armor -- leaping all the way from the Mark VII to the Mark 42 in a matter of months. When anyone mentions New York or aliens, Tony gets panic attacks. There's a reason Daredevil, not Iron Man, is the Marvel hero known as "The Man Without Fear." Poor Tony is terrified.
"Let's hope this still works," says David (Shiloh Fernandez) as he puts a key into the door of his family's old cabin in the woods. But of course he's not just talking about the key; he's talking about the idea of remaking 'The Evil Dead,' the 1981 cult classic that launched the careers of writer/director Sam Raimi, producer Robert Tapert, and star Bruce Campbell and remains close to the hearts of discerning horror fans everywhere. Between the original film and its two sequels, 'Evil Dead II' and 'Army of Darkness,' Raimi, Tapert, and Campbell created one of the most iconic horror franchises of all time. But that was thirty years ago. Times change; tastes change. And in the interim, 'Evil Dead' has been ripped off by so many other movies its plot smells about as fresh as a fruit cellar full of rotting cat corpses. Forget hoping it still works; you'd need the mother of all prayers, and maybe a blood sacrifice or two, to make an 'Evil Dead' remake click.
James Franco might not be the best actor working in movies today, but he's almost certainly the most fearless. His choices are as unpredictable as they are gutsy. He'll try just about anything: television dramas ('Freaks & Geeks'), soap operas ('General Hospital'), comedies ('Pineapple Express'), and big blockbusters ('Spider-Man,' 'Rise of the Planet of the Apes'). His latest role, in Harmony Korine's 'Spring Breakers,' might be his craziest and most daring to date. He plays Alien -- pronounced "A-Leen" in Franco's South Florida drawl -- a drug dealer and aspiring rapper who likes to boast that he's from another planet. Franco's performance is suitably extraterrestrial: hilarious, disturbing, deranged, poignant and endlessly quotable. In an instant classic scene, Alien shows off all his prized possessions -- machine guns and money and nunchucks and 'Scarface' DVDs on constant repeat -- while screaming "Look at my s---!" Alien's orders are superfluous; any time Franco's onscreen, you can't take your eyes off him.
In his recent autobiography, Arnold Schwarzenegger describes his part in 'The Last Stand' as "a great, great role." He plays Ray Owens, a former LAPD cop who retired to his hometown in Arizona after his partner got crippled in a botched drug raid. Now the local sheriff, he and a few bumbling deputies are all that stands between the Mexican border and a ruthless drug kingpin. "The sheriff knows if he succeeds," Schwarzenegger writes, "it will mean everything to the town. His reputation is on the line. Is he really over the hill or can he do it?"
In theory, 'The Impossible' is an uplifting film about a family that faced unimaginable horror and survived. In practice, 'The Impossible' is a grim slog through tragedy with a small kernel of happiness waiting at the end -- and that kernel of happiness is so coated with thick, gooey sentimentality that it's awfully hard to swallow.
Somehow I made it through four years of high school, four years of college, and ten years since without ever reading Jack Kerouac's 'On the Road.' I'm not sure whether that makes me hopelessly unqualified to review the new movie adaptation of it -- because I can't tell you how faithful it is -- or better suited than most because I can judge the film as a film and not as a sacred cow of literature offered up for slaughter to the great, greedy god of cinema. And as a film, it feels like the CliffsNotes version of a great book; sketchy and incomplete. That's probably the film's destiny, too: to be watched by procrastinating teens the night before a big exam in lieu of reading the real thing.
If he hadn't already used that title for another movie, Tom Cruise could have easily called 'Jack Reacher' 'The Last Samurai.' There's a bit of Toshiro Mifune's Sanjuro in this Reacher guy: the masterless warrior who strides into a corrupt town, answers to no one, rights a few wrongs, busts a few heads, and wanders away to find his next challenge. He has no possessions; he owns exactly two shirts and one jacket. All he carries with him is a roll of $100 bills, a passport, a toothbrush, and his inflexible moral code. He would have fit right in back in feudal Japan. Or the Old West, for that matter. He'd make a hell of a Man With No Name.
The transition from ‘The 40-Year-Old Virgin’ to ‘This is 40’ has been an interesting one for Judd Apatow. After doing some really personal work on television’s ‘Freaks and Geeks’ -- and getting almost immediately cancelled when no one watched it -- he became a major name in cinematic comedy with the big, broad ‘Virgin,’ a film about a man trying to end decades of sexual starvation. He followed that up with ‘Knocked Up,’ about a young stoner who learns the perils of impregnating Katherine Heigl -- whose sister was played by Leslie Mann, Apatow’s real-life wife, and whose nieces were played by Maude and Iris Apatow, Apatow and Mann’s real-life daughters. While most of the movie was about Seth Rogen and Heigl’s wacky babywaiting shenanigans, there was that small percentage of observational family life comedy with Mann, the junior Apatows, and Paul Rudd, ostensibly playing Judd. It was some of the best stuff in the film, and it pointed the way forward.
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