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Life of Pi
1st Trailer
Watch It Here
Person of Interest: Suraj Sharma and a Bengal tiger.
Scene Pop: The whale jump.
Briggs Breakdown: 2 tiger fights, 9 3D effects, 1 poor zebra, 1 sunken ship, 1 sea storm, 1 fish storm, a meerkat swarm and rampant green screening.
Effective?: I guess you can say yes.
Check it Out?: I say no. Yes, it might be epic and looks breathtaking at times, but nothing truly wowed me. It wasn't the lack of story, which is completely easy to follow here, or the mixed response to Sharma's acting or the bad 3D tiger animation. It just felt completely and emotionally empty, even with the big sweeping score attached to it.
Walking into my local multiplex today was not a fun time, as well as anyone else. As it has been reported all throughout the nation, a midnight screening of The Dark Knight Rises turned deadly in Aurora, Colorado, when a 24-year-old man opened gunfire into the large crowd. As of this writing, 12 have been confirmed dead and many others are in critical condition or injured.
This is a senseless tragedy, inflicted by an individual who calculated and preyed on the innocent lives of all those there. My thoughts and prayers go to those impacted by these cruel turn of events.
This deadly shooting is sure to impact everyone expecting to see the film this weekend, as it has for myself today. During the sequence where Bane and his cronies take hostages on Wall Street, I squirmed in my seat and felt disgusted for myself. It just didn't feel right with me.
This is also going to impact movie theaters as well. I can expect the once strict sanctions and rules before entering a theater right after 9/11 will either be temporary or permanently enforced once again. Midnight screenings will also be affected or alright cancelled.
Again, my thoughts and prayers go to Aurora, Colorado.
Christopher Nolan can now finally move on in his profession, able to leave behind his take on the Batman mythos. As the last entry in his Dark Knight trilogy, THE DARK KNIGHT RISES is a fitting grand finale, with a great ending to send everyone off, both the characters and the audience. As a film of its own, however, is another story. Nolan certainly had his hands full to try and come up with something after the immensely provocative second entry, THE DARK KNIGHT, and it seems here that he was able to squeak by, making an interesting piece of relevant social commentary among the brief appearances of heavily uniformed individuals. Unfortunately, the bombastic prose, predictable story, and sometimes joyless execution made for more times waiting in your seat instead of cinematic arousal. After a film where chaos and anarchy overcoming a city felt real and honest, you can't just microwave it and expect it to be thrilling once again.
Many years have passed since Batman become a martyr for his beloved Gotham. He took the blame for killing off the so-called new protector of the city, Harvey Dent, and now Bruce Wayne (Christian Bale) is a recluse from society, even for special events held on his own grounds. The first one to wake him up from some of his stupor is master manipulator and expert cat burglar Selina Kyle (Anne Hathaway), who steals his mother's signature pearl necklace. The next person is John Blake (Joseph Gordon-Levitt), a "hothead" police officer who is aware of Wayne masking his emotions and has the spunk to seek to change Gotham's future for the betterment. Since this comic-book movie is to be a blockbuster, it then must have a deadly antagonist to awaken the Batman again. Enter Tom Hardy as Bane, a genetic freak with a demented breathing mask who wants to successfully annihilate the social infrastructure of Gotham, making everyone equal under his own rule and separation from the rest of America, before literally turning into ashes.
This is a film that absolutely feels like its running time and yet still truncated. Despite having 165 minutes of material, many plot developments are scuttled around, lacking any true sense of danger, and some scenes go way too fast and unexplained. When they move more slowly and easy to digest, they can be filled with Nolan's now-expected heavily laden monologues or twists you expected back in the first reel. Then there are the subplots that reach beyond bafflement into being daffy. One such plot is that Bane is being helped by someone with mob and money ties. If you watch the film, you will know who it is in less than half a nanosecond. Seeing how we all know previously that the Joker partnered up with such individuals before ultimately betraying them in the end, you would think this person also wouldn't err. This person also brings up another crucial problem: Nearly all of the new cast of characters are futile and transitory. For instance, though she is played by the talented and lovely Marion Cotillard, Miranda Tate is a snore, a wavering flower we are supposed to care for and take serious later in the picture. Matthew Modine is wasted opportunity as a police commissioner while Juno Temple is sadly given just a cameo role as Selina's best friend and ally, Holly Robinson. As for Bane, Tom Hardy looks the part and has the fun swagger of the methodical killer, constantly walking with his hands on his armor suspenders, but a lot of times his body language doesn't match up or synch with his ADR voice-over, which was done due to early testing reports of people mishearing all of his words. The voice further comes into question, as it is very sinister at times or can sound like Tod Slaughter just entered the booth.
The only two that get to shine out and make the material worth something are Hathaway and Levitt. Hathaway was a perfect casting decision, not just for being Catwoman but also as a suitable companion/equal to Christian Bale. Like Bale, her "normal persona" is all about subtle movements and quirks while her alter-ego walks the borderline between campy and seriousness. Her rendition of the female tweener is a mixture of Julie Newmar and Eartha Kitt; a woman who is approachable while being a bit high-class, yet purrs her way into hearts and violence. Levitt, on the other hand, is thankfully able to continue his advancement as a future leading man and action hero. His reformed orphan turned caring soldier in blue really brings the human warmth to the film, which sadly is not as prominent as it needs to be for this conclusion. Then, of course, you have Gary Oldman, Michael Caine, and Morgan Freeman reprising their welcomed roles to great effect, though Caine is only given a couple of powerful scenes before being removed from the proceedings.
Anyone who enters into the imagination of Christopher Nolan are aware that composer Hans Zimmer is the true superstar. Once again, he delivers a pounding blitzkrieg of noise and triumph, making many memorable pieces of music, especially the signature theme of rising and rebirth. The sound mixer seemed to agree but made the bad decision to often let the music wreck the wall of sound, as actor's lines and sound effects are mere whispers during several key moments. The action sequences are hit or miss, with the important motorcycle chase at the end of the first act, which features the re-appearance of Batman and many dangerous stunts, being the stand-out. Nevertheless, those fun diversions become eclipsed by goofy acts of coercion, such as the sequence where two armies rush at each other, somehow often unable to shoot each other despite being on a one-way street, while at the same time making ample room for two people to fight it out and deliver corny dialogue.
I didn't walk into this film with high expectations or bitter distrust after a week of mean-spirited online debates. THE DARK KNIGHT RISES is enjoyable at times but a little too overtly fluffy and laughable solemn. It works in conjunction with the preceding two films and is the second best among them. For some, this will be a big deal for them and/or a momentous masterpiece. I'm glad for what Nolan has done to comic-book films and he does well to an extent here. I might not want to re-watch this over and over again, or truly worth the asking price to see it in IMAX, but it is fine last hurrah.
FINAL REVIEW: 3 / 5
The Dark Knight Rises comes out this Friday, starting with the usual midnight screenings on Thursday. Several critics have already seen it and released their reviews on to the web, with the negative reviews obviously being the ones accosted and menaced by numerous commenters. Two critics, Marshall Fine and AP's Christy Lemire, have received the worst of it, causing Matt Atchity, Editor in Chief at Rotten Tomatoes, to release a press statement and then later disabling all user comments from being made on The Dark Knight Rises page. A ton, a ton of fans of Christopher Nolan's take on Batman had the time and vicious energy to spite these two people, and a couple others. All of this, for a film they have not seen yet.
Whenever a movie critic, whether professional or amateur, lays out their opinion on any film, they know that others might/will respond back with agreement or anger. With the popularity of the internet, this debate over the merits of a film has been increasing in its virulence, as many chose to hide behind user-names to deliver mean, inhuman remarks. Both as a critic and an artist, I know that my works will not always win over people and I always try to handle comments in a civil manner, unless it goes way over the line, which has thankfully been very minimal for myself. But all of this expected yet still chilling news have lead to this personal plea.
I don't follow or know of Marshall Fine's writings but I am fully aware of Christy Lemire. I have read some of her reviews for the Associated Press. However, I'm more apprised of her through her participation as co-host of Ebert Presents at the Movies. She's a hard-working individual and one of the most notable female reviewers in the profession today. Like practically every single critic that I read, watch, and follow, I do not always agree with her opinion. I also don't use her negative reviews of certain films that I loved as a grudge against her or as a reminder to never forget and forgive her. She, and Fine, did not deserve bitter hatred and cruel tactics against them just for a film unseen by nearly everyone.
Of course, other than daring to go against the vision of a popular auteur, this rancorous brouhaha is also motivated by the numeral scoring of Rotten Tomatoes and Metacritic. The review-collecting systems of the two websites were specifically designed both for business and pleasure; They gauge the overall critical spectrum of a product, while also reserving space for the opinions of users, to give an general impression to the American public, from the insiders of Hollywood to the average citizen who wants to look up the score before walking into the theaters. These percentages do matter nowadays, but some have taken it way too far as an indicator of perfection and a rallying cry to attack someone. The tipping point was in 2010, when Armond White was one of the few who didn't like Toy Story 3, causing the film to lose its 100% rating on Rotten Tomatoes. I personally do not like White and his opinions but his review has not changed anything for me, nor am I perturbed by the inability of Toy Story 3 getting an A+ on its final exam, so to speak. As Billy Wilder famously wrote, nobody's perfect. Hell, even one of my best friends isn't crazy about that film and I still value his opinion highly.
Though I appreciate what Atchity has done and wrote, I don't fully agree with his ending sentiment that people can't be angry at movie reviews. You have every right to be. Sure, there are more pressing matters in life to argue over but a review of a work of art can be included. Sometimes the ire from a movie review can causes others to stand up and do something about it, thus changing history itself. Bosley Crowther found that out the hard way, when his review of Bonnie and Clyde back in 1967 and numerous further attacks on it caused him to lose his job at the New York Times and lead to rise of people like Pauline Kael and Roger Ebert. Even Ebert's mistrust and venom for slasher/horror films, from the late 70's to his noteworthy special program on At the Movies with Gene Siskel to the present day, have provoked some to talk back to him through either celluloid and digital cameras or through writings and coverage of the genre. These two highlighted moments were done without anyone resorting to death threats, bodily harm, and sexual violence toward the defending individual. Instead, the people just made their counterpoints that much more sound and reasonable.
I am not afraid to lay out my review of The Dark Knight Rises come this weekend. Even if I get some flack of any kind, which I doubt considering my traffic numbers, I will just say "oh well" and move on. Trolling is no way to go through life. Many have chosen to think otherwise, whether under guises or through their own reputation as a "professional" film critic. Not to get too political, but it is truly sad that these individuals have abused their privileges and freedom to speak ill against these two film critics for not liking something they expect to love, all the while turning a blind eye and not giving a thought to the predicaments facing individuals such as Ali Farzat, who have been impacted by such threats.
Once again showing the disturbing new trend in the overall objective of the San Diego Comic-Con, the only big news coming from the mega-event were adaptations of comic-books, or anything from film or television, instead of anything from the medium itself. Of course, considering that the current works from the big two companies are currently proving a famous quote from Madame de Stael to be true, "One must choose in life between boredom (Marvel) and suffering (DC)", it is probably for the best that they hide behind the shadows of Hollywood. Especially with the continuing creator rights controversy with both.
As discussed thoroughly on Comics Alliance, The Marvel Studios panel revealed "Phase Two" of the Marvel movie universe. After the colossal success with The Avengers, as well as its noteworthy ending that had many non-readers scratching their heads, Marvel and Disney are continuing their plans to produce sequels to their big three superheroes in the next couple years, before the inevitable tent-pole Avengers sequel.
Released in the popular month of May next year, the 13th to be exact, is Iron Man 3. Footage and pictures were released, with two things being major stories. The first is the slightly strange tan-dominated new Iron Man suit, which would fit for say desert recon and camouflage. The other is that Ben Kingsley will in fact, as expected by all, be playing the vicious Mandarin. Helmed by Kiss Kiss, Bang Bang director Shane Black and based on Warren Ellis' "Extremis" arc, this looks to be a major departure from the first two films.
Set to come out on November 9th, 2013, the awaited Thor sequel will be numberless but with the attached subtitle The Dark World. The subtitle draws up nothing for me, I was never an avid Thor reader, but Comics Alliance theorizes that it will involve the world of the Dark Elves, Svartalfheim. However, my wishes and expectations seem to be coming true, as news/rumors have revealed that the Enchantress will be featured heavily in the next installment. This holds a bit of truth, considering others have said that Thor's relationship with Natalie Portman's Jane Foster will be more important to the plot. The film already has some bad news to report, with Mads Mikkelsen removed from the project. Expected to be the main villain of the story and coming off a major acting win at Cannes, it does bring a little suspicion to the creative side of things.
April 4th, 2014 will bring forth Captain America: The Winter Soldier, an announcement that caused major Cap writer Ed Brubaker to shout out two words, eight letters over Twitter. He should be happy, since he is the person who created the Winter Soldier character, that being the never dead, Russian re-programmed and former friend of Steve Rogers, Bucky Barnes. Studious fans of Captain America: The First Avenger, or anyone with a DVD copy of the film, will remember that Bucky was rescued by Cap in a dangerous, green-lit science office, where no one sent there came back alive. His later CGI-helped fall into a winter river will prove the second clue. This looks exciting, especially with the potential of bringing Captain America into the modern warfare of black ops, call of duties, and whatever other popular video games the creators will use for research.
"Phase Two" will also have two other entries that many have caught on to and expected to be placed into production. On August 1st, 2014, The Guardians of the Galaxy will come out. Since the appearance of Thanos at the end of The Avengers, this is the first thing many were waiting to be announced. The fairly obscure superhero team, seen in the concept art above conceived by Charlie Wen, have been popping up recently in video games (Ultimate Marvel vs. Capcom 3) and T.V. (The Avengers: Earth's Mightiest Heroes), but all that truly matters is the film itself. Marvel Studios is going to need to push their marketing power for this one, avoiding the faults seen in the build-up of John Carter, to make it work with jaded viewers. The current release date in August shows this fear. But when you take in the fact that one of the heroes is a talking raccoon, the popular Rocket Raccoon, it should be no problem making a space action-comedy out of the material.
Edgar Wright and his long-time friend/collaborator Simon Pegg have not been very secretive of them being attached to Ant-Man, the long-gestated film whose hero wasn't included in The Avengers, despite being a founding member of the team in the comics. Test footage was shown and given good grades, so there is hope. However, I just hate Hank Pym, the original Ant-Man, who was either a wet blanket or a wife-slapping scumbag. The new film might have a better version of the character, plus the more enjoyable Wasp, so I will hold my feelings for now, though this is still the one I don't care for as much as the others.
The only thing to come from DC Comics, who have been tripping over themselves constantly with their lack of competition in the film division beyond Christopher Nolan's Batman trilogy, was first footage and the teaser poster for Man of Steel. I don't usually like to critique the posters for major releases, but I had the same opinion for trailers and look where I stand on that. The poster is pretty blah but made worst by the distracting detail of the suit. It looks like the Supes' blanket was made by the Michelin Man.
Other posters and footage shown were for other big sci-fi flicks to come, including Guillermo del Toro's robot vs. kaiju Pacific Rim, which just got a spread in Entertainment Weekly, and the return of the Americanized kaiju king, Godzilla. I'm looking more forward to the former than the latter.
One of the things floating around the web instead of the Con was a comic fan movie. Unlike the many others, this one had some talent behind it. Thomas Jane, who played the Marvel vigilante The Punisher in an unpopular 2004 film, made his own 10 minute movie/test reel/viral campaign to return the role. As seen here, titled with the Twitter tag #DIRTYLAUNDRY, the film is entertaining and feels more at place with the comic book than the very misguided 2004 film, mixing harsh gore (which is unfortunately CGI) with sadistic acts of revenge. I get the early build-up to introduce the scum you want to see be scrubbed off the street but it goes a little too long before Castle finally snaps. Still though, Jane got the voice back and he swings a mighty Jack Daniels.
Oz: The Great and Powerful
1st Trailer
Watch It Here
Person of Interest: James Franco in the distracting role of Oz, Mila Kunis as some beauty, Michelle Williams as Glinda the Good Witch (I think), and Rachel Weisz as the Wicked Witch.
Scene Pop: The transition from B&W full screen to colored widescreen.
Briggs Breakdown: 3 circus acts, 2 3D effects, 3 establishing world shots, a big explosion in the courtyard, a deadly tornado, an awful CGI fall, and too many flying monkeys to count.
Effective?: Yes, solely for the visuals, lite story developments, and the killer ending.
Check it Out?: Regardless of my opinion, practically everyone will be heading to the theaters to see this next March. The Wizard of Oz is an American classic. For myself, the 1939 film is a powerful whisper; it is one of the best films ever yet I don't address my favoritism of it to others. As for this film, I'll be seeing it but the Burton-esque artwork, that annoying audience-baiting producer credit for Alice in Wonderland, and massive overdose of green-screening are bewildering. I did like the goofy, fake 3D effects though.
