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adaptation

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Legendary Pictures to bring Detective Pikachu to the big screen


No sleep 'til Danny DeVito
Jul 21
// Geoff Henao
Can you believe it's been 20 years since Pokemon first told us we gotta catch 'em all? I wouldn't necessarily call the franchise untouchable, but it quickly became one of Nintendo's most profitable and successful tentpoles al...
Dark Tower photo
Dark Tower

First look at Idris Elba in The Dark Tower


And a very photoshopped EW cover
Jul 14
// Matthew Razak
If everything goes to plan Stephen King's Dark Tower adaptations will be a long running movie and TV franchise and it all officially kicks off with this image (and a cover) of Idris Elba as the gunslinger Roland and a fe...
Pokemon Go movie photo
Pokemon Go movie

Legendary wants to bring Pokemon Go to the big screen


Global domination imminent
Jul 13
// Hubert Vigilla
Pokémon Go (aka the latest plot for global domination by Skynet and The Illuminati) has taken people by storm. Everyone's getting out and walking around to catch 'em all, which has also led to finding dead bodies, gett...
Assassin's Creed movie photo
Assassin's Creed movie

Ubisoft feels Assassin's Creed film is marketing for game's brand, lowers box office expectations


Also marketing for Fassbender's todger
Jul 12
// Hubert Vigilla
The trailer for Assassin's Creed looked promising, what with all the flip-dee-doos and the unexpected Kanye West track. There's solid talent attached to the project as well, with stars Michael Fassbender and Marion Cotillard ...
Ouija: Origins of Evil photo
Ouija: Origins of Evil

First trailer for Ouija: Origin of Evil spells out B-L-A-N-D


Stop trying to make Ouija happen, Hasbro
Jun 23
// Nick Valdez
Remember Ouija? As part of toy company Hasbro's world domination, they teamed up with Blumhouse productions (Paranormal Activity, The Purge) and first, and only, time director Stiles White and released a terribly blah foray i...
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Tom Cruise sequel Jack Reacher: Never Go Back has a trailer


Jun 23
// Rick Lash
Since last we saw Jack Reacher in theaters in 2012, Jack Reacher has returned to the printed page four times in Never Go Back (2013), Personal (2014), Make Me (2015), and Night School (2015). Maybe that's because author Lee C...
Power Rangers photo
Power Rangers

Bryan Cranston cast as Zordon for the Power Rangers reboot


"May the power protect you."
Jun 21
// Nick Valdez
About a month back I wrote a long editorial about Saban and Lionsgate's upcoming Power Rangers reboot. Until I had seen the costumes, I was pretty much all in for the film. It was making good moves otherwise. The team is comp...
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Bill Skarsgard cast as Pennywise the clown in new adaptation of Stephen King's It


Because people love clowns
Jun 03
// Rick Lash
The last time Stephen King's "It" was adapted to film, I was still in diapers (i.e. I was 10). The book was made into a two night television event which was largely forgettable outside of Tim Curry's epic performance as Penny...
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Disney casts Emily Blunt in lead in Mary Poppins sequel


Jun 01
// Rick Lash
Back in September, we let all our readers that love strange bag ladies who hand out drugs to kids know that Disney had heard their pleas and decided to release a 2nd "Marry Poppins." (I mean, seriously, she's been Poppin' pil...
Fruit Ninja movie photo
Fruit Ninja movie

They're making a Fruit Ninja movie, may God have mercy on us all


All is lost
May 23
// Hubert Vigilla
It was bound to happen. After The Angry Birds Movie came out (and did well at the box office), it would only be a matter of time before other time-waster mobile games were turned into feature films. Enter Fruit Ninja. Yes. Th...
Beauty and the Beast photo
What? You gotta admit it's catchy.
I'm still weirded out by the fact that Disney is making adaptations of their adaptations of famous fairy tales, but so far they've been pretty good or even revolutionary so let's roll with it. The next one up is Bea...

Review: The Angry Birds Movie

May 22 // Nick Valdez
[embed]220589:42956:0[/embed] The Angry Birds MovieDirectors: Clay Kaytis and Fergal ReillyRating: PGRelease Date: May 20, 2016  At the center of The Angry Birds Movie is Red (Jason Sudeikis), a bird with an unchecked anger issue because he's been alone his entire life. He's been separated from the rest of the birds in town until he's forced to spend time in anger management which leads him to his future partners in crime Chuck (Josh Gad) and Bomb (Danny McBride). When a ship full of pigs, led by the sneaky Leonard (Bill Hader), pulls up to bird island claiming to be friendly, Red leaves in search of the legendary hero known as Mighty Eagle (Peter Dinklage) for help. After shenanigans from the pigs, it's up to Red, Chuck, and Bomb to find the hero and save the island.  Before getting into the nitty gritty, I want to take some time out to comment on how much work went into Angry Birds. It is honestly refreshing to see decent production and time on what seemed like a total cash-in project (from its inception to its last couple of trailers the film reeked of things other than quality) has . The animation is slick, the bird designs have a simple, easy to manipulate geometry (utilizing both hard angles and softer, cutesy spherical shapes), and the cast handles the material as well as they can. Sudeikis has already proved his capacity to lead a film time and time again, and now he can add voice over work to that list. Red's as charming as he needs to be without the script resorting to the same types of "kooky" dialogue the rest of the characters are subjected to. None of the actors come across as phony, with the weakest performance coming from Hader's Leaonard. Then again, even a weak Hader is better than you'd expect so it's a roundabout positive.  Once you get past the bread, you realize there's not a lot of meat on this chicken sandwich. Trying as hard as the visuals might, The Angry Birds Movie simply can't shake off how generic it is. It may not have the luxury of a videogame narrative to adapt, but that doesn't excuse a lot of its choices. While the freedom of a creating a whole universe brings about some neat little oddities differentiating it from other animated films (like anger management having weight in the plot, for example), the same is true for the opposite end of the spectrum. Quite a few quirks and dialogue choices should have been reconsidered. At one point, Angry Birds crosses the line into full-on annoying territory when Chuck and Bomb degenerate into incessant noise making machines for two minutes just so it can get a reaction from its kid audience.  The Angry Birds Movie is at a constant state of flux. Battling between originality and what's easier to write, the film is always holding itself back. In fact, it even takes a hit whenever it has to reference the videogame series. Like when the series' famous slingshot is introduced, it feels forced in. But in that same breath, that very slingshot leads to a well storyboarded climax. So it's an odd toss up between the film's potential audiences. Rather than create a film that's ultimately appealing to the widest demographic possible, you have a film that appeals to folks with select scenes. Some scenes will appeal to the two year olds who like to repeat funny sounds, the three year olds who like gross out humor, the adult who appreciates good animation, or that one parent in my screening who lost his mind the entire time. I'm glad at least that guy had a good time.  I'd hate to end a review with nothing more than an "it could've been worse" sentiment, but honestly that's all I feel about The Angry Birds Movie. It came, it went, it's probably coming back (or at least confident in a sequel enough to promote it during the credits and the extra scene available on mobile phones), and yet it doesn't really deserve any hearty emotions.  The Angry Birds Movie is not terrible enough to earn your rage, but it's not good enough to earn your praise either. A decent outcome from a numerous range of negative potential outcomes earns the film a small victory. 
Angry Birds Review photo
Nothing to get too angry at
With videogame adaptations becoming more common, it was only a matter of time before we would end up in this situation. A videogame popular for its gameplay and mechanics rather than its story would get the big screen treatme...

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Thor Ragnarok Cast Grows, Adds THE HULK & more


May 20
// Rick Lash
Marvel just announced some major additions to its third Thor film, Thor: Ragnarok including Cate Blanchett, Jeff Goldblum, Karl Urban, and Tessa Thompson. Oh, and another guy you might have heard of, Mark Ruffalo, as a l...
Black Panther  photo
Black Panther

Lupita Nyong'o and Michael B. Jordan join Black Panther


May 13
// Nick Valdez
Captain America: Civil War may have technically been Captain America's movie, but the shining stars were definitely Spider-Man and Black Panther. In fact, I'm more excited for Black Panther's solo outing than anything else in...

Review: High-Rise

May 12 // Hubert Vigilla
[embed]220425:42900:0[/embed] High-RiseDirector: Ben WheatleyRating: RRelease Date: March 18, 2016 (UK); May 13, 2016 (USA)Country: UK Laing (Tom Hiddleston) is a brain surgeon who's taken a flat in a new luxury high rise. In the apartment above there's Charlotte (Sienna Miller), a flirty socialite who makes eyes with the good doctor as he sunbathes nude on his balcony. Building designer Anthony Royal (Jeremy Irons) lives in the penthouse, where his wife rides white horses on the rooftop garden and he looks down on his grand social experiment: all the comforts one could need, a hermetic society. And yet the parties and the supermarket and the pool access is never enough to keep people compliant. They isolate themselves, they become tribal. The opening of the film, which looks downright post-apocalyptic, shows how far the high rise life has decayed. Laing scavenges the dumpsite foyer of his building for food, dressed in the tatters of a business suit. He's gone from doctor to concrete pirate. There's no food, but thank goodness for stray dogs. Like the upper-middle-class residents of the skyscraper, I'm not sure director Ben Wheatley and writer Amy Jump get what they want out of High-Rise; the same may go for the audience. Adapted from the J.G. Ballard novel of the same name, it's a sordid and decadent movie about people going native in their own crowded living quarters, but it's even looser and sloppier than that. As society crumbles, the narrative structure of the film breaks down as well. The last half of the movie eschews traditional narrative and tells the rest of the building's decay in a series of loud vignettes and montages. I can pinpoint the exact moment midway through High-Rise where I lost a lot of my patience. Before a raging bastard of a man named Richard Wilder (Luke Evans) goes on a dominating rampage, he tapes his own voice in a cassette recorder. He repeats "I am Richard Wilder!" On the one hand, I get it (Wild, yes, and you're wilder than others, like this is the wild, okay), but on the other hand I rolled my eyes because I couldn't have not gotten it already (yeah, Dick wilder, I noticed). The scene that follows it is ugly and uncomfortable; obviously by design, and yet. High-Rise isn't bad so much as it's convoluted in its execution and maybe wishy-washy with its cultural critique. There's something Gilliam-esque about some of the scenes. The aristocratic party in 18th century garb is a nice bit of upper class affectation, and ditto the block party out in the hall. Similarly, the growing squalor of the building looks like something out of Brazil combined with a third-world landfill. The lights flicker out periodically, and nothing quite works the way it should in this place, and yet one carries on. Laing is no Sam Lowry from Brazil, however. Like some of the characters in High-Rise, Laing is passive and content to sit back as the world around him devolves and crumbles, which sort of squanders Hiddleston's natural charisma. He exists as a metaphor, a symbol, not a person. Meanwhile, others act or are acted upon; most of them also metaphors or symbols rather than people. It's the difference between facades and actual domiciles. There's a clinical lens about High-Rise, which makes sense since the breakdown is about observing the devaluation of others. It's like watching a crowded cage full of rats who are bound, at some point, to destroy each other just given the crowding and the lack of resources. And yet it's not quite like that since our ability to observe this cannibalization is interrupted. The sense of cause-and-effect is broken up, it feels like there's something missing. The vignettes that comprise the final half of High-Rise become frustrating since we're rarely offered a chance to explore the emerging tribes of the building. Here are tribal cultures and subcultures organizing themselves inside of a multi-tiered concrete petri dish (e.g., a matriarchal society of women and orphaned children), and we barely get an opportunity to observe their method of survival. MILD SPOILERS ABOUT THE FINAL SCENE The final words of the film don't belong to any of the characters we've spent time with. Instead it's the voice of Margaret Thatcher extolling the virtues of capitalism. Nevermind that there's little in the movie about capitalism per se. Maybe this is Thatcher suggesting capitalism as a solution to the egalitarian nightmare whose failure we just watched? And given our place in time, maybe the state of nature isn't quite as bad as the current state of government-approved inequality. High-Rise is a work of interesting and extreme architecture, but I'm still not sure what to make of its design.
Review: High Rise photo
Going native in a concrete jungle
High-Rise is a bit all over the place, and it's a bit of a mess, but it also seems to be that way by design--a sort of warped architecture. I'd gone in sort of expecting a vertical version of Bong Joon-Ho's Snowpiercer, but i...

Captain America: Civil War - #TeamIronMan v #TeamCap and Obama-era foreign intervention

May 11 // Hubert Vigilla
Both Iron Man and Captain America's sides are justified in-character by their experiences over the course of 12 other films. It might speak to the strength of long-form stories allowing characters to develop through choices and actions over time, and to then have a major interpersonal conflict stem from the ideological differences between characters. Given the collateral damage and technology-run-amok in Avengers: Age of Ultron, it makes sense for Tony Stark to consider international approval. It would keep his own ideas in check (i.e., creating something like Ultron) if there had to be political consensus before moving forward, and that consensus could then justify direct action and mitigate any personal guilt over the deaths of innocent people. This makes more sense than Tony Stark going full neoconservative fascist douchebag as he did in the Civil War comic by Mark Millar and Steve McNiven. HYDRA's decades-long infiltration of the US government and SHIELD in Captain America: The Winter Soldier leads to Steve Rogers' distrust of oversight, which may involve parties with motives and interests outside of the greater good. On top of that, we're talking about the United Nations as the overseeing body, an organization which stood idly by during the Rwandan genocide and whose actions these days include strongly worded letters of condemnation. Could you imagine the Avengers assembled to draft a letter? In a way, Tony's trust in his own judgment backfiring so badly led him to the security of the Sakovia Accords. On the other side, the complete failure of those in power to stop HYDRA led Steve away from the compromise and institutional oversight of the Sakovia Accords. There's also a generational conflict that tempers the Iron Man and Captain America worldviews. Tony Stark has grown up in the era after Vietnam with a certain gray or cynical view of military conflict. This is not a doveish view on Tony's part, however, but maybe one that adds ambivalence to the view of intervention and combat. Captain America, on the other hand, is a product of the greatest generation who could align in a black-and-white good-vs-evil battle against the Axis powers, HYDRA (i.e., science Nazis), and fascism. Of course, Cap doesn't really talk much about Dresden or the atomic bomb--that would complicate the moral arithmetic of utilitarianism. Civil War doesn't talk about the possibility of non-intervention and the use of diplomacy, but that sort of discussion would be silly in the context of superhero films. The Avengers fight massive hordes of faceless alien/robot/science Nazi goons hellbent on eradicating humanity. When that's the situation, the only viable option in the particular story being told is some sort of large-scale action set piece. (You don't bring a strongly worded letter to a gun fight.) It's maybe no surprise that in Alan Moore's Watchmen, the grand solution to fixing a world at war involves something extraterrestrial. Real life situations are far more complicated and can't be treated with the cavalier sense of moral righteousness seen in superhero movies. The foreign interventions of the Obama administration show how even careful deliberation or a humanitarian goal can backfire. Drone strikes are meant to eliminate select terror targets and reduce civilian deaths, but innocent men, women, and children have been murdered by American drones (see National Bird). The moral righteousness of Captain America's stance does nothing to mitigate the heartbreak and tragedy (and potential war crimes charges) of airstrikes against Doctors Without Border hospitals in Afghanistan or Yemen; Presidential apologies are of little consolation either. With regard to the Syrian Civil War, the complexities of the various factions involved, interfactional alliances, allegiances to various outside parties/countries, and a host of other factors have meant little direct or immediate action by the United States, which is still trying to figure out the quagmire it caused in Iraq under Bush; ditto the ISIS-led power vacuum the US created when Obama, under the counsel of Hillary Clinton as Secretary of State, used airstrikes along with French, British, and other NATO forces to assist Libyan rebels in the ousting of Muammar Gaddafi. All superhero movies often have something inherently hawkish and/or libertarian about them, sometimes occupying various ideologies at once. Some may have a more activist streak (many are vigilante stories, after all), while others are more authoritarian (many are world police stories, after all), and these Avengers movies tend to be all about the positive things that the Earth's mightiest heroes can do even when they accidentally kill innocent people. As our own Jackson Tyler pointed out last year, The Avengers is all about American exceptionalism, unable to commit to a full critique of its own ideological foundation. They're power fantasies, after all, and like fairy tales or myths or any fantastical stories that are told, maybe there are certain limitations in what can be addressed. These are simplifications of conflicts, and rarely with a one-to-one conversion regarding its real world referents. Superheroes can do a lot when it comes to embodying certain aspirations, ideals, and anxieties, but there isn't much room in a tentpole blockbuster to address the complications and nuances of real world national and international politics. The closest Captain America: Civil War can get to nuance is its ambivalence about the #TeamIronMan v #TeamCap argument. It comes down on neither side explicitly, allowing both to exist as the correct solution to a narrow hypothetical situation involving the world of the film. These are still heroes (again, the foundation remains), but one is a sheriff while the other is the gunslinger who turns in his tin star, one is the by-the-book cop while the other is the loose canon who lost his badge. This isn't neocons taking on liberals, it's more like Buzz Lightyear v Woody. Similarly, Captain America: Civil War isn't a diagnosis and treatment of the current state of the world but more of a collection of symptoms. I'm reminded of a two-page Superman story from 1940 by Jerry Siegel and Joe Shuster. The Man of Tomorrow soars through the air, kidnaps Adolf Hitler and Joseph Stalin, and then brings them both to justice before the League of Nations. All that power, and he rights major wrongs so easily and justly, preventing the deaths of countless millions in the process. If only real world foreign policy were that easy. In retrospect, it's a very sad Superman story.
Civil War and politics photo
Imperfect solutions, true believers
Now that we've all seen Captain America: Civil War, it's about time to open up the #TeamIronMan v #TeamCap debate. On the one hand, you have Iron Man as a guilt-addled pragmatist who feels UN/international oversight is a nece...

Inferno Trailer photo
Inferno Trailer

First trailer for Ron Howard's Inferno teases more clues


I'd rather it be a disco inferno
May 09
// Nick Valdez
Look, I have to be honest. I hated Dan Brown's The Da Vinci Code. It's dumb, only has like two good ideas, and it made so much money there had to be a film adaptation of it and its two sequels eventually. Since the first two ...
Shinobu movie photo
Shinobu movie

Sega's Shinobi will get the cinematic treatment because ninjas = money


Other Sega titles also being considered
Apr 30
// Hubert Vigilla
The 1980s were a boom period for being a ninja. There were tons of ninja movies, loads of ninja games, and almost everywhere you went, people were going to college to major in Ninjutsu. (Full disclosure: I majored in Philosop...
The new Lara Croft photo
Another Oscar winner as Lara Croft
Alicia Vikander has been cast as the new Lara Croft for the Tomb Raider reboot, which starts a fine tradition of casting Academy Award winners in the role. Angelina Jolie won a Best Supporting Actress Oscar for Girl, Interrup...

Review: The Family Fang

Apr 28 // Hubert Vigilla
[embed]220426:42899:0[/embed] The Family FangDirector: Jason BatemanRating: RRelease Date: April 29, 2016 (limited); May 6, 2016 (wide, VOD) Caleb and Camille Fang are a pair of performance artists who used their two children to stage happenings around town. In the opening scene, the Fangs enter a bank, stage a lollipop robbery, and then have a shootout. The fake blood is sweet. It's an absurd flashback as seen through an Instagram filter, but it offers and idea of the Fang family's artistic MO, which is the MO of most performance art: to disrupt the regular flow of life, to make others pay attention, to cause a scene, which itself is a singular artistic act. Decades later, Annie Fang (Nicole Kidman) is a dysfunctional actress while her brother Buster (Jason Bateman, who also directed the film) is a dysfunctional writer. He suffers a potato gun injury while out on assignment, which makes the dysfunctional Fang parents (Christopher Walken and Maryann Plunkett) offer to drive their son home. The children want to live their adult lives, the parents want to force their children to make disruptive art. Dysfunction ensues. After a nasty fight, Caleb and Camille leave their children. Their car is found on the side of the road with evidence of a violent abduction, which leaves Annie and Buster wondering if this is just another art-prank of if their parents are really in danger. There's so much possibility with set-up and the cast, so perhaps the ultimate disappointment is that The Family Fang feels so toothless. I haven't read the Kevin Wilson's acclaimed novel the film is based on, but I suspect there's something lost between text and screen. Every now and then, Bateman cuts to a documentary about the Fang parents and the art they created. They're important cult figures in the art world (think Chris Burden and Marina Abramovic), yet they've failed to create anything meaningful since their children left home. What's more, their art has an ugly domineering aspect to it, and they're oblivious to the ways they've hurt their children in selfish pursuit of their own interests. Art has consequences, and I sense that kind of conversation is easier to explore in text rather than on film. Debate can be carried on in every line and with periodic asides, yet in the film version of The Family Fang, that idea seems to be explored only out of obligation to the theme rather than full interest. There's also a tidiness to The Family Fang that's disappointingly pat. This is a story about people who are hurt and who hurt others because of it (themselves, most often), yet David Lindsay-Abaire's screenplay keeps the edges of the characters clean rather than jagged and more complicated. The mystery element is compelling enough to follow the story to its end, but the film never fully inhabits moments that should be more painful and honest. Consequently there's no catharsis or emotional release even though there are gestures made at both. If unhappy families are supposed to be unhappy in their own way, it's because of how richly the characters are rendered. In The Family Fang, I still felt like these were character types in a dysfunctional family movie rather than actual people dealing with a dysfunctional upbringing. The Fang MO is to make others wake up, yet the Fangs themselves emotionally sleepwalk through this trying time in their lives. Which is a shame since Kidman seems engaged yet relaxed in her character, enough that her accent occasionally slips--I can accept that as an Annie Fang artistic affectation. Walken is also good as Caleb Fang, though he never gets a chance to really let go. Ditto Plunkett, who's underused Camille Fang hints at a much deeper internal life than what shows up on screen. The same is true of Buster, the deadpan screw-up writer (all screw-up writers are alike, by the way). You sense that the Fang family members are each on the verge of some breakthrough, but, like the film, it never comes in a satisfying way.
Review: The Family Fang photo
The aesthetics of family dysfunction
All happy families are alike; each unhappy family is unhappy in its own way... well, unless you're an unhappy family in a movie, in which case you're pretty much alike. Distant/absent parents. A dictatorial patriarch. A stran...

Review: A Hologram for the King

Apr 21 // Hubert Vigilla
[embed]220438:42905:0[/embed] A Hologram for the KingDirector: Tom TykwerRating: RRelease Date: April 22, 2016 And you may ask yourself,"How can they make movie trailers that awful?"And you may ask yourself,"Is this portrayal of Saudi Arabian culture problematic or simply the use of a foreign land as a pretext for self-discovery (i.e. Japan in Lost in Translation [which, come to think of it, may be inherently problematic])?"And you may tell yourself,"This is a lot like the plot in a Cameron Crowe movie (i.e., a lost man needs the love a good woman to show him the way)."And you may tell yourself,"The first half of the movie is quirky, likable enough, and not so bad." Letting the days go byAlan Clay (Hanks) is waiting for the Saudi KingLetting the days go byThe king seems like he'll never show up in a vast, unmade desert megalopolisDriving around againAlan's showing the king holographic teleconferencing technology"Once in a Lifetime"Is a recurring motif that's introduced and dropped after two scenes Same as it ever was... Same as it ever was... (Alan thinks again and again about working for Schwinn, his gig before this IT job. He downsized the bike company and outsourced factory jobs to China. This mix of jetlag and class guilt causes him to wake up later and later each day, requiring the services of a private driver named Yousef played by Alexander Black to shuttle him from his hotel to the unmade desert megalopolis. Black is at once a guide through Saudi Arabian life and yet also a kind of silly and maybe even condescending caricature of the Saudi working class who loves prog rock and American AM radio hits. This may be unavoidable given the western outsider perspective that the story takes, and it allows someone to play sidekick to the archetypal good-old-fashioned American that Hanks excels at portraying at this point of his career. But yeah, problematic. It's as if all people and all things are tools to be used by this visiting outsider, each thing he encounters a potential mid-life crisis lesson rather than a thing unto itself. A consequence of globalization: American mid-life crises take hold anywhere around the world the narrative chooses.) A cyst forms on Alan's back, and the cyst needs to be removedThe cyst is a metaphor for the sadness/guilt of the American upper middle classAlan finds solace in a place he'd never intended to travel toHe might find home by leaving the place he's lived in all his life Letting the pat life lessons go byOne involves a camping trip with Alan's dadLetting the expedient romance go byDr. Zahara played by Sarita Choudhury is an interesting and nuanced character, though a utilitarian love interestDriving around againShe's struggling with culture and modernityOnce in a lifetimeIf only the middle-age romance that develops wasn't so trite and treacly And you may ask yourself,"Would I watch this on cable if it was free?" (Maybe just the first half, but maybe not)And you may ask yourself,"Could more have been done with the quirkiness at the start?" (This definitely doesn't feel like a Tykwer movie in general, it's a bit staid)And you may ask yourself,"Should I have gone to a different screening this morning instead?"And you may say to yourself,"My God!...What have I done?!" Letting the days go byUnresolved subplots keep pulling the movie downLetting the days go byHanks sustains the lulls with his affability, but it only goes so farInto the blue againYousef's car is colored blueUnder the quirks and veilsThe movie's just a competent shrug Same as it ever was... Same as it ever was... Same as it ever was...Look where my mind went by the second halfThe interest isn't holding upTime is an asteriskSame as it ever was... Same as it ever was... Same as it ever was... Same as it ever was... Same as it ever was... Same as it ever was... Same as it ever was...Yeah, the gimmick review's overHere comes the review scoreSame as it ever was...
A Hologram for the King photo
Eat, Pray, Love, Sell IT Solutions
And you may find yourself sitting in a press screening for A Hologram for the KingAnd you may find yourself wondering if Tom Hanks can pull off another mid-life crisisAnd you may find yourself wondering if you should have rea...

Power Rangers photo
Power Rangers

Here's the first image of Elizabeth Banks as Rita Repulsa


Green with evil
Apr 19
// Nick Valdez
I've gone back and forth over Lionsgate's upcoming Power Rangers movie too many times to count now. Everyone has specific fandoms they know too much about and one of mine happens to be the Power Rangers. So for the first time...
BioShock Twilight Zone photo
A dimension of sound, sight, and of mind
BioShock director Ken Levine is teaming with Interlude to explore the intersection of gaming and film: his next stop is The Twilight Zone. According to Wired, Levine and Interlude are finalizing their deal to use the tropes a...

Review: The Jungle Book

Apr 15 // Matthew Razak
The Jungle BookDirector: Jon FavreauRated: PGRelease Date: April 15, 2016 [embed]220509:42914:0[/embed] As a property it's hard to believe that one could bring something new to The Jungle Book. Mogli's (Neel Sethi) story has been told so many times in so many different ways that retelling it again seems a bit redundant. This seems especially true since this version is part of Disney's ongoing effort to remake or reimagine their animated classics as live action films (see: Cinderella or Maleficent). Yet despite the fact that this new version of The Jungle Book once again finds Mogli raised by a pack of wolves and the panther Bagheera (Ben Kingsley), hunted by the villainous tiger Shere Khan (Idris Elba) and eventually hanging out with the laid back bear Baloo (Bill Murray), it feels dramatically different from previous tellings of the story. The plot may be mostly the same as Disney's animated classic, but striking visuals and Favreau's surprisingly fluid direction make it an entirely new experience. Those visuals, though. You will spend half this movie wondering what is real and what isn't while marveling at the individual hairs on Baloo's back or how Baheera moves perfectly or how the fat on King Louie (Christopher Walken) is disturbingly realistic. If ever a film has crossed the uncanncy valley it is The Jungle Book. Yes, there are still some parts that get stuck in the low end of that valley, but overall it is a visual masterpiece. The most impressive part is that they did it all while featuring talking animals in situations that are sometimes entirely human. Everything feels real and yet is somehow full of the magic and wonder that more traditional animation brings. It is this combination of reality and magic that make The Jungle Book work so well. Hats off to Favreau for being able to pull this movie together. His direction is often striking and far more than you'd expect from a traditional children's film. Some shots seem to be pulled from an art house independent while others are pitch-perfect horror moments (still suitable for children). Most impressive though is the fluid way he moves Mogli and company through the jungle. Taking advantage of his almost entirely digital setting, Favreau stitches together fluid shots that make you feel like you're there. It helps that the IMAX 3D is simply breathtaking on the big screen and that digital animation always looks better in that setting. Though Favreau may miss a few beats here and there, they're mostly because he's playing towards a crowd of children who expect certain things from their movies.  The only truly inconsistent thing about the movie is Sethi, who, in all fairness, had an incredibly daunting task before him since he's the only actual person in the entire film. It's clear that he became more comfortable with that fact as shooting went on as his performance varies from absolutely stellar (banging out a rendition of "The Bear Necessities") to horribly awkward (being hypnotized by the snake Kaa, played by an utterly wasted Scarlet Johansson). Still, he performs admirably overall, and it's his animal counterparts who steal the show anyway. Murray's Baloo is both perfect casting and the chance to hear him sing Baloo's classic song would make any movie worth the price of admission. Throw in a rollicking scene with King Louie that has Walken delivering a mafia routine and a chilling rendition of "Be Like You" and it's hard not to be drawn in by the performances not to mention stopping your foot from tapping. Much of their performance can be chalked up to the stellar animation, especially Elba's Shere Khan, who lurks around the screen fearsomely while the actor's silky voice drips with menace.   This is a children's movie overall, however. In the end Disney wants kids to be pretending they're hanging out with Baloo, and the movie plays like that. It's almost a contradiction as they hyper-realism of the film means the darker parts have that much more impact and the scary parts are that much scarier. Often the look and tone of the film don't jive with each other, though that's probably only a complaint an adult would have.  That look is so good, however, that it almost doesn't matter if the tone feels off sometimes. This is a major step forward in what we should come to expect from our CGI, but more importantly to that target audience, it's actually fun. 
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