I suppose we've just seen this dynamic with Nicolas Cage and Chloë Grace Moretz in Kick-Ass, but this seems way more realistic (if that makes any sense). I like the way Saoirse Ronan's career has taken shape thus far. She was one of the best parts of Joe Wright's Atonement--earning an Oscar nomination in the process. She has gone back-and-forth between kiddie roles (City of Ember) and ones that demand a little more maturity (The Lovely Bones).
Coincidently, Wright is directing Ronan once more in the upcoming Hanna: a tale of a young girl who is trained by her ex-CIA father (Eric Bana). When the government tracks him down, Hanna is captured and then unleashes the fury on everyone around her. Cate Blanchett plays an agent who has the wrath of dad and daughter upon her.
To her credit, Ronan looks very believable as a pint-size assassin; at least in this two minute first glance. I'm gonna go out on a limb and say that Blanchett ends up being Hanna's mom.
Quite possibly the most well-known movie critic in the world, Roger Ebert has selected the popular The Social Network as the best film of 2010. Network has been dominating the awards circuit as of late, earning all but one--losing to Winter's Bone.
A few other regulars such as Black Swan, and The King's Speech show up, along with some other lesser known treats: I Am Love, Winter's Bone, and The Ghost Writer. He later goes on to list two Special Jury prizes, as well as a second-tiered ten films.
See Ebert's list, explained in his own words, after the break.
This is a different vibe than I anticipated after watching the very funny first look during the "infomercial" for NZT--a wonder drug that unlocks every part of the user's brain. This full trailer seems way more sinister.
Bradley Cooper is a struggling writer, with bad habits and even worse hair. He ingests a nondescript pill and instantly becomes the smartest man in the world. Then he starts tripping, suffers blackouts, and becomes paranoid that people are out to get him. Sounds like my office Christmas party last night.
The New York Times' film critic A.O. Scott has thrown his hat into the ring for 2010's top ten movies. Scott goes into great detail about the state of film before finally divulging his list. Unlike most pundits, there's no The Social Network, The King's Speech or Black Swan; filled instead with less heralded pictures.
An easy way to impress Scott it seems is to create something cross-generational, with capitalistic traits or laced with eccentricity.
1. Inside Job, directed by Charles Ferguson. "The crisis of finance capitalism as a great crime story."
2. Toy Story 3, directed by Lee Unkrich. "The triumph of consumer capitalism as an epic love story."
3. Carlos, directed by Olivier Assayas. "The failure of global revolution as farce, melodrama, erotic thriller and music video."
4. Somewhere, directed by Sofia Coppola. "An eccentric, perfect poem about fame, loneliness and cross-generational need."
5. The Kids Are All Right, directed by Lisa Cholodenko. "An eccentric, perfect comedy about love, betrayal and cross-generational confusion."
6. Greenberg, directed by Noah Baumbach. "A deliberately imperfect comedy about an eccentric fleeing from love, running from betrayal and wallowing in cross-generational confusion."
7. 127 Hours, directed by Danny Boyle. "It's all fun until someone loses an arm. And then, strangely enough, it's even more fun."
8. Last Train Home, directed by Lixin Fan. "The future of global capitalism, in China and elsewhere: a family tragedy in the form of a documentary, as full of anger, dignity and pathos as a play by Arthur Miller."
9. Secret Sunshine, directed by Lee Chang-dong. "A family tragedy from South Korea, in the form of a melodramatic crime story. As dense and gripping as a great novel."
10. Exit Through the Gift Shop, directed by Banksy. "All of the above. None of the above. Everything and nothing. An elaborate art-world stunt in the form of a documentary. Or vice versa."
Terrence Malick's long-awaited The Tree of Life is close to reaching maturity (see what I did there?). Initially thought to have been ready for the 2009 award season, then later switched to 2010 film festivals; it will now (probably) been seen during the summer of 2011, most likely at Cannes.
I had read that Tree was Malick's epic narrative about a family and their three sons, but even after seeing the trailer in front of Black Swan, it's still hard to fathom what the hell's going on. Brad Pitt (Cool World) is the take-no-shit father and Jessica Chastain (The Debt) is the more forgiving and loving mother. Pitt takes out his rage on his eldest son, who grows up to be Sean Penn (an equally angry individual).
There are some pretty stunning scenes here, but for now, it all just adds up to a big question mark. Perhaps with the next full trailer we'll learn more answers; I must admit, the amount of mystery surrounding this has me intrigued.
It's tough to imagine anyone getting faster or furious-er, but then here comes Vin Diesel and Paul Walker once more and they snap on a seatbelt for a fifth installment. Things I learned after watching the trailer:
1. Look at least twice into peep-holes when letting someone into your place of illegal work
2. Leaping off and through buildings in Rio de Janeiro, Brazil will not cause you bodily harm.
3. The mission just went from impossible to mission in-freakin-sanity.
4. One must stop thinking like a cop, because you're in Vin Diesel's world now.
5. Jordanna Brewster looks great in a bikini.
6. Every car should be equipped with gatling guns.
Hot Tub Time Machine dipped its toe into 1980's comedy, now here's another. Take Me Home Tonight stars Topher Grace (Traffic) as Mike, a twenty-something who is unsure of his occupational future, all the while working at the local Suncoast Video. He sees his high school crush and does what any self respecting man would do: lies to her, saying he works at Goldman Sachs.
Grace, as usual, plays the lovable doofus with highly inappropriate friends. Anna Faris (Lost in Translation), Michelle Trachtenberg (Mysterious Skin), Dan Fogler (Ball of Fury) and Michael Biehn (The Abyss) all join in on the fun. This formula has certainly been played, but perhaps there's enough tread on the tires to pull it off. If anything, it's guaranteed to have the best soundtrack in history.
Probably not the first montage we'll see of 2010 films, but this one will be tough to top. Extremely well put together, with the cutting and musical cues. Actually weird to think that the year is almost over.
If you're curious as to what films were used, just click here to see all 270 of them.
The 2011 Golden Globe nominations were revealed this morning. Historically, the Globes have offered up some unconventional choices--this year was no different. Tom Hooper's The King's Speech led all films with seven nods (drama, director, actor, supporting actor, supporting actress, screenplay, score). David Fincher's The Social Network and David O. Russel's The Fighter both secured six. Also (rightfully) getting a some love were Inception, Black Swan, The Kids Are Alright, and Blue Valentine. On the flip side, The Tourist, Love & Other Drugs and Alice in Wonderland should not have been recognized for anything save for 'most attractive cast.'
As with any award show, some worthy candidates were bound to be left off, though these are not necessarily a precursor to the more celebrated Academy Awards (hopefully this is the case with True Grit, which was completely and inexplicably absent)--the Screen Actors Guild Awards will be a better judge. Both will be known in the upcoming weeks.
Unlike the Oscars and others, the Globes separate film into 'drama' and 'musical or comedy' fields, instead of lumping them into one all encompassing category.
The Golden Globe ceremony will be hosted by Ricky Gervais, and broadcast live on Sunday, January 16, 2011 in Los Angeles.
Learn the complete list of nominees after the break.
Over at Funny or Die, Will Ferrell (Shake) and John C. Reilly (Bake) put a fresh spin on David Bowie and Bing Crosby's classic Christmas mash-up of 'Peace on Earth' and 'Little Drummer Boy.' Almost completely a line-for-line recreation of the original collaborative video, the two comedians still manage to throw a little of their trademark humour near the end.
Also notable are the two's ridiculous haircuts and accents, but extra points have to be given for having the matching wardrobes of their more restrained counterparts. Love the looks Ferrell gives Reilly during their duet, as well as the strain in their faces trying to hold onto the notes. I really cannot watch this enough.
Check out the new rendition, as well as the genuine inspiration below.
Jack Sparrow is here once more for a fourth swashbuckling adventure. After getting his ship back, stealing the heart of Davy Jones and returning from the dead, Sparrow this time is in search of the mystical Fountain of Youth--which for those of you who can't understand literal meanings, gives its finders eternal wrinkle-free skin.
Gore Verbinski, who was behind the previous three (Curse of the Black Pearl, Dead Man's Chest, At World's End) is gone, replaced by Rob Marshall. Also noticeably missing are longtime contributors Orlando Bloom and Keira Knightley--perhaps sick of the corsets and greasy hair. Ian McShane and Penélope Cruz will pick up the slack.
You could substitute scenes from any of the previous chapters into this trailer and only the diehards would know the difference. It's just a lot of Johnny Depp walking around gingerly, speaking in a silly voice while avoiding danger. As long as Depp's around, these stories will almost write themselves. I believe I read a while ago, that two additional installments are already in the works and will be filmed back-to-back.
Noted author Stephen King has come out with his yearly top ten film list. As usual, King's 'best-of's' offer up some no-brainers (Inception, The Social Network) and some real head-scratchers (Jackass 3D, Takers). Either way, it's an interesting take, from an interesting writer.
See the full list and King's own explanations (given to Entertainment Weekly) after the break.
The New York Times magazine put together multiple silent vignettes appropriately entitled 'Fourteen Actors Acting.' Famous, rich people including Natalie Portman, Noomi Rapace, Robert Duvall and Vincent Cassel got together with director Solve Sundsbo, and music by Owen Pallett of Final Fantasy, to create a series of shorts breaking down the essential emotions of their field.
They're definitely all worth checking out; my favourites are 'Angry Matt Damon,' 'Terrified Jennifer Lawrence,' 'Dejected Tilda Swinton,' and 'Seductive James Franco.'
This upcoming Friday, the apocalypse will reign down upon us in the form of a talking, hungry, CGI'd bear who goes through life stealing food and generally being a dick. For no good reason, Warner Brothers is distributing the Hanna-Barbera cartoon which will bring nightmares joy to children around the holidays. For the parents, the feature length film will be spent lamenting on how they could have better used the $13 entry fee.
Animator Edmund Earle did what we all wish we could in real life: assassinate the thieving mammal with a shotgun blast. I have not seen the actual cinematic abomination--not will I, but if it had more footage like this, I could be tempted.
For those who care, Dan Ackroyd (Canadian Bacon) is playing Yogi, while Justin Timberlake (The Social Network) is his miniature friend Boo-Boo.
AFI just unveiled its favourite American films of 2010. A good mix of wide and limited releases here, although not many surprises in its selections. Outside of their USA list, AFI also gave out two special awards. See the whole list below.
The first trailer for Kenneth Branagh's Thor. This is the latest film from Marvel Studios independent productions, following the Iron Man series and The Incredible Hulk.
Chris Hemsworth plays the titular hero, an Asgardian warrior who is banished from his home for apparently being arrogant and whiny. Nice cast here: Anthony Hopkins, Natalie Portman, Colm Feore, Ray Stevenson, Idris Elba, Kat Dennings, Stellan Skarsgård, Clark Gregg.
To be honest, this looks like a more expensive Mortal Kombat. I understand the need for fantastical elements, being that it features other worlds, but the sets all look overly cartoony. Hemsworth is appropriately beefy enough, but perhaps Thor doesn't translate to the screen as well as the other Marvel source material.
Here's what happens when you lose a bet, boys and girls. Far from The Prestige and The Fountain, Hugh Jackman must have needed some extra cash around the holidays. Why else then star in a film about enormous boxing robots. Perhaps the producers thought mixing Raging Bull with Transformers would equal box-office magic?
A viral campaign for Neil Burger's Limitless (formerly, Dark Fields) has started, with Bradley Cooper doing a faux informercial for NZT, the film's fictional wonder drug--think Viagra, but for the brain. When you see these ridiculous spots on television and the laundry list of side effects that accompany the "benefits", one wonders why any sane person would ingest them, making this video all the more hysterical. My favourite part is when Cooper just confidently hurls himself off of a cliff face into the ocean below.
An easy choice this week. Christopher Nolan has set the bar high on mind-bending thrillers, Inception may never be caught in fact. The question of whether the top ever stops spinning matters not; this is a rare film that gets better with each subsequent viewing. Multiple chances to dissect the multi-layered narrative should be welcomed.
This is worth a buy for the extras as well. Some behind-the-scenes featurettes explaining the technology and how those incredible zero gravity scenes were filmed. Expect for this to be talked about in the near future when nominations for the Golden Globes and Oscars are revealed. Nolan is a lock (although, the same was thought with The Dark Knight) for writing and directing, as is Hans Zimmer's pummeling score. A few acting nods would be deserved as well.
Director Darren Aronofsky intimately welcomes us into the world of ballet. Throughout, the camera follows its cast like a voyeur. The actors seem to float across the stage; we are so close, we can hear each determined footstep, every laboured breath. Like The Wrestler before it, we are invited into a realm that is unfamiliar to us. We are taken backstage, away from the lights and audience, the makeup and costumes. This is a truly gritty realm, where bodies are bruised, feet disfigured.
Natalie Portman has never been more beautiful however. More than any other, she has flawlessly transitioned from the child actor ranks to her profession's A-listers. Her first film was 1994's Léon (in North America, The Professional). Sixteen years later, she somehow has not lost her innocence. She possesses this film like no other in her career. She is Nina, a woman obsessed about her craft. For years, she has stolen objects from her idol, Beth (Winona Ryder) as a way to get closer to her. She is also the most dedicated dancer in the company. She spends every morning stretching and posing. Her meals are regimented, her rest is monitored; every day patterns itself after the next. Nina is not without her demons however. We learn she has a history of self-mutilation, scratching mostly. To counteract this, her nails are constantly trimmed and filed, even wearing mittens to bed. Peculiar markings start to appear on her body--abrasions on her back and cuts on her fingers. At one point, a cuticle is picked at until an inch long piece of skin peels away like the outer layer of a fruit.
Nina is a grown-up child. Her pink wallpaper is adorned by pretty butterflies; the multitude of stuffed animals that surround her watch her like inanimate guard dogs. The master of her keep is her mother Erica, a highly possessive and exceptional Barbara Hersey. You get the feeling that Erica's heart is in the right place--she gave up her dream of dancing to give birth to her daughter. But the ideal cinematic mother she is not. She is covetous, more like Margaret White than Elaine Miller. If anything, Swan acts as a PSA for parents on the hazards of pushing their children too far.
Thomas (Vincent Cassel), the director of the company is re-imagining the classic 'Swan Lake.' In it, a princess has been cursed to live her days as a swan until a prince can save her. But the prince falls for the wrong girl, and the princess kills herself. Nina's skill set is unmatched, but what she lacks is emotion. The lead ballerina is required for two roles; Nina is perfect for the white swan, but she moves without passion, without purpose. Traits that are needed for her darker winged counterpart.
To facilitate a reaction, Thomas aggressively pushes the virginal Nina sexually, kissing her suddenly and ordering her to masturbate at home. Further complicating things is the introduction of Lily (Mila Kunis), a rival West Coast dancer, into the production. A fascinating relationship appears between the two. Lily is envied and feared. She is everything Nina is not, living a life uninhibited, spending nights before shows at raves, taking psychedelic drugs. Ryder's appearance is brief but important. The former prima ballerina, Thomas uses Beth and then throws her away like a unwanted plaything, moving onto a younger version. This seems to be an endless cycle. Ryder's lack of screen time doesn't take away from the profoundness of her decline. It is a frightening thing to behold.
With only five films underneath his formidable belt, Aronofsky has succeeded once more in creating a perplexing, yet masterfully congruent parable. His talent lies in the ability to chronicle the faulty. Swan is his greatest achievement thus far. Nina's madness is evident, but it's purposefully blurred as to when it arrived. She is a sultrier Jekyl and Hyde. On one side, a subservient pawn, pleasing her mother and Thomas. Nina slowly descends into madness, stopping at nothing to reach her potential. Challengers to her throne, a deteriorating lucidity; obstacles become inconsequential. After all, the show must go on. Swan evokes squirming in the most enjoyable way possible. It is a terrific psycho-erotic thrill ride. Nina spends the entirety in the search for perfection. It can be attained, but at what cost?
Ridley Scott is in the middle of casting another Alien film--this time a supposed prequel to the original. Rest assured, there will be plenty of face-hugging and acidic blood to go around. Noomi Rapace (Girl with the Dragon Tattoo) and Natalie Portman (Léon) are a few of the actresses Scott is surveying for the lead that Sigourney Weaver made famous.
I'm sure this is what the conspiracy theorists have been thinking all along when men landed on the moon in 1969. Here is the first teaser trailer for Michael Bay's third (and if it's as bad as the last one, hopefully last) Transformers films.
I went over the first poster and the new additions of the cast here; the first footage isn't anything special. But I hear Moon has a new Ferrari shapeshifting robot, so it's got that going for it.
This looks so-so, but it has Timothy Olyphant from television's Justified in it. Four is about nine aliens that have landed on Earth and a malevolent force that is wiping them out in order of their numeral. Alex Pettyfor is Four; he's had enough when One, Two, Three have been murdered and he stands his ground with help from Dianna Agron (Glee). This appears to have a lot of numbers and counting in it; it's like PG-13 Sesame Street.
The completely Pink Floyd free third installment of the Transformers franchise is currently being filmed. And here is the first poster:
If it wasn't for the TF3 in huge metallic font, this one-sheet would look like any one of the Transformers films. Here of course is Optimus Prime, along with some embers from a supposed explosion that took place slightly offscreen. I liked the first 'robots in disguise' flick, but the second was one of the worst films of 2009--all rehashed material and racist talking cars.
This newest chapter suggests something in space, but most of the earthlings are back for another go around: Shia The Beef, Josh Duhamel, John Turturro, while new blood will be filled by Patrick Dempsey, Alan Tudyk, Ken Jeong, John Malkovich (for some reason), Frances McDormand (again, why?), and...
...Rosie Huntington-Whiteley who's taking over Megan Fox's role as resident looker.
Transformers: Dark of the Moon arrives to hurt your brain July 1, 2011.
Kevin Bacon plays the ultimate Kevin Bacon fan in a clever and pretty funny commercial for Logitech Revue. Bacon makes fun of his celebrity and also quotes lines from Tremors. In the spot, Bacon's character uses the technology to search for his favourite actor's videos and movies.
A new film by Peter Mullan--a somewhat semi-autobiographical film that takes place in 1970's Glasgow. It tells the story of John McGill, an intelligent boy who unfortunately grew up with the wrong family. Neds takes its name from the slang name for a specific type of gang in Scotland: Non-Educated Deliquents.
It's had great reviews from those who have seen it, and the trailer looks pretty interesting. It's going to have a January 21, 2011 release in the United Kingdom, but an American date has yet to be set.
Here is a poster and trailer for Brad Anderson's Vanishing on 7th Street. Hayden Christensen (Shattered Glass), Thandie Newton (Run, Fat Boy, Run) and John Leguizamo (Super Mario Bros.) star as survivor of some apocalyptic event where shadows eat people's bodies and leave their clothes.
I have slight hope for this one since Anderson was behind the great The Machinist. At the same time, with Christensen in it, there's sure to be plenty of whining. Plus, it's about living shadows that eat people and leave their clothes.
Perhaps foreshadowing the 2011 Oscars, The King's Speech walked away with five wins at the British Independent Film Awards in London, England, including three of four acting categories. The Tom Hooper drama had a successful weekend at the box-office in a largely limited release. Also popular was Gareth Edwards' low budget sci-fi film Monsters, which earned three trophies. Along with the regular winners, Helena Bonham Carter and Liam Neeson were given honourary accolades.
We are shown the Duke of York's problem from the get-go. His royal address for the British Empire Exhibition at Wembley in 1925 is as awkward to witness as it is painful for the future Monarch to exercise. Meetings with speech specialists provide erroneous answers such as smoking and speaking with marbles in the mouth. They all go for naught. A final straw is provided by Lionel Logue (Geoffrey Rush), an Australian who found a home in the United Kingdom. Mixed into this deeply inward story is the onset of World War II. With the rise of Hitler, the Western world is in dire need of a rallying cry. Unfortunately, the man who could provide this shout, can barely muster an audible whisper.
Colin Firth competently captures the Duke (the soon to be King George VI) at his best and worst. He is a man at the peak of celebrity, yet he struggles with a condition that is so ordinary and common. Strip away the palace and the servants, he is a person like you or I. Firth's presentation is the pinnacle of a career filled with noteworthy performances. And how refreshing it is to watch Helena Bonham Carter when she's not playing a raving lunatic. After being certifiable in the later Harry Potter chapters and pretty much every Tim Burton film, Bonham Carter delivers Queen Elizabeth to us in a dignified manner. Here, we are graciously reminded once more of her merits in the field. The way she reacts to her husbands tribulations and triumphs perfectly mimics the way we feel as well.
Logue's methods are unorthodox to say the least. A comical montage of muscle relaxing, and breathing techniques are utilized to break ground. To release tension a more formal relationship is barred within Logue's walls. He requests to be called Lionel; the Duke--to his early chagrin--is now Bertie, a familial tag. The way Logue is able to refer to the future ruler of the Commonwealth so personally is striking. The British rule was and continues to be one of aristocracy. For a commoner to address royalty as anything but is a shock to the system. The relationship that Firth and Rush embody is the best onscreen duo of the year. It made me smile to think what started as an assignment ended up a lifelong friendship.
Bertie finds a taste of early success when it is learned he is able to form cogent sentences while singing and/or swearing. His complication with his stammer is mental. A compelling moment takes place when Bertie wears headphones and listens to classical music while reciting Shakespeare. Feeling foolish, he throws them down in disgust and storms out. As a consolation, Lionel gives him a recording of the process. At home after much hesitation, his Highness plays it and hears back a voice the great poet intended.
Bertie's father, George V (Michael Gambon) is a respected leader. He is hard on his sons, as I suspect his father was on him. When he succumbs to sepsis in 1936 the crown is rightfully passed down to his eldest son Edward. The two Prince's could not be any different. While Bertie is reserved and a homebody, married with two kids. Edward (Guy Pearce) lives the life of a jet-setter; we are first introduced to him as he lands a plane in a field. He carries on with a twice divorced American woman named Wallis Simpson (a whole other movie onto itself). Shockingly, he abdicates his status to be with his love. All rights are passed to Bertie, and the rest as they say, is history.
To me, the most powerful scene comes early when Bertie tells a bedtime story to his daughters Elizabeth and Margaret. He spins a fairy tale of a Prince who is turned into a penguin; due to his flippers he is unable to embrace his children. This fable becomes an allegory for his very own life. Bertie pauses throughout the fable. Sometimes for emphasis, more often than not for clarity's sake. His hinderance has always kept others at an arms length away. With Lionel's help, he can finally share with the world the voice he's always had.
If you've been waiting for a film where Mel Gibson talks through a hand puppet in the shape of a beaver, your calls have been answered. Gibson is Walter Black, a man facing a crippling depression, whose only cure is not what you'd call recognizable--or sane for that matter.
This reminds me of Lars and the Real Girl, which I enjoyed quite a bit. The question will be whether audiences will warm to not only the subject matter, but Gibson himself in a starring role after he has been justifiably crucified in the media for hateful behaviour towards Jews, African Americans, women...probably anyone who is not Mel Gibson.
Staunch Gibson supporter and friend Jodie Foster directs and also co-stars along with Anton Yelchin (Star Trek) and Jennifer Lawrence (Winter's Bone).
I love me some animal footage; I honestly could watch Planet Earth all day. Disney has come out with some great features the last few years, usually chronicling multiple families of species and watching them do their thing. This time we're taken on the African plains to join a pride of lions and a coalition(*) of cheetahs as they hunt for food and generally attempt to survive the harsh elements and other predators.
(*)Who knew that a coalition was the correct term for a group of cheetahs? Other bizarre names for creatures include: a congress of ravens; a business of ferrets; a congregation of alligators; a crash of rhinos; a rafter of turkeys; a murder of crows.
It's impossible not to marvel at the cameramen and women and their shots of these wild animals in their natural habitat. They are both the bravest and stupidest people in the world. It's funny that Vega4's song 'Life is Beautiful' is playing in the background. And it's true, life is beautiful. But life can also rip you to shreds and then feed your carcass to its young.
Check out Jason Statham in the new Transporter...no wait...it's another Death Race. I mean the third Crank. Or something with Guy Ritchie? Nope. Hmm...
I actually like Statham, but he's covered the tough-as-nails-British-guy-with-unthinkable-karate-moves-and-driving-skills-while-at-the-same-time-getting-all-the-girls-and-saving-the-day motif a few times over. In The Mechanic he plays an assassin whose boss is murdered, so he goes rogue to get his revenge on the people that ordered the hit. He acts as a mentor to Ben Foster (a supremely gifted actor, who plays creepy as well as anyone), who then both go on a rampage through the ranks of some illegitimate organization.
Mark Wahlberg is once again teaming up with director David O. Russell to adapt Uncharted: Drake's Fortune, a hugely popular video game on the Playstation 3 console. Although it's a much different genre than what he's tackled in the past, I'm fine with Russell behind the camera. As well, Wahlberg's best performances (Three Kings, I ♥ Huckabees) have generally come while under his instruction.
December is littered with must-sees. We're in the thick of awards season right now, and a lot of festivals films are finally being seen in limited and later wide release.
December 3rd Black Swan
I've been waiting for this one for a long time. Every time I read a review, my anticipated love for the film grows, as well as my hatred for those who have already been lucky enough to see it.
Natalie Portman, Mila Kunis, Vincent Cassell, Barbara Hershey and Winona Ryder star in Darren Aronofsky's take on the ballet Swan Lake. Portman plays Nina--the lead in the production--who begins to hallucinate, sprout black feathers and get it on with another ballerina (Kunis). Aronofsky has only been responsible for five films (Pi, Requiem for a Dream, The Fountain, The Wrestler) but is without a doubt one of the most talented and interesting directors in the business. Early word is that Portman is on her way to be in the final five for Best Actress at the upcoming Oscars. Expect Aronofsky and the film itself to make the cut as well.
When I was younger, I remember fast forwarding through all the other musical numbers and getting right to the The Sorcerer's Apprentice--where Mickey Mouse accidentally brings an inanimate broom to life, leading to anarchy. This was by far the most popular segment, but after revisiting the film years later, as well as the additions from the 2000 version, it's still amazing to witness how beautiful the hand drawn animation continues to be. The image from the high-definition is impeccable.
Frank Barnes is a simple man with a simple life. He wakes up, clocks his hours, goes home. His world seems quite tedious. Thankfully, his two lovely daughters work at Hooters. After twenty-eight years of a monotonic freight transporting existence, he is being replaced for younger (and cheaper) blood. One of whom is Will Colson (Chris Pine): the relative of a union representative. His introduction to the elder statesmen is met with well-earned ire and scorn.
The problem arises from a common enemy: laziness. Dewey (an appropriate name if there ever was one) is an engineer who, in a way to save time, doesn't connect the air brakes between the lead and corresponding cars on a train he needs to move. Dewey sets the train's power to 100% in order to get the half-mile machine rolling. The locomotive is not on the right track, so against everything he is taught (yet, something that is needed for a gripping story) Dewey departs, gets himself locked out; the only thing he can do is watch his mistake leave unmanned on the main track. Dewey will soon be working in the fast-food industry.
The film takes place in various rail yards through Pennsylvania by the fictional Allegheny and West Virginia Railroad. The story, we are told, is based on a true events: a similar situation happened in Ohio in 2001. In the exaggerated film version, Connie Hooper (Rosario Dawson) leads the charge in stopping the mechanical runaway whose cargo cars are filled with extremely poisonous liquids. Her solution? Derailment, causing hundreds of gallons of venom to be spilled. It's okay though, because it would happen away from civilization, harming only the wildlife and our ecosystem. Thankfully, that plan is derailed (ahem), clearing the way for an equally cockamamie scheme: blasting away with shotguns at a safety switch--helpfully located right beside the fuel tanks.
Denzel Washington (Barnes) plays his usual maniacal self, laughing at almost every line of dialogue. He's won two Oscars though so we can forgive him. The not so funny thing is how Colson is allowed a job, regardless of his pedigree. He makes error after error, then responds harshly when it is brought up. Perhaps his behaviour can be attributed to his marital issues. For some reason, his wife won't talk to him and he is restrained from having contact with their son. Barnes and Colson's discourse is heated, spurred by their different periods in life. This is halted when they learn that they are heading straight for the runaway vessel. They steer away with moments to spare, then afterwards start pursuing in hopes of slowing its pace.
Unsurprisingly, director Tony Scott has woven another anarchical story; his trademark visual design and fast cutting is on full display here. I've enjoyed many of his efforts in the past: True Romance (1993), and Man on Fire (2004) to name a few. On paper, Unstoppable seems like the perfect vehicle for Scott's recognizable style. The suspense is evident; there are certainly some impressive images throughout. Something doesn't sit right though. The automated antagonist is relentless, the action even more so. But, the faster everything went, the more witless it became.
If this film tells us anything, it's that saving lives by risking your own is a sure-fire way to get back in the good graces of your spouse. After the threat has subsided, Barnes can be seen chuckling again. He has made a new friend. I can picture them now, sitting around Hooters enjoying a nice meal, taking in the view.
From one lesser celebrated award show to another, the 2011 Independent Spirit Award nominees were announced this morning. Leading the way was Debra Granik's terrific Winter's Bone landed seven nods; The Kids Are Alright with five; Black Swan, Greenberg and Rabbit Hole each had four; 127 Hours, Jack Goes Boating and Tiny Furniture finished with three.
At quick glance it's odd that Waiting for Superman was denied entry for the Documentary category. It recently won the Audience Award at the just completed Gotham Awards, and looked to be a mainstay leading up to the Oscars. Michelle Williams garnered a nomination for Blue Valentine, yet her costar Ryan Gosling was left off. It was a strong year for most leading acting groupings, so a few admirable performances were bound to be left off.
The 2011 Independent Spirit Awards will be broadcast on Saturday, February 26, 2011 in Santa Monica, California. Comedian Joel McHale (TV's Community) will host.
Last night in New York City, the 20th Annual Gotham Awards were held, highlighting the best films that you probably haven't seen, but should. The event, hosted by Patricia Clarkson (Pieces of April) and Stanley Tucci (Sidewalks of New York), has only seven categories, but recognition here in the past has significantly boosted the chances for more prestigious rewards later in the season.
Winter's Bone was the night's big winner (although its star Jennifer Lawrence unexpectedly wasn't the Breakthrough Actor recipient), walking away with both Best Film and Best Ensemble Performance. Tributes were given to Robert Duvall (Falling Down), Hilary Swank (Buffy the Vampire Slayer), director Darren Aronofsky (The Wrestler), and producer/screenwriter James Schamus (Brokeback Mountain).
Full list of winners and nominees after the break.
James Franco and Anne Hathaway will host the 83rd Annual Academy Awards during the February 27 telecast. This is the second straight year that two hosts will be utilized after Alec Baldwin and Steve Martin helmed the 2009 version.
This seems to be an odd choice given Franco's and Hathaway's unknown chemistry. Although, Baldwin and Martin have collaborated many times and even with their connection, it's not a given that it will even succeed given last year's lackluster effort.
On top of that, Franco is assured a nomination for his portrayal of hiker Aron Ralston in director Danny Boyle's 127 Hours, while Hathaway may secure one herself for her role in Love and Other Drugs. It'd be more than a little awkward receiving the most prestigious prize in the business while you are headlining the event.
At the same token, Hathaway aided in a musical number when Hugh Jackman was in charge, and she absolutely nailed it. Plus, there's a good chance Franco will show up high to the ceremonies, and if that's the case, it could be the greatest edition in the shows history.
Canadians are the funniest people on Earth. We lost a great one today. Leslie Nielsen, after spending twelve days in a Fort Lauderdale hospital, passed away in his sleep due to complications with pneumonia.
While his earlier career started with dramatic roles, Nielsen earned his most memorable merits from comedy. 1980's Airplane! offered him a supporting turn, one littered with quotable one-liners and his trademark deadpan humour. I (and I'd venture many others) was introduced to Nielsen as Lieutenant Frank Drebin in the outstanding Naked Gun series. The trilogy was just one absurd joke after another, yet still somehow gave credence to the unlikeliest of people, like Priscilla Presley, Anna Nicole Smith, and O.J. Simpson--his last role before that small-scale trial he was involved in.
Leslie Nielsen was a unique talent, one that never took himself too seriously. He also somewhat found the fountain of youth, having seemingly not aged for the final thirty plus years of his life. He will be missed, and don't call him Shirley.
On this American holiday I'd like to give thanks for thespian Nicolas Cage, seen here in a montage of his most psychotic fiery roles. The answer to your question is yes. Yes, this man has won the Academy Award for best actor.
The first twenty minutes tell the tale of what The Deathly Hallows Part I has in store for us. Voldemort and his minions the Death Eaters have laid siege to their fantastical realm, and now have begun to stake claim to the land of Muggles (boring people like you and I). In a few unspoken scenes, Harry Potter's surrogate family moves away, while Hermione Granger casts a spell over her parents, removing all memories of her. A touching moment if there ever was one. The patchwork group of heroes have banded together; as it has been in the past, there really is only one goal: protect Harry. An aerial battle transpires, chock-full of deft maneuvers and near misses. Regrettably, a popular character dies offscreen with only a mere mention of his/her passing. A curious decision by director David Yates.
What I've enjoyed most over the last decade of wizards and witches is the change of disposition. The first installment, The Philosopher's Stone (or Sorcerer's Stone in the United States) manifested the now famous magic domain, all the while introducing its three main characters: Harry, Hermione and Ron Weasley. Like them, we were immersed in a whimsical world. The characters were all whisked away to Hogwarts, where there lived giants, ogres, a cerberus, you name it. We met Professor's Dumbledore (the late Richard Harris. Michael Gambon later stepped in) and Snape (Alan Rickman) among others. It was quite evident was that this was a kid's work. There was no real danger involved; it was clear everyone was going to survive.
With every subsequent film getting progressively darker, my interest has only increased. The fun and joy the students experienced has been swapped with pain and suffering. That is to say that no character seems safe any longer. In the earlier stories, the most substantial threat that everyone faced was whether they could pass their 'Potions' final exam. Sure, Voldemort was around, but he was more mythical boogeyman than callous killer. Now, Dumbledore is dead, Snape is his murderer; the perils are as real as the wands they hold in their hands.
A change in the colour palette is evident. Whereas the six preceding films were filled with bright and warm hues, Hallows Part I remains subdued; the picture is hushed with dark blues and greys. The change in tone coincides with the complete removal of Hogwarts--the main reason it seems more adult. The desks and text books are replaced with menacing forests and bleak outlooks.
The Deathly Hallows are a triumvirate of objects, reputedly given to three brothers by the Grim Reaper himself: the Elder Wand, the Resurrection Stone, and the Cloak of Invisibility. Whomever bears these three gains immortality; they would essentially cheat Death. It becomes a race to see who can find them first, the most important Scavenger's Hunt in history.
I have not read the novels (I'm waiting for the completion of the film saga before starting), but Yates does an admirable job juggling the exhausting number of characters and wizardry terms. I admit to being confused a few times with various names and happenings; the way important objects (see: the sword of Gryffindor, a magic mirror) suddenly appear at the most opportune time flew over my head like those who ride on brooms. A refresher course by watching the previous six chapters would be recommended (if you have twelve plus hours to spare).
There are a few points when Harry and company seem to be running in circles. We are told tirelessly about the dire need to find and destroy the horcruxes--mundane objects that each contain a part of Voldemort's soul--yet for a big chunk of the film the kids go camping and dance around jovially. There is a wedding earlier on for one of the Weasley brothers. Hermione tells us that perhaps a celebration is the perfect time to cut the dire tension. Minutes later the nuptials are attacked, more lives are lost. Premonition appears not to be a learned power. As I am not yet attuned to the literature, it's difficult to determine what to attribute the lapses and peculiar plot devices to.
That being said, Hallows Part I is a sublime work. All the actors involved are running at the highest cylinder. When Harry (Daniel Radcliffe), Hermione (Emma Watson) and Ron (Rupert Grint) began their exploits all those years ago, they were relative nobodies. The selection of child stars is a tricky one; that the producers were able to find capable and believable stars is a credit to them. One of the greatest strengths of all the Potter films has been the supporting cast; a literal who's who of English stagecraft: Gary Oldman, David Thewlis, Robbie Coltrane, Brendan Gleeson, Kenneth Branagh, Maggie Smith, Jim Broadbent, Emma Thompson, Helena Bonham Carter, Jason Isaacs, Imelda Staunton, Timothy Spall. Bill Nighy and Rhys Ifans are present for this seventh chapter, adding to the already overflowing riches.
The one to watch is the exceptional Ralph Fiennes, who plays Voldemort. His character's role has increased as the number of remaining films diminishes. As stated before, he is finally a material evil. His ghastly pale skin and oddly misshapen face are what nightmares are forged from. He coldly executes a Hogwart's teacher then sends his pet serpent to feast on her corpse. The film only hints at what he is capable of unleashing. It's captivating to think of what awaits us in the culminating confrontation in Hallows Part II. We've all waited ten years for the inevitable Harry/Voldemort showdown. This is a genuine clash of the titans.
Like the enormous burden placed on our bespectacled champion to rid the world of the ultimate evil, so to was the hope for these films to succeed. Supposedly, author J.K. Rowling created this universe while napping on a train; the framework for the stories that made her a billionaire came to her in a dream. What she has fashioned and evolved is nothing short of marvelous. What began as a children's book is now richly laden with adult tones and repercussions. Steven Spielberg was originally offered the opportunity to adapt Rowling's works. Due to his apprehension concerning the source material and the public's reception to it, his thought was they be animated, while condensing multiple novels into one picture. What a silly decision that seemed in hindsight.
The rallying slogan of "It Gets Better" was spearheaded by Forth Worth, Texas councilman Joel Burns, and now Pixar has stepped away from the animation table to create a live action short addressing the recent outcry for ostracized gay youth. Pixar has shown over the years the ability to make us cry with beautiful stories and unheard of adventures. Now they're doing it with simple words and faces.
The Ivan Reitman directed, Natalie Portman/Ashton Kutcher starring comedy about sleeping with your best friend without a commitment had a shitty trailer, and now an equally shitty one-sheet. Don't get me wrong, Portman is very fun to look at, and if she spent the entire film walking around sans pants I would happily pay my $12 entry fee. Chances are good however that Strings will be littered with Kutcher's terrible acting, and not even Portman's legs will be able to save it.
Continuing the trend of famous people schlepping odd products, Alec Baldwin has jumped onboard with a peculiar career choice. Following Robert Downey Jr's Mr. Peanut and Volvo ad's, Baldwin has strangely decided to front the grocery store Wegman's.
Baldwin lets us know about his love of succulent desserts, as well as grievances over the prices of coffee in New York City. I find these hilarious; the looks he's given during these thirty second spots are priceless. Again, I have no idea what he or his agent were thinking in agreeing to these, but we're all the better for it.
Duncan Jones (aka Zowie Bowie, son of rocker David) hit it out of the park with his debut film Moon. Source Code looks a lot more action and less psychological but intriguing nonetheless. Coulter Stevens (Jake Gyllenhaal) becomes a part of a program that enables the mind of one person to be sent into the bodies of others. Stevens gets zapped onto a train to stop a bomber from destroying it and the lives of those onboard.
Somewhat in the same vein as Groundhog's Day, but way less funny I'd imagine. As you'll see from the trailer, Stevens travels back a number of times to catch the culprit, but like many things in life it ends up being about a girl.
Code co-stars Vera Farmiga, Michelle Monaghan, and Jeffrey Wright. You can see Jones' sophomore effort April 15th, 2011.
Always a force to be reckoned with during awards season, the Coen brothers have something cooking with the remake of True Grit. Fresh off of last year's Oscar win for Best Actor, Jeff Bridges is back in the saddle (literally) in the role that won John Wayne the golden man.
Bridges plays "Rooster" Cogburn, a man hired by a young girl to avenge her murdered father. The original Grit, first seen back in 1969, epitomized manliness--the newest version should be no different. Matt Damon is Le Boeuf, a Texas Ranger; Hailee Steinfeld plays Mattie, the daughter; and Josh Brolin plays Tom Chaney, the man who they're all after.
First this, now we have a teaser trailer for Jon Favreau's first flick post Ironman. We don't learn who Daniel Craig is yet, but we know he's a real ass-kicker. Harrison Ford still looks ornery, and Olivia Wilde never looks bad. Check it out from Yahoo.
I like this. I like this a lot. I'm just digging the vibe this is putting out. Outstanding scene when the spacecrafts first arrive in town. There's way too many alien movies out there, but putting them in this timeline offers up something fresh. I mean, just having James Bond and Indiana Jones in it would be enough for me. Plus, I want one of those energy blast bracelets.
One of the best movies of the year. Lisa Cholodenko directed and wrote (along with Stuart Blumberg) this wonderful, and most importantly honest tale of what married life actually seems to be like. Annette Bening and Julianne Moore are Nic and Jules, a lesbian couple living in California. Years earlier they each gave birth using the identical sperm donor, resulting in Joni (Mia Wasikowska) and Laser (Josh Hutcherson).
When Joni turns eighteen she is convinced by Laser to find out the identity of their biological father. That man is Paul (Mark Ruffalo), an bohemian entrepreneur who quickly earns the adulation of "his" two kids and Jules. This comes to the chagrin of Nic, who is the more successful and uptight of the two parents.
Kids tackles love, union, family values; all set up by remarkable performances across the board. Bening should see her name on the final five for best actress at the Academy Awards in February. Moore could sneak in there as well. Gay or straight, Kids showcases a very real portrayal of a home; one filled with laughs, tears, mistakes and indulgence, but a home regardless. This is a must-see.
We saw some posters a while back from the Comic Con, but here is the long awaited first trailer from Martin Campbell's (GoldenEye, Casino Royale) Green Lantern. Ryan Reynolds stars as Hal Jordan, a test pilot who is endowed with essentially the most powerful item in the universe--the Power Ring. The wearer is able to construct with green bands of energy whatever his or her mind can think up.
Reynolds is superbly cast, as is the perfectly proportioned Blake Lively. This film rightfully has an infinite feel to it, being that it spans multiple galaxies and alien races. Not so sure about the suit right now though, especially the last big reveal when Jordan 'powers up.' Still a while before Lantern hits theatres, but the effects need a little work. Marvel has long been orchestrating an all-encompassing superhero universe with Iron Man, Thor, Hulk, and Captain America pictures--culminating with The Avengers in 2012. It might be prudent of DC (Superman, Batman, Wonder Woman, The Flash etc.) to do the same.
Another reason why only red-band trailers should be allowed to be cut. At first glance, this looks like the dirtier, cooler old brother of the flaming turd known as Year One. The difference of course being that Your Highness is funny, something that the former lacked in spades.
Thadeous (Danny McBride) and Fabious (James Franco) are two brothers who must go on an epic quest to rescue Belladonna (Zooey Deschanel)--Fabious' bride who is kidnapped by Lazar (Justin Theroux). Hard to pick the single funniest moment, but I think it's hilarious and not at all ironic that Franco is getting high during it. Natalie Portman also stars as a warrior princess who kicks ass and wears metal g-strings. She's also the love interest of McBride's--the most unrealistic element of a film that includes hydras, trolls and smoking, pink creatures.
Carey Mulligan (An Education, Never Let Me Go) has been confirmed as Daisy Buchanan in director Baz Luhrman's new adaptation of the classic novel by F. Scott Fitzgerald. The Great Gatsby is set in the roaring 1920's and involves love triangles, bootlegging and a bunch of rich, shallow, crazy socialites.
Mulligan apparently cried after hearing the news of her good fortune, a telling sign of her love for the creative work. Not official, but soon to be, is the casting of Leonardo Dicaprio (Inception) and Tobey Maguire (Pleasantville) as Jay Gatsby and Nick Carroway--the narrator of the novel. Below is the first photo from the film courtesy of First Showing.
Megamind plays like a hodgepodge of various well-known films' best attributes. Our big headed (and bigheaded) blue alien avoids his home planet's destruction after his parents place him in an escape pod headed for Earth. On the way, he is knocked off course and ends up in the care of the prison system where he quickly learns the right (burglars) from wrong (police officers).
We also see that another child has survived certain doom; this one having the good fortune of landing in a home of opulence. His future of course takes a different path. Metro Man is his name. He of a chiseled jaw, perfect hair and physique; a stark contrast to the cobalt one with the upside down pear shaped noggin. On appearance alone they naturally are destined to be enemies.
Adding to the long list of alliterative supporting ladies is Roxanne Ritchi, the local reporter (duh). She is voiced by Tina Fey who somewhat plays the straight arrow to the two super-humans. The promos would have us believe that the film depicts an epic showdown between Megamind (Will Ferrell) and Metro Man (Brad Pitt). This is not the case. It's a wonder why Pitt was even cast in the role, as he is certainly not around long enough to justify his presumed tremendous salary.
The strongest section is when Megamind stands victorious, having unexpectedly vanquished his longtime foe. He patterns Metro City in his own image, although the fun doesn't last very long. A villain's life is a lonesome one without a hero to battle. Amazingly, Ferrell has never fronted an animated picture--seemingly the perfect vehicle for his familiar zaniness. For the most part he is stronger when not counted on to completely carry a picture. He has loads of help here, which allows Ferrell to shine accordingly in a role that suits his comedic flair. Jonah Hill voices Hal Stewart, Roxanne's camera man who finds himself in possession of newly discovered gifts. My favourite character was the sidekick Minion (David Cross): a talking, intelligent fish who sports a robotic, furry body.
I saw the film in 2-D, and it looked great. Animated films are the best type to be converted into the in-your-face format, but I'm still not convinced it's for the better. The rightful argument is that the colour is sacrificed for hollow visual improvements, many times tacky and unconvincing. At present time, it doesn't outweigh the additional cost.
I'm not sure if this adds anything new to the genre. The Incredibles did super-powered better, while Despicable Me properly tackled the misunderstood criminal. Ferrell offers something special here though. Megamind, for all his vast intellect, still can't properly pronounce the name of the city he occupies. But, at least he looks good in black spandex and his custom baby seal leather boots.
Here's the first one-sheet for Jon Favreau's latest. Cowboys stars Daniel Craig (Renaissance), Harrison Ford (Frantic), Olivia Wilde (Alpha Dog), Sam Rockwell (Moon) and Paul Dano (Little Miss Sunshine) among others.
The story follows Jake (Craig) a mysterious loner who stumbles upon the town of Absolution, Arizona. He wears a mysterious bracelet (see above) which proves helpful when lifeforms from another planet begin to attack the townsfolk. The trailer is coming out in about a day, as well as being attached to all the Harry Potter and the Deathly Hallows Part I screenings beginning on Friday.
During an interview with HitFix, Darren Aronofsky (The Fountain, Black Swan) proclaimed that the X-Men Origins: Wolverine sequel, is in fact not one, and will be a standalone entity called simply The Wolverine. Hugh Jackman will return for his fifth go-around as the hirsute hero Logan, and will find him in Japan fighting for his honour and attempting to win the heart of Mariko.
In the Wolverine comic, Logan spent a great deal of time in the Orient, and were some of the books most popular story lines. This, along with Matthew Vaughn's (Kick-Ass) upcoming mutant tale X-Men: First Class will keep Marvel Comics in the theatrical forefront for the foreseeable future.
DayBreak, the morning show from the fictional network IBS, is like the last kid picked in gym class: ugly, bumbling and unpopular. Their workstations are disheveled, the staff a ragtag bunch of misfits. DayBreak struggles to combat the massive forces of its bigger brothers. It continually loses out on the finest crop of guests. Morning Glory is an underdog story on more than one level.
Becky Fuller is a young professional. She is full of energy like the moon comes out at night--it goes without saying. When applying for the executive producer position at IBS, she wows Jerry Barnes (Jeff Goldblum) with her résumé and her pith. How could anyone say no to this woman?
Canadian Rachel McAdams has become America's sweetheart. It's impossible not to fall in love with her. Her circumstances hit home; after expecting a promotion early on at a small New Jersey faction, she is instead fired. Her confidence has taken a hit--even her mother says it's time to give up and move on. (This was an exchange that didn't sit well with me. The mom suggests Becky give up on her dream. Later in the film after she has seen a significant taste of success we see Mrs. Fuller taping a newspaper clipping of her daughter's acclaim, wearing a warm smile. This forced relationship feels unnecessary.)
Her first day on the job is appropriately a hectic one. A great exchange occurs at a table sitting as the team discusses future programming. Becky appears overwhelmed, only to counter with exact and spot on responses. Throughout the weeks she grows up at the workplace: a change in demeanor and hairstyle signify her maturity.
Harrison Ford is a refreshing presence onscreen, which is to say he doesn't give a damn. I'm kidding of course. Mostly. Ford's Mike Pomeroy is a legend in the journalism field. He's won the Pulitzer, multiple Peabody's. Any distinction for covering the news, Pomeroy has secured it, and he'll tell anyone who listens. He is crotchety and a little washed up. He's also the third worst person in the world. It's hard to picture anyone else for this character, and I imagine Ford had a great time with it. Whether through his refusal to banter along with Diane Keaton on air, his curious love of frittatas, or poking Becky with his African rain stick, Ford is at his naturally cantankerous best.
There are some genuine laugh out loud moments. Mostly from Matt Malloy who plays weatherman and later whipping boy Ernie Appleby. After ratings are down, Becky throws caution to the wind and Appleby into the fire by making him ride coasters, skydive, be a passenger in a fighter jet--anything for a boost.
Becky and Mike can relate because each is what the other needs. She requires a credible face that will bring viewers to her lagging show. In turn, she provides him with a creative outlet after being let go from
more prestigious works. Director Roger Mitchell, who was behind the camera for 1999's Notting Hill, once agains helms a story that is sweet, but never too much as to rot your teeth. Becky sacrifices her personal life and health for the good of IBS. There are times when Morning inches to full-blown melodramatic--right when it teeters near the edge, Harrison Ford returns it to its snappy and highly entertaining best.
