Tom Cruise in Mission: Impossible - Ghost Protocol trailer

When Pixar's resident genius (as far as this blogger is concerned) decided to depart momentarily from animation and segue into action films, I was nervous.  When it turned out said action film was going to be the fourth installment of the somehow popular Mission: Impossible franchise, I was still nervous.  With story by Tom Cruise and J.J. Abrams, the film becomes ever more curious.  Each film since the first one has seemed sort of...useless, even with the addition of Phillip Seymour Hoffman.  However, in this we have both Tom Cruise and the heir apparent Jeremy Renner, who curiously doesn't get his name mentioned in the trailer, which is below.  Don't expect much Oscar love from this film though, not even in the technical categories.

Also co-starring Precious's Paula Patton, Lost's Josh Holloway, and Hot Fuzz's Simon Pegg.

Trailer for Steven Spielberg's War Horse hits

A few days late, sorry about that.  The master is back to work, after a series of popcorn fair and an ill-received fourquel, he's back in presumably prestigious ground.  This drama, adapted from the Tony-winning stage show, looks to pretty good from what I can tell.  Said adaptation is done so by the Oscar-nominated duo Richard Curtis (Four Weddings and a Funeral) and Lee Hall (Billy Elliot), and stars newcomer Jeremy Irvine and vets Emily Watson and David Thewlis. Those few I know who have seen the stage show say it's thrilling, if only a little melodramatic. How do you guys think it looks?  Could this spell Oscar for Spielberg? Trailer below.



It's set for a Christmas release.

Addicted To: The Girl With the Dragon Tattoo

Or, rather I should say, Lisbeth Salander.  I stormed through Stieg Larsson's Swedish novel The Girl with the Dragon Tattoo in about a week, unable to put it down.  Now, I'm 100 pages into the follow-up The Girl Who Played with Fire.  Don't love it as much as the first one yet, but it's certainly still good.  More focus on Lisbeth and less on Mikeal.  In the first one, I was actually screaming.  Like, seriously shouting out loud.  If you've been underneath a rock as much as I have the last two years in regards to these books, pick them up and read them now.  You won't regret it!

In preparation for David Fincher's "The Feel Bad Movie of Christmas," I wanted to read the books before I saw his vision and adaptation.  The trailer is magnificent, (seen here) and, having now read the novel, looks to capture the sense of it pretty well.

I also watched the Swedish version, and though I'm not usually a stickler for film adaptations that change details from the book, this one did so so foolishly that it was distracting, and in many ways made the film less entertaining.  The pacing left something to be desired, and the film's final act dragged painfully.  Made me all the more nervous and excited for Fincher's adaptation (with newly-married Daniel Craig and The Social Network's Rooney Mara).

Above, you can already tell the stylistic differences between the Swedish version (left) and Fincher's version in terms of their depiction of Lisbeth.

New Apollo 18 trailer

The newest film in the Cloverfield, Open Water, and Paranormal Activity trend.  Well, I guess it's been a trend since The Blair Witch Project, so it's more of a sub-genre.  Nevertheless, looks interesting and scary. Looks a little bit like Moon, but without celebrities.  Apparently space often makes people go crazy.

How do you guys think this astronomical thriller looks?

REVIEW: Cars 2 (C)

(dir. John Lasseter and Brad Lewis, 2011)

Regardless of what you hear, there is a lot to enjoy about Disney and Pixar's newest film, Cars 2.  But, in line with what you've heard, there's also a lot to not enjoy.  Much ado has been whispered and shouted in regards to the reason this film was made.  It's well documented (including in an hour-long documentary) that the original Cars was a passion project for director and Pixar creative master John Lasseter, and the film just happened to become a hit with children (if not the critical masses) and a merchandise Goliath.  So is the sequel to Pixar's least-favorably-reviewed film a project of passion or dollar signs?

Answer: It doesn't matter.

As with all Pixar films, we start with the adorable protagonists, erstwhile upstart and now reformed race-car Lightning McQueen (Owen Wilson) and stupid is as stupid does best pal Mater (Larry the Cable Guy).  In the original, McQueen was the star, and in a curious and ultimately successful move, Mater has become the chief hero of the sequel.  Long story short, in the throes of a worldwide World Grand Prix race sponsored by alternative fuel icon Sir Miles Axlerod (Eddie Izzard), Mater is mistaken as a high-class spy and hilarity ensues; well, it almost ensues.

There are some funny parts.  A rather clever scene wherein Mater eats pistachio ice cream, only to find out he had really eaten a scoop of wasabi (you know, the things adults get and kids don't).  There are fun parts even; the races are visually stunning and the battle sequences are awe-inspiring.  A particularly strong opening sequence (seemingly borrowed right from the storyboards of a James Bond flick) gave me hope for the rest of the picture.  But it's the overarching aspects where the film falters.  There's no real emotional core, you struggle to really care about anyone aside from Mater, and there's no cohesively strong theme to the piece.  In the end, it's just a "see, your stupid friend can do stuff, if only by accident" story.  All new and old characters are bland and mostly forgettable, from the barely-there McQueen to the new Mater love interest Holley Shiftwell (voiced, presumably while napping, by Emily Mortimer).  New driving rival Francesco Bernoulli (a Formula-1 car voiced by John Turturro) is a recycling of Turturro's character from The Big Lebowski and Sasha Baron Cohen's foreign racing rival from Talladega Nights.  It was just...fluff.  Devoid of the heart and soul we've come to expect not only from Pixar, but from all good animated films.

Cars 2 feels so empty, even if it is full of color.  For all the disdain most give the original, I respect it for what it was.  It had heart, and that heart belonged in the characters of Radiator Springs, and the town itself.  Cars 2 takes half the lovable characters out of the equation and transplants McQueen and Mater to Italy, Japan, and London.  There's no love or connection with these cities; visually, they're amazing, but the characters have zero connection to them. And in a wanderlust sequel to a film that was originally all about the importance of a small town, this feels like a misguided ripoff.

I saw this movie with five children, four of which literally worship the ground all things Cars walk drive on.  They laughed a lot, and when we left they said it was the "best movie ever," and that they "loved Lightning."  And, in the end, I guess that's the point isn't it?  For animated films at least, to entertain children and take them to another world that's fun and where cars can fly.  So what if their parents, siblings, or film critics thinks the movie is stupid, they get a kick out of it.  For so long now, animated films have surprised us by not being just animated films, but something greater.  So when they're not, we're disappointed, and we miss the point of them to begin with.  GRADE: C

Freud, Jung, and sex = A Dangerous Method

See the newly dropped trailer here, at A Dangerous Method's website, since I'm sure the YouTube video below will be removed eventually.

Directed by longtime cult director and often Viggo Mortenson co-worker, David Cronenberg is helming this adaptation of Christopher Hampton's play A Dangerous Method.  Hampton also writes the screenplay.  The film looks more vibrant, positive, and less dark than the typical Cronenberg piece.  Viggo looks remarkable and unrecognizable in his role as Freud, seemingly to be playing the confidant role.  Keira Knightley, slowly but surely easing her way into being important again, looks to be a pure fireball in this film, complete with sex and a very accurate Russian accent.  Recently seen as Magneto, Michael Fassbender looks well on his way to a Best Actor nomination for his role as Carl Jung.

It looks a little too romantic for me, but something tells me the flowery score and trailer editing has something to do with that, since I rest assured Cronenberg wouldn't stoop to a star-crossed lovers/European romance sub-genre.  Right?

OSCARRR!

If I had predictions yet (which I will soon, rest assured!) I'd have this film in just abut every category, based on topic and pedigree.  I expect, coupled with X-Men: First Class for this to be a big year visibility-wise for Fassbender, which is always helpful come awards time.

.

REVIEW: X-Men: First Class (B+)

(dir. Matthew Vaughn, 2011)

I've always thought adapting the X-Men mythos was a particularly hard undertaking, as proven in spades in the previous four attempts.  Unlike other superhero or comic books heroes, the X-Men aren't just one character and a bunch of villains, but rather a bunch of heroes and a bunch of villains, all of which need to be fleshed out well.  And that hasn't really been done, despite a whole four films trying to do that with Wolverine.

But nevertheless apt director Matthew Vaughn (of Kick-Ass fame) has managed to do it.  And quite successfully I might add.  Aided by a veritable pantheon of screenwriters (Vaughn himself, Ashley Miller, Zack Stentz, Jane Goldman, Sheldon Turner, and Bryan Singer), a rich and complex tale has emerged.  It's slowly becoming a trend to start the movies much the ways the comic themselves have started, with an origin story.  See: Batman Begins, Iron Man, Thor, etc.  And now the marvelous X-Men: First Class.

We first meet Erik Lehnsherr (played as an adult by best-in-show winner Michael Fassbender) in a Nazi concentration camp (the exact way the original franchise began), where when he's separated from his mother, exhibits his mutant ability.  Eventually his mother is murdered and he tortured by Nazi doc Kevin Bacon (who is simply wonderful as the film's primary villain), and thus Erik is turned into a human-hating mutant hellbent on revenge.  But in a nice way.  Just take my word on that.

Around the same time a young Charles Xavier (James McAvoy) meets a blue shape-shifter (Jennifer Lawrence) in his kitchen, and the two become good friends.  As the film unfolds, the actual plot (mutants are trying to start the Cuban Missile Crisis, causing a nuclear war, where the mutants will take over!) takes a backseat to a very carefully and astutely crafted story about acceptance and love, forgiveness and being true to yourself.  Ultimately some mutants accept who they are, boldly becoming what will known as the evil Brotherhood of Mutants and the others regroup and become the heroic X-Men.  It's so finely crafted that you feel for the supposed-villains by the end of it all, and we have one of the very first comic book films where the ends to justify the means as far as villains so.

For all the things that needs to click in this movie, the action, the acting, the mythos, the checkmarks, shoveling through backstory, etc. Vaughn makes it all smooth and entertaining.  When Professor X becomes the Professor X we know today, it's a shock even though we know just what we're expecting, but the film has so separated itself from the demands of the comics that when it does happen you forget it was supposed to happen.  It should be said, Lawrence was very good as Mystique, and throughout the entire franchise, that character's arch has been the most engrossing.  I'm pleased to see this film has reinvented and continued her path.

All in all, X-Men: First Class smashes all it's objectives: establishing backstory, developing characters, entertaining, and setting up the X-Men we know and love today.  But most importantly, it has laid the ground work for the central theme that was more or less devoid from the other franchise and was forever omnipresent in the comics and TV series: acceptance.  How is society accepting these freaks?  Am I a freak? Is it easy being blue?  There's even the division between those mutant who can hide their ability and those who are stuck with it out in the open.  Themes of race, gender, and sexuality are all applicable to this film and it's handling it just beautiful.  From an X-Men, this film get a mighty bravo.  GRADE: B+


.

Warren Beatty Making Heaven Wait

Name that bad pun, readers only!

Okay, so one of Hollywood's most identifiable icons is returning from a quasi- self-imposed retirement.  Warren Beatty, or Mr. Annette Bening, began his career opposite a sexually curious Natalie Wood in Splendor in the Grass, and, 14 Oscar nominations later his last film was Town & Country.  Beatty is one of a very small group of people to have twice earned four Oscar nominations for the same film.  As Producer, Leading Actor, Director, and screenwriter he was nominated for Heaven Can Wait and Reds, pulling in his only win for directing the latter.  His most famous performances include Dick Tracy, Bonnie and Clyde, Reds, Heaven Can Wait, Bugsy, Bulworth, and notable flops such as Town & Country and Ishtar.

But he's back.  And, staying true to form, Beatty is on board to star, write, produce, and yes, direct the new untitled comedy.  Though I personally have never gone gaga over Beatty, it's nevertheless thrilling to see a legend return to his craft.  Paramount chairman Brad Grey talks it up below:

"Warren's script is quintessential Beatty, elegantly written and wonderfully entertaining," enthused Paramount chairman Brad Grey. "It is our privilege to have one of the great artists in the history of cinema come home to Paramount."

.

The Muppets Official Trailer hits

After a fake trailer hit a few weeks ago, I'm glad now we finally get a sense of what the movie is going the be like.  Well, sort of.  We're getting the gang back together and hilarity, tenderness, sentimental speeches, and song and dance ensue.  Can Thanksgiving come any sooner?

I love the pun of The Dark Knight in the first few frames.  As the trailer unfolds, we see more and more reasons to look forward to this movie.  Adams looks in top form, and so does Segal actually (not to mention early Oscar Buzz for Kermit's performance...kidding).


.