Prometheus

Posted on June 7, 2012 at 6:00 pm

Is it possible that all of the elements of life on earth, from the protozoa to the human, were the gift of god-like creatures who came to a barren planet to create us in their image? And that they stayed long enough to teach our prehistoric ancestors, leaving evidence behind in cave drawings that date back 35,000 years, seven times as far from the present as we are from the earliest days of the Old Testament? Hard to say.

On the other hand, it is not hard to see the evidence of the DNA building blocks in this film that trace directly back to its predecessors, the Aliens “In space no one can hear you scream” series. It wavers at times between enthralling variations on the themes of the originals and over-reliance on repeating and reinforcing them.

One of those building blocks is stunning visuals and it is a tribute to the earlier films (which take place after this one) that the special effects and design were were so prescient that the connection feels seamless. This is not like those early “Star Trek” episodes where the computers look like shoeboxes with blinking lights. Scott is meticulous about making sure that all of the technology in his films looks both amazing and believable and the visuals here are enthralling. The rolling 3D probes feel as immediately real and indispensable as Dekard’s then-not-yet-invented scalable computer display.

“Prometheus” is the name of the spaceship that is taking a crew in search of the very origins of life on earth. Archeologists have decoded ancient pictures (like the Chauvet cave paintings documented in Cave of Forgotten Dreams). They believe it is an “invitation” to find the beings who brought the original genetic building blocks to our planet. A monumentally wealthy man who is very old (Guy Pearce) funded the voyage, knowing he would not live to see the results. The expedition is led by the fiercely disciplined Meredith Vickers (Charlize Theron), who lives in Captain Nemo-like luxury quarters while the scientists on board sleep their way through space travel. As they approach the target planet, they are awakened and prepare to land.

The archeologists are thoughtful seeker Elizabeth Shaw (Noomi Rapace of the Swedish “Dragon Tattoo” movies) and excitable, impetuous Charlie Holloway (Logan Marshall-Green of “Dark Blue”), who are a couple. Along for the expedition are some other scientists you don’t have to worry about getting to know very well and an all-knowing and extremely polite and handsome android named David (a well-cast Michael Fassbender) who seems like a combination of Data, C-3PO, and the “Danger, Will Robinson” robot from “Lost in Space.” The captain of the ship, Janek (“The Wire’s” Idris Elba) has a different mission from the others. They are seeking what is out there. He is there to make sure nothing gets back to earth that could be destructive.

Interruption for an important safety tip: no matter what your instrument readings tell you and how excited you are, when you are exploring a new planet, keep your helmet on.

Things are exciting, things are promising, and then things start to go very, very wrong. As in previous Scott films, we end up with a woman in her underwear being chased by something pretty appalling. And the call is, if you know what I mean, coming from inside the house.

Scott and his screenwriters, Jon Spaihts and Damon Lindelof, are not afraid to take on the big, big questions, and this movie gets credit for making room for Shaw’s insistence on wearing a crucifix despite Holloway’s claim that what they have found invalidates her faith. “It’s what I choose to believe,” her father tells her about heaven in a flashback. The movie leaves some questions open (wait until the very end of the credits for an enigmatic clue relating to “Alien”), but the answers it does give are disappointingly superficial and a little silly. (See point about helmets above.) Instead of Prometheus (the Greek mythological figure who was thought to have created man from clay and stolen fire from the gods to give to humans), they could have just named the spaceship “The Hubris.” But without some audacity, no big undertaking would ever be attempted and this one succeeds in so many categories that the suggestion that another chapter is to come allows us to hope it will be as good as “Aliens.”

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Men in Black 3

Posted on May 24, 2012 at 6:00 pm

Welcome back, Mr. Smith and Mr. Jones.

The stars and director of one of the most creative and purely entertaining movies of the last 20 years are back for a third that does not match the original but makes up for the mangled sequel. It has some references and tributes to the first two, though it is not overly bothered about consistency with the prior stories either in the details or in the tone. This one seems balanced more toward the sci-fi action and less toward the wonderfully understated comic sensibility that made the first one so refreshing. Nothing in this film reaches the matchless “Now I’m going to have to buy the White Album again” and testing scene moments of the first one. But those black suits still fit and it is still a lot of fun.

High-spirited J (Will Smith) and craggy, taciturn K (Tommy Lee Jones) are agents for a super-secret government organization that handles immigration problems and aliens — not the kind from other countries, the kind from other planets. Some are refugees, some are tourists, but some are here to wipe out all of humanity. The Agency manages all of that and with the help of a flashing “nebulizer” the size of a pen to wipe out the memory of any human unlucky enough to experience an alien encounter.

One of the most dangerous aliens of all is Boris the Animal (“Flight of the Conchords'” Jermaine Clement), captured back in 1969 by K and now locked away in a prison on the moon. As the movie opens, an incomparably luscious lady in a tight, tight dress and high, high stilettos (no special effects needed here: it’s Pussycat Dolls’ Nicole Scherzinger) is bringing him a very frosty cake. As everyone but the prison guards guesses, what is in the cake makes possible Boris’ escape back to earth, where he picks up a time machine and goes back to 1969. He plans to replay his encounter with K so that instead of losing an arm and getting captured he kills K and continues with his destruction of the planet. And so J goes back in time, meets up with the K of 1969 (Josh Brolin, nailing it).

The expected fish-out-of water time travel jokes include technology (the pre-chip nebulizer is big and clunky!) and encounters with the people and events of the era. One of the best jokes in the first movie was the display of monitors that revealed that people like Al Roker, Isaac Mizrahi, director Barry Sonnenfeld, Sylvester Stallone, Dionne Warwick, Newt Gingrich, and Anthony Robbins as aliens. In this version, it seems unimaginatively on-the-nose to include Lady Gaga, but back in 1969 there is a witty twist as one of the likeliest alien suspects of the era is revealed to be an undercover Man in Black instead. Michael Stuhlbarg (“Hugo,” “A Serious Man”) is charming as a sweet-natured alien in a ski cap whose gift and curse is his ability to see every possible outcome. I am sure at least a couple of those possibilities would have been better than this movie’s conclusion, which is muddled and unsatisfying.

Parents should know that this film includes extended sci-fi action violence with chases, explosions, and aliens, some disturbing images, some strong language, and brief suggestive alien sexual references.

Family discussion: How did what J learned about his own past change him? How will K be different and why?

If you like this, try: the first “Men in Black” movie (be sure to try the DVD’s director commentary) and “Hitchhikers Guide to the Galaxy”

A Guide to Marvel’s Avengers Universe

Posted on May 3, 2012 at 8:00 am

Thanks to CinemaBlend for this handy guide: 10 Things You Need to Know About the Marvel Universe Before Seeing “The Avengers.” SPOILER ALERT! Skip item 10. But if you’re not up on the backstories of the characters, their powers, their origins, and their secret identities and you don’t know your Chitauri from your Cosmic Cube, be sure to check this out before you buy your tickets.

And for fun, check out Nell Scovell’s very funny guide to the politics of the Avengers, their leader, and their nemesis, Loki.

American Reunion

Posted on April 5, 2012 at 6:00 pm

The first indication of a problem with this fourth in the series that began with the ground-breaking (and pastry-breaking) “American Pie” is that stars Jason Biggs and Seann William Scott are listed as co-producers. Very few actors understand their characters well enough to avoid shifting them from what appeals to audiences to what appeals to the actors’ egos.

Take Stifler, for example. One of the zestiest aspects of the first three films was this character, played by Scott. He was the usual broad comedy figure of pure id, the literal spokesman for the hormonal longings of the four friends whose pledge to lose their virginity by graduation provided the storyline for the 1999 original. But he served another function as well. While our heroes were struggling with their romantic and sex lives, it was Stifler who bore the brunt of the most outrageous gags (in both senses of the word). In order for the movies to work within their own construct, it is important for the other characters and the audience to like Stifler enough for him to be an instigator (urging the other guys on, throwing wild parties) but not enough for us to feel that it is unjust or wrong when awful things happen to him. Now, presumably at the instigation of producer Scott, Stifler does not suffer any comic consequences and by the end of the film is supposed to be sort of likeable. That is one of several things this movie gets wrong.

“American Pie” was a comedy about four teenage boys who were desperate to have sex partly because they were teenage boys and partly because of their pride — they were spurred on by a classmate who claimed to have had sex and they did not want him to be ahead of them. Jim (Jason Biggs) was the character whose role has been endless excruciating humiliation — in the film not only did his father offer sincere but painfully boundary-intruding advice but his extremely embarrassing attempt at having sex with a pretty exchange student was broadcast on the then-novel internet. Oz (rangy Chris Klein) and Kevin (doe-eyed Thomas Ian Nicholas) had some relationship problems to sort out and Finch (ethereal Eddie Kaye Thomas) was looking for something a little different. What made the film so revolutionary was in part how explicit and raunchy the humor was but more the portrayal of the girls in the film as sexually confident and as people, not just objects to inspire lust and fear.

Teen sex comedies are fun because that stage of life is so sharply exaggerated. All of the usual adult concerns about sex and love seem insurmountably (so to speak) perplexing and more dire when you are experiencing them for the first time and seeing our worst fears realized on screen is cathartic, reassuring, and funny. But they are in their 30’s now, and that is different.

The movie opens with a bouncing, squeaking bed and a song from R. Kelly. Jim and his “This one time? At band camp?” wife Michelle (Alyson Hannigan) are indeed in bed, but he is on his laptop and she is rocking their 2-year-old. Yes, just like teenagers, parents are also sex-deprived. But as we learned in “Hall Pass” and “The Change-Up,” that does not make it funny.

Everyone comes back home to Michigan for their 13th high school reunion. Why the 13th? They sort of spaced on the 10th, or, in other words, three years ago the cast members still thought they had other options.

It begins as Jim, once again, has a painful experience when his attempt at a solo sex act is interrupted. This time, instead of his father, it is his toddler. He smashes a sensitive part of his body in the laptop and goes to the bathroom to get a band-aid only to find Michelle in the bathtub, also enjoying a solo sex act. Embarrassment all around. Jim’s squashed sensitive part will be on display shortly, when he finds himself half-naked in the kitchen and tries to cover himself with what turns out to be a glass lid. He will also have to deliver a drunk, naked 18-year-old to her bed without her parents or Michelle seeing them. And he will appear in front of a large group of people in bondage gear that looks like goth lederhosen. Meanwhile Oz and Kevin meet up with their high school loves (Tara Reid and Mena Suvari), making them re-think their current relationships. And Finch arrives on a snazzy motorcycle with tales of exotic adventures that have everyone else feeling envious about the lack of adventure in their lives.

Fun! Not. “Am I wrong or was this place a lot more fun when we were younger?” a character asks. He’s not wrong. It is hard to say what is weaker, contemporary references like Kathy Lee and Hoda, Mario Lopez, JDate and reality TV dance competitions or attempts at humor that are merely references to the previous films or other 90’s markers. If the menton of Chumbawumba or a cameo by one of the minor performers from the first film seems hilarious to you, no, you’re still better off re-watching the original.

The 30-comethings are out-classed by returning older generation (and fellow Christopher Guest ensemble stars) Eugene Levy as Jim’s widowed father and Jennifer Coolidge as Stifler’s mom. “When are you going to realize that things are never going to be the way they used to be?” Jim asks. Exactly.

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Comedy Series/Sequel

Wrath of the Titans

Posted on March 29, 2012 at 6:00 pm

C-

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for intense sequences of fantasy violence and action
Profanity:	None
Alcohol/ Drugs:	None
Violence/ Scariness:	Constant peril and violence with some disturbing images
Diversity Issues:	A strength of the movie is the portrayal of a courageous female warrior
Date Released to Theaters:	March 30, 2012
Amazon.com ASIN:	B005LAIH54

What I love best about classically trained British actors is that they are game for anything. Whether it is a commercial for cough drops or a silly comedy they always bring their A-game. Their timing and diction are impeccable and they are masters of tone. To use a favorite actor term, they commit. But when they commit to material so far beneath them the contrast is so great that they just make the failings of the production harder to overlook. Flawless line deliveries only go so far when the dialogue is more suitable for the declamatory stentorian tones of a Saturday morning cartoon version of “The Expendables” than voices more accustomed to iambic pentameter.

The original 1981 “Clash of the Titans” (featuring the most-acclaimed actor of his generation, Sir Laurence Olivier along with “L.A. Law” star Harry Hamlin along with Bond Girl Ursula Andress and the zenith of Ray Harryhausen’s analog special effects) and the 2010 remake with Oscar-winners Liam Neeson and Ralph Fiennes along with “Avatar’s” Sam Worthington and a lot of CGI have been succeeded by “Wrath of the Titans,” another uneasy mash-up of a sprinkle of distinguished actors, lots of beefcake, mythical monsters, and dialogue so ear-crashingly awful it is a step down from scripted awards-show presenter banter. “Go to hell!” says one character. “That’s exactly where I’m going,” says Perseus (Worthington). He’s on his way to Hades, get it? Since the majority of the box office for the first film was from outside the US, we can guess that perhaps the dubbed script is better.

Having released the Kracken and saved the day in the first episode, Perseus, the half human son of Zeus, is hoping for a quiet life as a fisherman with his young son. When Zeus (Neeson) comes to ask for his help, Perseus declines. But trouble comes his way as the era of the gods is ending, and Zeus is weakened so that his long-dormant father Cronus is poised to re-emerge and bring oblivion to all of humanity. Perseus will have to save the day again, and that means finding (and rescuing) his half-god cousin Agenor (Toby Kebbell channelling Russell Brand, and not in a good way), visiting Hepaestus (much-needed breath of fresh air Bill Nighy), the Olympian version of Q, to pick up some weapons, and facing some Hellenic monsters, including a giant cyclops, a minotaur, and some beast-ish creatures. There’s a lot of sound and fury and 3D spears pointing out from the screen but the storyline is muddled, with no consistency from moment to moment in character or even the basic properties of the Olympian world. The script is downright painful, with bromantic trash talk that would be more appropriate at a 2012 mall than a Bronze Age battlefield. “Shouldn’t you be posing for a statue or something?” “Bring me my lucky cape!” By the time Zeus and Hades (Fiennes) go into battle saying, “Let’s have some fun!” all we can think of is, “As if.”

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