The third and presumably last trailer for Maleficent is out, with this one heavily drawing on the goodwill towards the cartoon version. I don't understand why anyone in this movie has to have a fake British accent, because I'm pretty sure none of the characters in the cartoon did. And I also don't think the three good fairies are supposed to look so creepy and off-putting either- what happened there?
REVIEW: "Veronica Mars" (2014) Kristen Bell, Jason Dohring. Dir. Rob Thomas
What any die hard fan of a beloved but pre-maturely canceled TV show wants is closure on what happened to their favorite characters. They mostly want to see them one last time, and to that end, the long awaited, fan-funded Veronica Mars movie will satisfy every one of those die hard fans and then some. It's mostly an extended reunion episode of the show, but with nearly every major character making an appearance and not missing a beat in their personalities, quirks and the surrounding atmosphere of the fictional town of Neptune, CA- it's entirely satisfying in every possible way.
Veronica Mars ran from 2004-2007 on UPN (now the CW) and followed the exploits of a teenage private eye in the sassy, snappy Veronica, who investigated the morally and ethically corrupt citizens of the town in which she lived. Fans like me were devoted to the world the show created and the characters who populated it, especially Kristin Bell as our heroine, who has never found a better role in her subsequent movie career. She fits back into Veronica's shoes with ease- it seems to be a relief to wear the part of the hardened, wisecracking sleuth, who's now on the verge of starting a big law career in New York, only to be called back to Neptune by her ex-boyfriend Logan, who's of course being accused of murder (what else is new?) She and Logan (Jason Dohring), her main love interest on the series, are still drawn to each other, even after nine years of no contact. The case brings her back home and conveniently on the weekend of her high school reunion, giving her a chance to reconnect with old friends and foes, and giving the audience a chance to reunite with however many actors from guest shot episodes they could get back (unfortunately, the murder victim that the whole mystery is centered around was Carrie Bishop, a character played by Leighton Meester, who did not return- come on Leighton, Gossip Girl made you so big you couldn't film a 10-second flashback and pose for some pictures?)
The story behind how this film was made is widely known, as creator and director Rob Thomas and Kristin Bell asked fans to contribute to a Kickstarter program, which was wildly successful, as the show's passionate fanbase donated nearly $6 million to the film's budget in less than three days. In light of that situation, Thomas can hardly be blamed for seeing the rationale for this movie to be created mostly as an act of fan service, and that affected much of the storyline as well. Indeed, this particular murder mystery is not one of the show's most compelling (Logan doesn't even seem that broken up about his latest girlfriend's death), and it mostly works as an excuse to get Veronica back in Neptune with Logan, Mac, Wallace, Weevil and her dad Keith (Enrico Colantoni, still terrific in his interactions with Bell, reprising one of the most memorable father-daughter relationships ever on TV). But there's enough set-up and establishment of the ongoing and maybe worsening corruption and class war in Neptune to give plenty of ammunition to the idea of hopefully, a sequel or even a resurrection of the show in miniseries form (come on, Netflix, come to the rescue!) The cast seems game, as it's obvious everyone is thrilled to be back and the film was truly a labor of love for all involved.
As for me, I don't know if this is a movie that has anything to offer non-fans or people who'd never seen the show (although you should, as it was one of the great series of the last decade), but for this devoted marshmallow, it was everything I could have hoped for and more, as it leaves the promise of a return to Neptune in one way or another. And in this present era where beloved shows can be saved by other networks (The Killing), long-canceled favorites can return in new formats (Arrested Development), and even shows that had a good long run can be brought back for miniseries events (24), it's now official that fans have more power and options than ever before, and it's not crazy to hope for life among the ranks of those labeled "gone too soon." It's a new world, folks, and I for one am excited to be living in it.
* * *
BOX OFFICE 3/14-3/16: 'Mr. Peabody' Tops a Slow Weekend
Dreamworks' Mr. Peabody and Sherman took #1 this weekend, pulling in $21 million for the top spot, while the new releases failed to gain any traction. The animated film has now earned $63 million total but faces direct competition from Muppets Most Wanted for the family audience next week, so we'll have to see how it holds up then. 300: Rise of an Empire fell to second place with $19 million and a 57% drop from its debut, mounting a total of $78 million domestic, well behind the chart numbers of the first movie.
The weekend's new opener Need for Speed pulled in a disappointing $17 million, even though its overseas grosses were much bigger, taking in about $45 million from several European countries and China. Meanwhile Non-Stop is hanging on well, coming in fourth with $10 million, and Tyler Perry's The Single Moms Club bombed with just $8 million, his lowest opening weekend ever.
Top 5:
- Mr. Peabody and Sherman- $21.2 million
- 300: Rise of an Empire- $19.1 million
- Need for Speed- $17.8 million
- Non-Stop- $10.6 million
- Tyler Perry's The Single Moms Club- $8.3 million
In limited release, The Grand Budapest Hotel continues to be a big success, earning over $3 million on just 66 screens, while Veronica Mars, released on Video on Demand and in 270 theaters nationwide, pulled in $2 million. Next week it's the wide releases of Divergent and Muppets Most Wanted, which should amount to a much bigger box office overall than this weekend.
Movie of the Day: "What's Love Got to Do With It?" (1993)
The story of Tina Turner is next up for Women's History month, as this shattering musical biopic (based on Tina's own autobiography) gives us the life of Anna Mae Bullock in visceral, energetic close-up. It covers the bases of the formula biography movie but differs in its portrayal of the relationship between Ike and Tina, which is shown in harrowing and unflinching fashion. Angela Bassett and Laurence Fishburne gave two dynamic performances, for which they were both nominated for Oscars in 1993. Frankly, they should have both won too- they're outstanding in the movie and their scenes together blow everyone else off the screen. Tina Turner's ultimate triumph against her abusive, violent and controlling husband comes as a life-affirming, powerful inspiration for all victimized women.
Trailer:
TRAILER: "Get On Up"
The trailer for the James Brown biopic is here, starring Chadwick Boseman of 42 fame, as the man himself. I have to say, it looks like a fairly generic musical biography, which I guess shouldn't be surprising since it's coming from Tate Taylor, director of The Help. Still, we know it's gonna have some good music in it, so hopefully Boseman can do more than just an imitation here. Can't really tell from this trailer though. Get On Up is set to come out in August:
Movie of the Day: "The Miracle Worker" (1962)
Our next movie for Women's History Month celebrates two extraordinary women- Helen Keller and her teacher, Anne Sullivan. The Miracle Worker is based on the play which was based on Keller's autobiography, and it details the painstaking process through which Sullivan, herself nearly blind, taught the 12-year-old deaf and blind Keller how to communicate. This movie is distinguished by two incredible performances- Anne Bancroft in the title role and teenage Patty Duke as the young Helen, both of whom won Oscars for the movie, and it's no wonder. When you see it you'll be blown away by how powerful they are in what's basically a two-person show. The scene where Sullivan locks Keller in a room with just herself and a chair is a feat of physical performance and determination so fierce you can hardly believe it, and the task Sullivan pulled off in teaching Helen Keller to understand really does give genuine meaning to the nickname she was given. It's an amazingly triumphant story.
Trailer:
POSTER: "Maleficent"
New poster for Angelina Jolie's Maleficent, coming out May 30th. Although I honestly fail to see what the fascination is with the backstory of this particular Disney villain. Aren't they just making it all up anyway? If this isn't the Sleeping Beauty story why does anyone care about this character? I don't get it.
Movie of the Day: "Elizabeth" (1998)
Our next powerful woman in history is none other than Elizabeth I, Virgin Queen of England, as played by Cate Blanchett in the Oscar-nominated role that made her famous. This was kind of an old-fashioned historical drama, but with very high stakes, as well as slightly grittier and bloodier than those old epics. It charts the rise of Elizabeth during her early reign in the late 1500's, and has a great cast including Joseph Fiennes and Geoffrey Rush, but it's really Blanchett's show all the way. She's always had a bit of a regal sense about her and it was the perfect fit of actress and role. She completely dominates the movie.
Trailer:
Blu-Ray Pick of the Week: "Inside Llewyn Davis" (2013)
This week's pick is the latest from the Coen Brothers, sadly overlooked both in theaters and then again at the Oscars, but now is your chance to check out what you missed. It's a strange, surreal and beautiful ode to the 1960's folk scene and one poor sap who didn't make it. With a terrific score by T-Bone Burnett and some fantastic songs, it was one of the best musicals of last year and it also boasted a breakthrough performance from Oscar Isaac, who just embodied Llewyn Davis in every way. It's a true gem worth finding.
Trailer:
REVIEW: "Enough Said" (2013) Julia Louis-Dreyfus, James Gandolfini. Dir. Nicole Holofcener
James Gandolfini and Julia Louis Dreyfus star in this lovely, low key comedy from writer-director Nicole Holofcener, about two middle-aged adults, Eva and Albert, who very quietly make an attempt at a new relationship after their respective divorces. The movie flows very naturally, driven mostly by the chemistry between the two stars, who come across as ordinary people looking for love, especially Gandolfini in his second to last film role- there's nothing of his Tony Soprano tough guy here, and we are reminded again what a great character actor he was and what a huge loss it is not to have him around anymore.
What little plot there is in the film is driven by the relationships, as is Holofcener's specialty- in this there are key, yet casual scenes that give us a feel of living relationships between several characters. There is the budding romance between Eva and Albert, the mother-daughter relationship between Eva and her teenager, Ellen, and the friendships between Eva and her old friend Sarah (Toni Collette) and her new friend/client Marianne (Catherine Keener), who happens to be Albert's ex-wife. The delight in this movie comes from the genuine spark between these actors as they play fairly intimate, small-ish moments together- the stakes are never very high in this movie, as you can tell it mostly wants to be a meandering check-in with the every day lives of these people. But the byplay is emotionally honest without being cloying, striking a tone that's difficult to get right in most family dramas, which often get distracted by cliched characters and by the numbers plots.
The characters in this film are not cliche, but unfortunately the plot does get a little bit sidetracked. Eva meets Gandolfini at a party at the same time she meets his ex, Marianne, and when Marianne becomes her client (she's a masseuse) she carries on the connection after finding out the two were once married, hoping to get the dirt on Albert before getting in too deep. This mistaken identity situation leads to a predictable confrontation right down the line, with no variation whatsoever to the formula. It's disappointing because the rest of the film is so character driven as to feel very natural, and that naturalism clashes with the sitcom scenario being forced into the screenplay. But the performances are more than worth it, and the little moments of humanity that encompass and define those varying relationships are all recognizable in ways that may hit a little too close to home. Albert and Eva bonding over their daughters going away to college seems achingly real, along with the loneliness and defensiveness Eva feels, which causes her to protect herself against getting hurt for the second time.
Holofcener has a knack for relationship driven comedy and realism, along with a note-perfect depiction of a modern day Los Angeles that is identifiable (even though this crowd is undoubtedly upper-class, it surprisingly doesn't convey a condescending or elite sensibility- at least no more than your average Woody Allen movie, maybe less actually). Even with a distracted and cliched plot, Enough Said is filled with warmth, honesty and feeling, so maybe next time around Holofcener should dump the plot entirely and just choose to spend more time with her characters. I certainly wanted to.
* * *
Movie of the Day: "The Passion of Joan of Arc" (1928)
In honor of Women's History Month, the Movie of the Day series is back this week to highlight, what else, powerful women in history. So we start off with one of the oldest of those figures, Joan of Arc, explored here in Carl Theodor Dryer's masterpiece, The Passion of Joan of Arc. Yes, this is a silent film, but I encourage you to give it a chance, because if you do you'll be able to experience one of the most unforgettable performances in movie history, and that's Renee Jeanne Falconetti as Joan. She's filmed entirely in close-up and the power of her emotions is absolutely searing throughout the extension of her trial by the French judges. The film was based on the actual record of that famous trial and when you watch this movie you'll feel like you've been transported back the 15th century.
Instead of a trailer, and because as a silent film it probably needs a bit more selling, here's The New York Times Critics Pick for the film, recommended by A.O. Scott:
TRAILER: "Neighbors"
This new comedy from director Nicholas Stoller (Forgetting Sarah Marshall, The Five-Year Engagement), could be a big hit this spring if the reaction from the South by Southwest film festival is anything to go by. Neighbors premiered at SXSW just a couple of days ago to some pretty rave reviews, and the last comedy to premiere there and then go on to be a big hit was Bridesmaids. Speaking of which, Rose Byrne finally gets her turn to shine, as many of the reviews named her as the scene-stealer, surprisingly. It's coming out May 9th, so mark your calendars:
