I don't know if there was any real interest in another Mad Max movie after all these years, but even if there wasn't, this trailer looks pretty awesome, right? George Miller, director of the original films, is back to helm this new one starring Tom Hardy (presumably as the titular character, although I'm not sure if it's a prequel or what) and Charlize Theron in the apocalyptic future of old. I never thought anything could top that chase scene from The Road Warrior, but it sure looks like they're going to try in this. Fury Road's coming out next summer.
BOX OFFICE 7/25-7/27: 'Lucy' Clobbers 'Hercules' For #1
Scarlett Johansson's action vehicle Lucy earned a pretty stunning $44 million at the box office this weekend, stomping over the other new release, Hercules to land at No. 1 and solidify ScarJo as a major box office draw all by herself. The movie shattered all expectations with that amount, but we'll have to see how much it can hang on against Guardians of the Galaxy next weekend, especially with a terrible "C+" Cinemascore. It got mixed reviews and probably confused people with its nutty science fiction angle, but maybe that will help it attract a cult audience. Still, it's a huge success for Johansson after building up her appeal for all these years as a member of The Avengers, and this is the biggest opening for any non-Robert Downey Jr. member of that team outside the Marvel universe.
In second place was Dwayne Johnson's Hercules, which also came in above expectations with $29 million, although with a $100 million budget, it's not nearly as big a success story as Lucy, which already outgrossed its $40 million production costs. It got a better audience rating though (B+), so maybe it will have a better drop next weekend. The rest of the top five were holdovers, with Dawn of the Apes coming in third with $16 million (a nasty 55% drop from last week), and Purge: Anarchy fourth, with $9 million (an even worse 67% drop). in fifth was Planes: Fire & rescue, just behind The Purge.
Top 5:
- Lucy- $44 million
- Hercules- $29 million
- Dawn of the Planet of the Apes- $16 million
- The Purge: Anarchy- $9.9 million
- Planes: Fire & Rescue- $9.3 million
In specialty release news, A Most Wanted Man, the last leading role for Philip Seymour Hoffman, was the big success, coming in at No. 10 with $2.7 million from just 360 screens. Reviews were great for that movie, which combined with interest in seeing the late Hoffman to help it score big in limited release. Woody Allen's Magic in the Moonlight also did well, pulling in $426k from just 17 screens, and the comedy concert film The Fluffy Movie made $1.3 million from 430 theaters. Next week it's Marvel's big Guardians of the Galaxy movie, along with the James Brown biopic Get On Up as counter-programming, taking over the August slot that did so well for The Help and The Butler these last couple of years.
Wonder Woman Revealed
The Batman/Superman panel has revealed the first look at Gal Gadot's Wonder Woman. Nothing I have seen or heard about this movie has convinced me it's going to be any good at all, but I will say that this particular still is pretty cool. What do you think?
FIRST LOOK: Ben Affleck as Batman
Since Comic-Con's happening right now, the studios are putting out sneaks and teases for their fanboy related projects coming up, and here's the Batfleck one everyone's talking about.
So there you go. I have literally no reaction to this picture though. They went back to the small ears and a mask where he can't turn his head, but other than that it's pretty boring. We all know what the limited Ben Affleck will be like as Bruce Wayne/Batman, so I can't get excited over whether or not he has a better chin for the mask than the other Batmans did. Sorry.
TRAILER: "Hot Tub Time Machine 2"
Kind of amazing that Hot Tub Time Machine got a sequel in the first place, isn't it? The sleeper/cult sci-fi comedy from 2010 got most of the cast back except for arguably, the most important member in John Cusack. Think that'll hurt the movie? Hard to tell. It looks pretty nutty and since it's the same director and writer as the first one, it'll probably be more or less what fans of the first want to see again. It's coming out on Christmas Day.
REVIEW: "Dawn of the Planet of the Apes" (2014) Andy Serkis, Jason Clarke. Dir. Matt Reeves
2011's Rise of the Planet of the Apes was an unlikely success in rebooting the 40-year-old series that had always been cursed with having an inherently ridiculous premise that, after the initial 1968 allegorical sci-fi classic, could never truly be taken seriously. The 2011 prequel tackled that problem by finally having technology advanced enough that we could actually see the apes existing in reality, developing higher intelligence through lab experiments gone haywire. The biggest asset in this suspension of disbelief was the creation of Caesar himself, played through motion capture performance by the great Andy Serkis, who seemed as real as any human on screen, with nuances in facial expressions and thoughts that rendered him nearly sentient.
In this new sequel to a film that was essentially a high tech B-movie with playful energy infused throughout (which is what made it work in the first place), the biggest difference is the tone. Directed by Matt Reeves, this film takes itself very seriously indeed, and within the setup that all makes sense. Ten years have passed since the first movie, the human population having been ravaged by a virus that took out all but the genetically immune, leaving the intelligent apes to rule themselves deep in the wooded enclave where Caesar had them retreat at the end of Rise. They have built a home there in the forest, and Caesar even has a wife and two sons (although I admit I occasionally had trouble telling his son Blue Eyes from his wife at times- I assume that's why they make the effort to distinguish her by having her wear a flowery headband). The visual effects, not surprisingly, are amazing this time around, even more so than last time. Caesar's not the only ape in town now, and some of his pals from the first movie are back (Maurice, Koba) along with many new ones. Many of the new apes with significant roles are also played by motion capture actors, rendering their movements and expressions again, strikingly realistic. But this is where Andy Serkis really does reveal what a talent he is, because Caesar is still the only ape who seems as three-dimensional as any human man (maybe more), and when you see him in close-ups he seems to be thinking and feeling emotions to the point where you can forget he's not a man. That's not so with the others, who remain impressive special effects, but not more than that.
The human survivors this time are a group led by Jason Clarke and Gary Oldman, who live in a huddled colony outside the woods and accidentally come in contact with the apes one day. This leads to the conflict, which is fairly routine, to be honest. We know a war is coming and the humans and apes have to battle it out, so we already know where all this is headed. Clarke is the nice human, along with his wife (Keri Russell) and teenage son, while various others are the bad guys who hate the apes, want to take them out, etc. None of them are particularly interesting or developed, although the up and coming Jason Clarke does a nice job with the role, exhibiting an empathetic screen presence when interacting with what's presumably nothing on the screen beside him. Happily, the plot goes in a slightly different direction, as the twist in this film is that the apes are the ones who start the inevitable war with the humans, because the evil Koba, who was experimented on by lab scientists, hates humans so much that he goes against Caesar's orders and steals their guns, leading a revolt behind the leader's back.
This leads to chaos of course, and even though there's kind of a nice anti-gun message in here somewhere (it may have been unintentional), the beginning of the war that ensues is predictable and ends in what's really a non-ending, because this movie is functioning as a bridge in what's a planned trilogy (or perhaps more) where the apes will have to eventually defeat the humans if things are still headed in the original 1968 Planet of the Apes direction. I'm sort of hoping the next one bypasses the war altogether and skips to the part where all the apes can talk (most of them are still signing in this one) and are wearing clothes, walking around, etc., just so we can see how the CGI handles that aspect of it. The more seriously the movies take this concept, the harder it is to accept as a whole, but if we can just skip to where it feels like a whole other universe (and humans are a non-factor) that might be kind of cool to see. As of now, this is a visually spectacular, satisfying bridge entry in the series, and as long as Andy Serkis remains the star, I'm on board to the finish.
* * *
TRAILER: "Fifty Shades of Grey"
Expect this to be a huge hit next February, given how insanely popular the books were. I don't know, it looks kinda cheesy to me. I do like Jamie Dornan (he plays the creepy serial killer on The Fall), but here he just looks a million times tamer. You probably think that's a good thing, since he's actually not supposed to be a killer in this one, but he is supposed to have an intimidating, more dangerous look about him. I don't see it in this. Also, the whole touch of having Beyonce's re-mixed version of "Crazy in Love" playing over the trailer makes it seem extra marketed. This is just phony sensuality for a broad audience, not true eroticism (which actually makes it pretty close to the books I guess, given how trashy they were).
TRAILER: "Whiplash"
Finally, the movie that got the biggest reaction out of Sundance has a trailer out, and is set for release on October 10th. Have to say, it does look pretty great. Whiplash also stirred up Oscar buzz way back in January for J.K. Simmons as the sadistic music teacher you see here. Miles Teller looks good too as the student (his most significant performance so far was in last year's teen drama The Spectacular Now). Can't wait to see this one.
Blu-Ray Pick of the Week: "Witness for the Prosecution" (1957)
One of the great courtroom drama mysteries is out on blu-ray this week. This is a Billy Wilder essential (one of my all time favorite directors) with an all-star cast consisting of Charles Laughton, Elsa Lanchester, Marlene Dietrich and Tyrone Power. With that much star power on the screen you've got to check it out, right? Based on an Agatha Christie story (usually considered the best ever film adaptation of one of her works) and featuring the great Marlene Dietrich's best ever performance, this is a can't miss classic from the 1950's.
Original 1957 Trailer:
TRAILER: "Dear White People"
Another Sundance hit, from newcomer Justin Simien, who wrote and directed this satire about racial politics in the present day (which already makes it a refreshing take on the topic, since most movies about racism stay squarely focused on the long ago past). It got great reviews out of the festival and is coming out October 17th, so keep an eye out for this one, which is bound to garner a lot of press in the fall, be it due to controversy or praise.
FIRST LOOK: Gandalf and Bard in "The Hobbit: The Battle of the Five Armies"
A new picture has been released from the next Hobbit movie, coming out December 17th. As you've probably noticed by now, the release of pictures and posters usually means a trailer is right around the corner, so I'm guessing we can expect it sometime this week or next. For now, here's Gandalf and Bard from (supposed) last film in the forced trilogy made out of one book, The Battle of the Five Armies.
REVIEW: "Godzilla" (2014) Aaron Taylor-Johnson, Elizabeth Olsen. Dir. Gareth Edwards
The newly resurrected Godzilla is an oddly frustrating filmgoing experience. Directed by British filmmaker Gareth Edwards (who made the indie hit Monsters) with a clear reverence for and knowledge of the material, there are flashes of artistic vision and major filmmaking talent here- but very, very little of what people are paying to see in a movie called Godzilla. Namely, the title character.
Normally, this might be a good thing, as all film buffs are familiar with the old monster movie rule that too much of it spoils the magic, and glimpses of the shark in Jaws worked to extraordinary effect, better than seeing it all the time possibly could have, as the sequels subsequently proved. Edwards is very clearly of that particular school of thought, but he seems beholden by it to an unbearably maddening degree. In this new Godzilla, The King of the Monsters is probably on screen for less than 25% of the entire film, and whenever he is, he looks amazing- a gigantic CGI-created pre-historic beast that stomps through the city, breathes fire, and does battle with other dinosaur like creatures. But far, far too much of this movie chooses to deliberately cut away from Godzilla after glimpsing him for about ten seconds, to instead spend all of our time following the random military soldiers as they go about the business of pointlessly attempting to stop the beast, when the audience, and even some of the other characters in the movie, know full well there's nothing they can do.
A huge problem with this film lies in the human characters, all of whom are deathly boring and lack a single shred of audience investment in their plights. When what we want to see is Godzilla, and instead are ripped away from him every time he shows up, the stuff you're cutting away to better be good, or at least interesting enough to keep us from wishing we were watching something else. That is not the case in this film, as far too many scenes are wasted with the military soldiers and commanders, running to and from various buildings, telling each other what's happening and where the monsters are headed (instead of letting the audience see it for themselves), and watching the destruction on a tiny television screen, where again, we cannot see what's actually happening, even if they can.
Bryan Cranston starts the film off as an engineer who works in a power plant in Japan, where one day in 1999, the radiation levels were off the charts, leading to a disastrous explosion that killed his wife (Juliette Binoche). We then cut to 15 years later and our new protagonist has become Cranston and Binoche's adult son, a beefed up Aaron Taylor-Johnson, whose role is so underwritten he may as well be a literal GI Joe. He's married to Elizabeth Olsen and they have a son of their own, but when Cranston dies after having been proven right about his theories over what's been hiding under the surface of the radiation site (Godzilla of course), there is no longer any reason to spend any time with Johnson, who spends the rest of the movie occasionally trying to work with the military to do something futile, occasionally staring up at the sky, and occasionally worrying about getting back to his wife and kid. Olsen's role is even worse, as her scenes are even less urgent and more plentiful, as unlikely as that seems.
What action involving monsters in the movie that we do get includes a lot of scenes of other pre-historic beasts that came out of the ground as a result of nuclear bomb testing in the 50's- mechanical bending insect beasts known as MUTO's. The two MUTOS in the movie serve as the villains who go around tearing up San Francisco and Las Vegas, and Godzilla, our alpha predator, is the one that must confront and destroy them. Ken Watanabe, a Japanese scientist who knows the nature of the monster, states somewhere in the middle of the film that this is what must happen, so we all know that's where this is headed. And yet we still spend almost no time with Godzilla, way too much time with the boring humans who we've just been told cannot do anything to defeat these creatures, and seemingly to hold us over, Edwards lingers on long shots of the MUTOS (who are not nearly as visually interesting as he seems to think) as if they can compensate for the lack of Godzilla action we're getting. They cannot.
Despite the artful manner in which action scenes are set up (although when I say artful I don't mean original- so many sequences from this movie are ripped frame by frame from Jurassic Park that Spielberg should be paid royalties), the experience as a whole is too unsatisfying to recommend. If you want to get your money's worth of giant fighting creatures without having to suffer through a Michael Bay movie, a much better film overall is last year's Pacific Rim. Guillermo del Toro had a better understanding of what it is that audiences want in a movie like this, and what it is that's pointless to spend too much time on. Here's hoping Edwards gets the balance right in the sequel.
* *
