Ever since J.K. Rowling first introduced the world to a young wizard with a lightning-shaped scar on his forehead in 1997, the Harry Potter series has been nothing short of a global phenomenon. Devoted readers of the series were ecstatic when it was announced that Chris Columbus would be bringing Hogwarts to the silver screen in 2001, and for the past decade, the Harry Potter film series has been dominating the box-office, poised to overtake Star Wars as the most successful film franchise of all time. The films have been getting progressively darker since David Yates first took control of the franchise with 2007’s Order of the Phoenix, and many fans were curious to see if he could do true justice to Deathly Hallows, the epic and notoriously dark finale to Harry, Ron, and Hermione’s adventures. Given the enormous fan-base, marketing was simple, as all Warner Bros. had to do was progressively release more pictures and scenes from the film to get people excited, and as someone who grew up reading the books and watching the movies, I could not wait for Deathly Hallows, Part 1.
Of course, as an absolute Harry Potter fanatic, I loved Deathly Hallows, Part 1, as it was an incredibly loyal adaptation to Rowling’s book. Beyond that fact, the film still offers impressive special effects and a surprisingly strong level of acting, mixing humor and fear as these young wizards finally step outside the safety of Hogwarts castle. For those who have not read the book, I must warn that Deathly Hallows is drastically different from the previous films, toning down the innocent charm to make way for some considerably stronger adult themes, but the film handles the transition brilliantly. If I have one criticism, it is that the film clearly panders to those who have read the book; in fact, if you have not closely followed the book series, there are definite parts of Deathly Hallows, Part 1 that will be very confusing. Despite this small shortcoming, Harry Potter and the Deathly Hallows, Part 1 is still an immensely entertaining adventure that respects its source material and serves as a perfect way to say goodbye to the beloved series…the worst part of the whole experience is that I now have to wait until July for Part 2.
For more information, please read the full review.
Overall Recommendation: Very High
Thursday, November 25, 2010
Harry Potter and the Deathly Hallows, Part 1: Full Review
Harry Potter and the Deathly Hallows, Part 1 - (November 19th, 2010): PG-13
Distributor: Warner Bros.
Opening Weekend Box-Office: #1 with $125,017,372
Domestic Box-Office Gross to-date: $144,067,185
Gross Revenue: $349,067,185
Budget: Between approx. $200 and. $250 million
Director: David Yates
For the past decade, one series has dominated the fantasy film genre, drawing countless fans and generating billions of dollars in revenue, all by simply recreating the wizarding world that J.K. Rowling first introduced in 1997. Since 2001, and on almost a yearly basis, fans have eagerly awaited to see the next adventure that young wizards Harry, Ron, and Hermione would encounter as they continued their education at Hogwarts School of Witchcraft and Wizardry. Leading up to each new release, Warner Bros. followed a relatively simple marketing formula: gradually reveal different trailers, posters, and promotional images to build hype; show the previous films during a “Harry Potter” weekend on ABC Family to remind audiences of why they love the films in the first place; and finally, guarantee midnight showings for opening day so that diehard fans can prove their loyalty and dress in their favorite wizard costumes. The reality is that the Harry Potter franchise enjoys such an immense level of popularity that fans track the release months ahead of time and don’t really need to be convinced to go to the theater; as soon as fans are aware that the newest adventure is on its way, marketers can essentially let the film sell itself. The one common criticism of the film series among fans is that they (understandably) omit some material from the books, and even though fans normally can forgive this shortcoming, it was clear that this final chapter of the series could not be faithfully compressed into just one film. In order to fully tell the story (and generate even more revenue), Warner Bros. decided to split Deathly Hallows into 2 parts, and when you consider that early predictions for Part 1’s opening weekend box-office were as high as $120 million, it looked like fans were grateful that Hollywood decided to give the beloved series a proper send-off.
I’m going to assume that most of my readers have at least a basic understanding of the Harry Potter universe to avoid writing pages trying to set up the seventh movie. During the previous chapter in the series (Harry Potter and the Half-Blood Prince), it was established that Voldemort (Ralph Fiennes), the evil wizard hell-bent on killing Harry (Daniel Radcliffe), has obtained immortality by creating 7 Horcruxes (dark objects containing pieces of Voldemort’s fragmented soul). In order to defeat his enemy and protect the wizarding world, Harry must locate and destroy these 7 Horcruxes, and of course, he is aided by his loyal friends, Ron (Rupert Grint) and Hermione (Emma Watson). Though this task in itself is daunting, the situation is complicated by the fact that all-out war has broken out in the wizarding world, with Voldemort’s forces taking over the Ministry of Magic (the wizarding world’s form of government) and starting a ruthless hunt for Harry. Now fugitives outside the protection of their beloved school, (Hogwarts) Harry, Ron, and Hermione must work together to find and destroy these Horcruxes while facing untold dangers at every turn. Though the final confrontation between Harry and Voldemort won’t occur until Part 2, it’s clear that the series is building up to one epic finale.
As a hardcore fan of both the book and film series, I absolutely loved seeing my favorite scenes from the book adapted to the big screen, but looking beyond that aspect, I still appreciate the strong special effects and surprisingly strong acting that make Deathly Hallows, Part 1 a great film rather than just a faithful adaptation of the book. Considering the violent nature of the final book, fans are treated to numerous action sequences with stunning special effects, whether Harry and friends are trying to escape an attack by Death Eaters (Voldemort’s followers) or trying to infiltrate the Ministry of Magic. In another instance, Hermione reads the story pertaining to the mysterious objects known as the “Deathly Hallows,” and the narration is complimented by a unique form of animation, which adds another element of variety to the film. As far as acting goes, we have watched Daniel Radcliffe, Rupert Grint, and Emma Watson grow up on-screen for years, and it is apparent just how comfortable these young actors are with each other, as audiences truly feel the fear, uncertainty, and brief moments of levity that these friends encounter on their darkest journey. In one notable scene, Harry seeks to raise Hermione’s spirits by engaging in a light-hearted dance, and this heartwarming reminder of the friendship between the two is a genuine and welcome break from the darker themes present. Another example of strong acting comes when Harry, Ron, and Hermione decide to infiltrate the Ministry of Magic with the help of Polyjuice potion (a formula that allows one to assume the physical appearance of someone else); in essence, different actors portray Harry, Ron, and Hermione, and they do such a good job of mimicking the mannerisms and facial expressions of the original three that the audience forgets that they are not really watching Radcliffe, Grint, or Watson on-screen. Even if you are not an overly dedicated advocate of Pottermania, these strong elements should be more than enough to make Deathly Hallows, Part 1, worth seeing in theaters.
As much as I would love to say that Harry Potter and the Deathly Hallows, Part 1 is flawless; I do have one criticism for potential moviegoers. Even though producers broke the final book into two parts in order to cover and properly explain the series finale in its entirety, this film still assumes that viewers have not only read the book, but that they also remember minute details in their entirety. There were moments where one of the characters would make a claim or reference a plot element that I only understood because I have read the book several times; if you’re a casual fan, then there are definite elements of Deathly Hallows, Part 1 that I could see being very confusing. Though only a small portion of the fan-base will be susceptible to this confusion, it does limit the appeal of the film and I can’t help but feel it could have been easily solved with just a few more minutes of explanation. Another warning I have for audiences involves the dark nature of Deathly Hallows, Part 1; if you are expecting a cheery adventure in the halls of Hogwarts with a happy ending, at this point in the story you are going to be horrified. Characters die, others are maimed, and our heroes are fully exposed to the very real dangers present in the wizarding world…be prepared.
Based on the film’s opening weekend, it actually looks like analysts underestimated Harry Potter’s financial power at the box-office. Thanks to midnight showings alone, Deathly Hallows, Part 1 grossed $24 million, going on to bring in $61.2 million its first day and $125 million over the first weekend. As heart-broken and infuriated I am that this impressive performance did not outshine the recent Twilight sequels, Deathly Hallows, Part 1 can still claim other accomplishments, including the strongest opening of all the films in the series, the sixth highest domestic opening ever, and the top-grossing foreign opening for a film released outside the Summer Movie Season. Even considering the film’s high budget, I believe that with strong reviews, an impressive foreign performance, and the natural appeal for fans to see the film more than once, its’ clear that Warner Bros. will turn a nice profit and that Deathly Hallows, Part 1 will enjoy a long stay at the top of the box-office. Even with a darker theme and some confusing elements, Deathly Hallows, Part 1 is still a wonderful film that will please fans and set high expectations for Part 2, set to hit theaters in July.
Overall Recommendation: Very High
Distributor: Warner Bros.
Opening Weekend Box-Office: #1 with $125,017,372
Domestic Box-Office Gross to-date: $144,067,185
Gross Revenue: $349,067,185
Budget: Between approx. $200 and. $250 million
Director: David Yates
For the past decade, one series has dominated the fantasy film genre, drawing countless fans and generating billions of dollars in revenue, all by simply recreating the wizarding world that J.K. Rowling first introduced in 1997. Since 2001, and on almost a yearly basis, fans have eagerly awaited to see the next adventure that young wizards Harry, Ron, and Hermione would encounter as they continued their education at Hogwarts School of Witchcraft and Wizardry. Leading up to each new release, Warner Bros. followed a relatively simple marketing formula: gradually reveal different trailers, posters, and promotional images to build hype; show the previous films during a “Harry Potter” weekend on ABC Family to remind audiences of why they love the films in the first place; and finally, guarantee midnight showings for opening day so that diehard fans can prove their loyalty and dress in their favorite wizard costumes. The reality is that the Harry Potter franchise enjoys such an immense level of popularity that fans track the release months ahead of time and don’t really need to be convinced to go to the theater; as soon as fans are aware that the newest adventure is on its way, marketers can essentially let the film sell itself. The one common criticism of the film series among fans is that they (understandably) omit some material from the books, and even though fans normally can forgive this shortcoming, it was clear that this final chapter of the series could not be faithfully compressed into just one film. In order to fully tell the story (and generate even more revenue), Warner Bros. decided to split Deathly Hallows into 2 parts, and when you consider that early predictions for Part 1’s opening weekend box-office were as high as $120 million, it looked like fans were grateful that Hollywood decided to give the beloved series a proper send-off.
I’m going to assume that most of my readers have at least a basic understanding of the Harry Potter universe to avoid writing pages trying to set up the seventh movie. During the previous chapter in the series (Harry Potter and the Half-Blood Prince), it was established that Voldemort (Ralph Fiennes), the evil wizard hell-bent on killing Harry (Daniel Radcliffe), has obtained immortality by creating 7 Horcruxes (dark objects containing pieces of Voldemort’s fragmented soul). In order to defeat his enemy and protect the wizarding world, Harry must locate and destroy these 7 Horcruxes, and of course, he is aided by his loyal friends, Ron (Rupert Grint) and Hermione (Emma Watson). Though this task in itself is daunting, the situation is complicated by the fact that all-out war has broken out in the wizarding world, with Voldemort’s forces taking over the Ministry of Magic (the wizarding world’s form of government) and starting a ruthless hunt for Harry. Now fugitives outside the protection of their beloved school, (Hogwarts) Harry, Ron, and Hermione must work together to find and destroy these Horcruxes while facing untold dangers at every turn. Though the final confrontation between Harry and Voldemort won’t occur until Part 2, it’s clear that the series is building up to one epic finale.
As a hardcore fan of both the book and film series, I absolutely loved seeing my favorite scenes from the book adapted to the big screen, but looking beyond that aspect, I still appreciate the strong special effects and surprisingly strong acting that make Deathly Hallows, Part 1 a great film rather than just a faithful adaptation of the book. Considering the violent nature of the final book, fans are treated to numerous action sequences with stunning special effects, whether Harry and friends are trying to escape an attack by Death Eaters (Voldemort’s followers) or trying to infiltrate the Ministry of Magic. In another instance, Hermione reads the story pertaining to the mysterious objects known as the “Deathly Hallows,” and the narration is complimented by a unique form of animation, which adds another element of variety to the film. As far as acting goes, we have watched Daniel Radcliffe, Rupert Grint, and Emma Watson grow up on-screen for years, and it is apparent just how comfortable these young actors are with each other, as audiences truly feel the fear, uncertainty, and brief moments of levity that these friends encounter on their darkest journey. In one notable scene, Harry seeks to raise Hermione’s spirits by engaging in a light-hearted dance, and this heartwarming reminder of the friendship between the two is a genuine and welcome break from the darker themes present. Another example of strong acting comes when Harry, Ron, and Hermione decide to infiltrate the Ministry of Magic with the help of Polyjuice potion (a formula that allows one to assume the physical appearance of someone else); in essence, different actors portray Harry, Ron, and Hermione, and they do such a good job of mimicking the mannerisms and facial expressions of the original three that the audience forgets that they are not really watching Radcliffe, Grint, or Watson on-screen. Even if you are not an overly dedicated advocate of Pottermania, these strong elements should be more than enough to make Deathly Hallows, Part 1, worth seeing in theaters.
As much as I would love to say that Harry Potter and the Deathly Hallows, Part 1 is flawless; I do have one criticism for potential moviegoers. Even though producers broke the final book into two parts in order to cover and properly explain the series finale in its entirety, this film still assumes that viewers have not only read the book, but that they also remember minute details in their entirety. There were moments where one of the characters would make a claim or reference a plot element that I only understood because I have read the book several times; if you’re a casual fan, then there are definite elements of Deathly Hallows, Part 1 that I could see being very confusing. Though only a small portion of the fan-base will be susceptible to this confusion, it does limit the appeal of the film and I can’t help but feel it could have been easily solved with just a few more minutes of explanation. Another warning I have for audiences involves the dark nature of Deathly Hallows, Part 1; if you are expecting a cheery adventure in the halls of Hogwarts with a happy ending, at this point in the story you are going to be horrified. Characters die, others are maimed, and our heroes are fully exposed to the very real dangers present in the wizarding world…be prepared.
Based on the film’s opening weekend, it actually looks like analysts underestimated Harry Potter’s financial power at the box-office. Thanks to midnight showings alone, Deathly Hallows, Part 1 grossed $24 million, going on to bring in $61.2 million its first day and $125 million over the first weekend. As heart-broken and infuriated I am that this impressive performance did not outshine the recent Twilight sequels, Deathly Hallows, Part 1 can still claim other accomplishments, including the strongest opening of all the films in the series, the sixth highest domestic opening ever, and the top-grossing foreign opening for a film released outside the Summer Movie Season. Even considering the film’s high budget, I believe that with strong reviews, an impressive foreign performance, and the natural appeal for fans to see the film more than once, its’ clear that Warner Bros. will turn a nice profit and that Deathly Hallows, Part 1 will enjoy a long stay at the top of the box-office. Even with a darker theme and some confusing elements, Deathly Hallows, Part 1 is still a wonderful film that will please fans and set high expectations for Part 2, set to hit theaters in July.
Overall Recommendation: Very High
Due Date: Short and Sweet
As I said in my review for Megamind, the first weekend of November sets the tone for the Holiday Movie Season, and while Megamind clearly catered to children, Due Date made sure that older audiences had something to enjoy at the theater. Given the popularity of the two lead actors and the natural appeal of a road comedy, studio expectations were very high. Robert Downey Jr.’s career has been skyrocketing with the Iron Man franchise and other box-office hits like Tropic Thunder and Sherlock Holmes, and Zach Galifianakis has been charming audiences since his breakout performance in 2009’s The Hangover; putting these two together seemed like a recipe for comedic gold. The road film genre always has a relatively simple formula, finding characters traveling from point A and point B while encountering various obstacles…while it didn’t seem like there would be anything terribly unique about the plot of Due Date, marketers clearly tried to convince audiences that the interaction between Downey and Galifianakis would be enough to “drive” the film. As a big fan of both actors, I could have cared less if the plot was unique or emotionally deep, I was just expecting a good laugh with Due Date.
I am pleased to report that I was not disappointed with Due Date; I found it absolutely hysterical and completely agree with critics who have dubbed it a new comedy classic. Though the film started a little slow, once Downey’s aggravated sarcasm and Galifianakis’ childish ignorance start to conflict, audiences are treated to one of the funniest and most quotable films I have seen in a while. As can be expected, Downey is at his funniest when his character loses his temper, while Galifianakis essentially plays the same character that made him famous in The Hangover, and this gloriously mismatched odd couple spells some big laughs. However, I will admit that if you are not a fan of Galifianakis’ brand of humor, his buffoonish behavior could get pretty aggravating pretty fast. If you’re looking for a deep emotional journey or a wholly original plot, then Due Date will clearly fall short, but if all you want is a good laugh, then sit back and enjoy.
For more information, please read the full review.
Overall Recommendation: High
I am pleased to report that I was not disappointed with Due Date; I found it absolutely hysterical and completely agree with critics who have dubbed it a new comedy classic. Though the film started a little slow, once Downey’s aggravated sarcasm and Galifianakis’ childish ignorance start to conflict, audiences are treated to one of the funniest and most quotable films I have seen in a while. As can be expected, Downey is at his funniest when his character loses his temper, while Galifianakis essentially plays the same character that made him famous in The Hangover, and this gloriously mismatched odd couple spells some big laughs. However, I will admit that if you are not a fan of Galifianakis’ brand of humor, his buffoonish behavior could get pretty aggravating pretty fast. If you’re looking for a deep emotional journey or a wholly original plot, then Due Date will clearly fall short, but if all you want is a good laugh, then sit back and enjoy.
For more information, please read the full review.
Overall Recommendation: High
Due Date: Full Review
Due Date - (November 5th, 2010): R
Distributor: Warner Bros.
Opening Weekend Box-Office: #2 with $32,689,406
Domestic Box-Office Gross to-date: $72,431,594
Gross Revenue: $134,631,594
Budget: $65 million
Director: Todd Phillips
Towards the end of the summer I had commented on how reliable heist films are to satisfy audiences looking for action or suspense; to draw a similar comparison, history has increasingly shown that road films are a sure-fire way to deliver a successful comedy. Classics like Planes, Trains, and Automobiles, Tommy Boy, and Road Trip show that there is something inherently funny about conflicting personalities traveling together, and early marketing efforts made it clear that Due Date sought to repeat this formula. In fact, the marketing campaign for Due Date was remarkably simple; as a member of the road film genre, Due Date’s plot was not intended to be shockingly original or surprisingly…the chief appeal of this film was positioned to be the interactions of the two actors that would be traveling together. One of the more well-known trailers used a clever method to highlight the mismatch by playing-off the success of The Social Network and showing an over-eager Galifianakis trying to persuade a hesitant Downey to join him on the trip by claiming how many friends he had on Facebook. Whether he’s playing a superhero or detective, Robert Downey Jr. possesses a dry sarcasm and narcissism that paves the way for considerable humor, while Galifianakis has charmed audiences as a child-like doofus since he came to mainstream attention in 2009’s The Hangover; putting these two conflicting personalities in a car and sending them across the country together was sure to produce comedic gold.
Due Date starts by introducing audiences to the cynical Peter Highman (Robert Downey Jr.), who is just finishing a business trip in Atlanta and ready to return to Los Angeles to be present for the birth of his first child. While at the airport, Peter meets aspiring actor Ethan Tremblay (Zach Galifianakis), who happens to be heading to Hollywood, and through a series of misunderstandings, both are placed on the No Fly List. Ethan rents a car, and Peter (who discovers that he has lost his wallet), begrudgingly accepts the offer to join Ethan on a cross-country road trip. It quickly becomes apparent that the two men are polar opposites, and the on-edge Peter must contend with the outlandish Ethan, who engages in increasingly odd behavior, such as transporting his recently-deceased father’s ashes in a coffee can, continually falling asleep behind the wheel, or accidently driving across the border because he believed that the border station read “Texaco.” As the trip spirals more and more out of control, the audience is treated to some big laughs as they question whether these two men will even be able to survive the trip.
As far as comedies go, Due Date is absolutely hysterical, presenting one outrageous situation after another complemented by clever dialogue; I was tempted to go and see the movie again just so I could remember more of the quotes. Robert Downey Jr. more than proves his comedic talent; anytime he loses his temper, the audience knows that they can expect a big laugh. Galifianakis also steals the show as a well-meaning but wholly-destructive buffoon, often optimistically making an observation or suggestion that is so idiotic that the audience can only laugh in disbelief. Based solely on the interactions between these two fan-favorite actors, I can confidently say that Due Date is sure to become a comedy classic.
Despite the big laughs present, Due Date still has some weak points, the most apparent being that Zach Galifianakis plays almost the exact same character that he did in The Hangover, and if you found that character the least bit irritating, you are going to get tired of Due Date very, very fast. I also have to agree when critics say that the story itself is pretty unoriginal…it follows the formula of a road film so closely that if audiences weren’t fans of the actors, then Due Date would have absolutely nothing new or interesting to add. There are also a few unnecessary plot elements that slow the flow of the film, such as whenever Peter and Ethan try to have a genuine heartfelt conversation…with jokes flying off the screen, it just felt awkward that the narrative would try to interrupt the levity with brief moments of seriousness. I was also slightly disappointed in Jamie Foxx’s role in the film, as his presence as Peter’s best friend is so quick and out-of-place that Foxx’s talent as an actor feels under-used. In the end, despite these criticisms, I feel like audiences will appreciate the humor enough to forgive any shortcomings.
From a box-office perspective, Due Date has been performing very well, taking the number two spot its opening weekend behind Megamind with just under $33 million. When you consider that Due Date is an R-rated comedy that opened up against an animated family film, such a high opening weekend is incredibly impressive. Despite critics complaining about the unoriginal nature of the film, positive word-of-mouth has helped generate a strong audience. When you combine domestic and international box-office receipts, Due Date has already more than doubled its production budget, so Warner Bros. has set the bar very high for holiday comedies. At the very least, though the film isn’t perfect, Due Date is still a strong comedy that audiences shouldn’t miss.
Overall Recommendation: High
Distributor: Warner Bros.
Opening Weekend Box-Office: #2 with $32,689,406
Domestic Box-Office Gross to-date: $72,431,594
Gross Revenue: $134,631,594
Budget: $65 million
Director: Todd Phillips
Towards the end of the summer I had commented on how reliable heist films are to satisfy audiences looking for action or suspense; to draw a similar comparison, history has increasingly shown that road films are a sure-fire way to deliver a successful comedy. Classics like Planes, Trains, and Automobiles, Tommy Boy, and Road Trip show that there is something inherently funny about conflicting personalities traveling together, and early marketing efforts made it clear that Due Date sought to repeat this formula. In fact, the marketing campaign for Due Date was remarkably simple; as a member of the road film genre, Due Date’s plot was not intended to be shockingly original or surprisingly…the chief appeal of this film was positioned to be the interactions of the two actors that would be traveling together. One of the more well-known trailers used a clever method to highlight the mismatch by playing-off the success of The Social Network and showing an over-eager Galifianakis trying to persuade a hesitant Downey to join him on the trip by claiming how many friends he had on Facebook. Whether he’s playing a superhero or detective, Robert Downey Jr. possesses a dry sarcasm and narcissism that paves the way for considerable humor, while Galifianakis has charmed audiences as a child-like doofus since he came to mainstream attention in 2009’s The Hangover; putting these two conflicting personalities in a car and sending them across the country together was sure to produce comedic gold.
Due Date starts by introducing audiences to the cynical Peter Highman (Robert Downey Jr.), who is just finishing a business trip in Atlanta and ready to return to Los Angeles to be present for the birth of his first child. While at the airport, Peter meets aspiring actor Ethan Tremblay (Zach Galifianakis), who happens to be heading to Hollywood, and through a series of misunderstandings, both are placed on the No Fly List. Ethan rents a car, and Peter (who discovers that he has lost his wallet), begrudgingly accepts the offer to join Ethan on a cross-country road trip. It quickly becomes apparent that the two men are polar opposites, and the on-edge Peter must contend with the outlandish Ethan, who engages in increasingly odd behavior, such as transporting his recently-deceased father’s ashes in a coffee can, continually falling asleep behind the wheel, or accidently driving across the border because he believed that the border station read “Texaco.” As the trip spirals more and more out of control, the audience is treated to some big laughs as they question whether these two men will even be able to survive the trip.
As far as comedies go, Due Date is absolutely hysterical, presenting one outrageous situation after another complemented by clever dialogue; I was tempted to go and see the movie again just so I could remember more of the quotes. Robert Downey Jr. more than proves his comedic talent; anytime he loses his temper, the audience knows that they can expect a big laugh. Galifianakis also steals the show as a well-meaning but wholly-destructive buffoon, often optimistically making an observation or suggestion that is so idiotic that the audience can only laugh in disbelief. Based solely on the interactions between these two fan-favorite actors, I can confidently say that Due Date is sure to become a comedy classic.
Despite the big laughs present, Due Date still has some weak points, the most apparent being that Zach Galifianakis plays almost the exact same character that he did in The Hangover, and if you found that character the least bit irritating, you are going to get tired of Due Date very, very fast. I also have to agree when critics say that the story itself is pretty unoriginal…it follows the formula of a road film so closely that if audiences weren’t fans of the actors, then Due Date would have absolutely nothing new or interesting to add. There are also a few unnecessary plot elements that slow the flow of the film, such as whenever Peter and Ethan try to have a genuine heartfelt conversation…with jokes flying off the screen, it just felt awkward that the narrative would try to interrupt the levity with brief moments of seriousness. I was also slightly disappointed in Jamie Foxx’s role in the film, as his presence as Peter’s best friend is so quick and out-of-place that Foxx’s talent as an actor feels under-used. In the end, despite these criticisms, I feel like audiences will appreciate the humor enough to forgive any shortcomings.
From a box-office perspective, Due Date has been performing very well, taking the number two spot its opening weekend behind Megamind with just under $33 million. When you consider that Due Date is an R-rated comedy that opened up against an animated family film, such a high opening weekend is incredibly impressive. Despite critics complaining about the unoriginal nature of the film, positive word-of-mouth has helped generate a strong audience. When you combine domestic and international box-office receipts, Due Date has already more than doubled its production budget, so Warner Bros. has set the bar very high for holiday comedies. At the very least, though the film isn’t perfect, Due Date is still a strong comedy that audiences shouldn’t miss.
Overall Recommendation: High
Thursday, November 18, 2010
Megamind: Short and Sweet
Anyone who has read my previous reviews is aware of the depth of respect that I have for animated films, and after the level of success that both Toy Story 3 and Despicable Me achieved this past summer, Megamind had some high expectations to fulfill. Unfortunately, Will Ferrell’s recent projects have been hit-or-miss, but given his undeniable comedic talent, many were excited to see what he could do lending his voice to a titular character. I have said repeatedly that animated films have been getting funnier and funnier over the years, and with Will Ferrell’s supporting cast including comedic heavyweights Tina Fey, Jonah Hill, and David Cross, it looked like Megamind was going to be absolutely hysterical. Disney-Pixar is widely considered the infallible animation heavyweight, but over the years DreamWorks Animation has been getting stronger and stronger, more than proving its competence with established franchises such as Shrek and Madagascar, and with promising future franchises in the form of both Kung Fu Panda and How to Train Your Dragon; early buzz clearly believed that Megamind would push DreamWorks even closer to animation supremacy.
Given the buildup surrounding the release, the talented voice cast, and the creativity inherent in subject material, I confess that I was slightly disappointed in the finished product of Megamind. Spoofing the superhero and super-villain dynamic with the help of Will Ferrell and Tina Fey should have been comedic gold, but the sad reality is that I didn’t find Megamind all that funny or engaging. It almost seems like the film couldn’t decide if it was targeting children or an older audience, and as a result, a large amount of the film’s overall potential was lost. Another common characteristic of animated films is their strong blend of comedic and heartwarming plot elements (Wall-E and Toy Story 3 being easy examples), but again, this felt like another dynamic that Megamind attempted but just couldn’t fully achieve. In the end, Megamind is a solid film with impressive animation and some clever elements, but it still falls short of the standard that other animated films have established over the years.
For more information, please read the full review.
Overall Recommendation: Medium
Given the buildup surrounding the release, the talented voice cast, and the creativity inherent in subject material, I confess that I was slightly disappointed in the finished product of Megamind. Spoofing the superhero and super-villain dynamic with the help of Will Ferrell and Tina Fey should have been comedic gold, but the sad reality is that I didn’t find Megamind all that funny or engaging. It almost seems like the film couldn’t decide if it was targeting children or an older audience, and as a result, a large amount of the film’s overall potential was lost. Another common characteristic of animated films is their strong blend of comedic and heartwarming plot elements (Wall-E and Toy Story 3 being easy examples), but again, this felt like another dynamic that Megamind attempted but just couldn’t fully achieve. In the end, Megamind is a solid film with impressive animation and some clever elements, but it still falls short of the standard that other animated films have established over the years.
For more information, please read the full review.
Overall Recommendation: Medium
Megamind: Full Review
Megamind - (November 5th, 2010): PG
Distributor: Paramount Pictures
Opening Weekend Box-Office: #1 with $46,016,833
Domestic Box-Office Gross to-date: $88,822,635
Gross Revenue: $116,916,163
Budget: $130 million
Director: Tom McGrath
If the first weekend of May represents the beginning of the Summer Movie Season, then the first weekend of November clearly represents the beginning of the Holiday Movie Season, and interestingly enough, Paramount was able to lead both these weekends in with a movie involving the superhero genre. But where Iron Man 2 was focused on replicating the success of the original and faithfully adapting the superhero’s source material, Megamind sought to bring a comedic twist to traditional perceptions of a super-villain. From a marketing perspective, animated films always have a strong draw for audiences of all ages, especially when they come from a studio with DreamWorks’ impressive track record, but that didn’t stop Paramount and DreamWorks for pursuing an aggressive campaign. Trailers for Megamind were understandably attached to numerous family films, but leading up to its release, potential audiences spotted the titular character on everything from a billboard to a Happy Meal. Perhaps the most unique experiential marketing tool that the studios used to promote Megamind involved a rally that encouraged fans to dress up and join Will Ferrell in an attempt to set a world record for Largest Gathering of Superheroes. With over 1,500 hundred participants gathering on October 2nd, the rally not only grabbed national headlines, but it also set off “Megamonth,” a month-long promotion that included regional contests, marathons, and festivals…the overall effect brilliantly targeted fans of both animation and superheroes (two immensely large and loyal segments). As a member of both segments, I was understandably excited for Megamind.
Turning the traditional comic-book dynamic on its head, the central protagonist of Megamind actually identifies himself as a villain. Megamind (Will Ferrell) is a super-intelligent alien who relishes trying to take over the fictional Metro City and defeating his nemesis, the Superman-inspired hero Metro Man (Brad Pitt). Despite his intelligence, Megamind routinely fails in his attempted conquests, but one day, to his shock, Megamind actually manages to destroy his nemesis, and with the help of his trusty sidekick, Minion (David Cross), the villain begins wreaking havoc on Metro City. Though initially reveling in his success, Megamind quickly finds himself bored without a hero to fight, so he takes it upon himself to create a new nemesis, wrongly electing lonely cameraman Hal Stewart (Jonah Hill) to be a hero. Unfortunately, Hal decides to uses his new powers for evil, so, with the help of Lois Lane-inspired reporter Roxanne Ritchi (Tina Fey). Megamind finds himself obligated to step into a new role, that of a hero.
In my opinion, a strong voice cast adds considerably to the quality of an animated film, and I truly enjoyed how the actors in this case helped bring life to the characters of Megamind. Tina Fey brought the perfect amount of sarcasm to her skeptical reporter, while David Cross’ exasperated loyalty as a second-in-command added an enjoyable dynamic, but the true standout performance was Will Ferrell, whose silliness and energy fully embodied the manic humor of Megamind himself…in my opinion, no other actor could have successfully played the character. I will admit that Brad Pitt felt a little underused in the film, but as his character does not play that large of a part in the narrative, this shortcoming is pretty easy to forgive. In addition to the voice cast, the biggest positive aspect of Megamind is its impressive animation, which is especially emphasized during some of the more complicated action sequences within the film. Of course, the film was released in 3D, and like many recent entries, the technology was underused…the tragedy is in the fact that it was largely unnecessary, because the visual effects were stunning enough on their own that it didn’t really matter if they jumped off the screen. With the solid voice work and the showcasing of the ever-improving quality of animation, Megamind had plenty of positive reasons to draw a strong audience.
However, despite these positive aspects, the biggest criticism that I have for Megamind is that the film itself should have been much better, and I largely blame this unfulfilled potential on the film-makers’ confusion over whether Megamind was intended for younger or older audiences. Let me clarify, one of the main reasons that current animated films are popular with a wide range of audiences is that they balance silly humor for children with the occasional clever joke that older movie-goers can chuckle at, but some of the best humor within Megamind is so complicated that I doubt most audiences will get the joke. When audiences have to work that hard for a laugh, the overall level of humor remains low, and when you consider the comedic talent of the voice cast, it’s pretty disappointing that I sat in the theater constantly waiting to laugh. Another example of the unclear positioning of Megamind had to do with the film’s soundtrack, which clearly catered to older movie-goers…I understand that Megamind himself is a villain, but it still felt a little inappropriate that the artists featured included AC/DC, Ozzy Osbourne, and Guns N’ Roses, especially when a majority of the audience is children. When it is this unclear whether Megamind is supposed to be silly or serious, it is difficult to know how to react to the film’s attempts as emotion; for instance, the protagonist’s attempts at romance with Roxanne seem so out of place that it just ends up coming across as awkward. Besides this unclear positioning, the fact remains that with the sheer volume of material available concerning the superhero and super-villain mythos, Megamind should have been more creative and engaging.
From a box-office perspective, Megamind has been performing incredibly well, taking the top spot its opening weekend with just over $46 million, outperforming the other big weekend release (Due Date) and setting the impressive tone for the Holiday Movie Season. While I don’t necessarily agree with all of the glowing reviews that critics have for this newest animated comedy, I don’t think that Paramount will have any trouble recovering the production budget. If DreamWorks plans to turn Megamind into a franchise, I hope that they will tweak future installments to make them funnier and more heartwarming. Megamind isn’t a bad movie, and Will Ferrell did provide some good laughs, but when you consider the quality of some of the more recent animated films, I still don’t think that there are enough elements that necessitate rushing to the theater for this film.
Overall Recommendation: Medium
Distributor: Paramount Pictures
Opening Weekend Box-Office: #1 with $46,016,833
Domestic Box-Office Gross to-date: $88,822,635
Gross Revenue: $116,916,163
Budget: $130 million
Director: Tom McGrath
If the first weekend of May represents the beginning of the Summer Movie Season, then the first weekend of November clearly represents the beginning of the Holiday Movie Season, and interestingly enough, Paramount was able to lead both these weekends in with a movie involving the superhero genre. But where Iron Man 2 was focused on replicating the success of the original and faithfully adapting the superhero’s source material, Megamind sought to bring a comedic twist to traditional perceptions of a super-villain. From a marketing perspective, animated films always have a strong draw for audiences of all ages, especially when they come from a studio with DreamWorks’ impressive track record, but that didn’t stop Paramount and DreamWorks for pursuing an aggressive campaign. Trailers for Megamind were understandably attached to numerous family films, but leading up to its release, potential audiences spotted the titular character on everything from a billboard to a Happy Meal. Perhaps the most unique experiential marketing tool that the studios used to promote Megamind involved a rally that encouraged fans to dress up and join Will Ferrell in an attempt to set a world record for Largest Gathering of Superheroes. With over 1,500 hundred participants gathering on October 2nd, the rally not only grabbed national headlines, but it also set off “Megamonth,” a month-long promotion that included regional contests, marathons, and festivals…the overall effect brilliantly targeted fans of both animation and superheroes (two immensely large and loyal segments). As a member of both segments, I was understandably excited for Megamind.
Turning the traditional comic-book dynamic on its head, the central protagonist of Megamind actually identifies himself as a villain. Megamind (Will Ferrell) is a super-intelligent alien who relishes trying to take over the fictional Metro City and defeating his nemesis, the Superman-inspired hero Metro Man (Brad Pitt). Despite his intelligence, Megamind routinely fails in his attempted conquests, but one day, to his shock, Megamind actually manages to destroy his nemesis, and with the help of his trusty sidekick, Minion (David Cross), the villain begins wreaking havoc on Metro City. Though initially reveling in his success, Megamind quickly finds himself bored without a hero to fight, so he takes it upon himself to create a new nemesis, wrongly electing lonely cameraman Hal Stewart (Jonah Hill) to be a hero. Unfortunately, Hal decides to uses his new powers for evil, so, with the help of Lois Lane-inspired reporter Roxanne Ritchi (Tina Fey). Megamind finds himself obligated to step into a new role, that of a hero.
In my opinion, a strong voice cast adds considerably to the quality of an animated film, and I truly enjoyed how the actors in this case helped bring life to the characters of Megamind. Tina Fey brought the perfect amount of sarcasm to her skeptical reporter, while David Cross’ exasperated loyalty as a second-in-command added an enjoyable dynamic, but the true standout performance was Will Ferrell, whose silliness and energy fully embodied the manic humor of Megamind himself…in my opinion, no other actor could have successfully played the character. I will admit that Brad Pitt felt a little underused in the film, but as his character does not play that large of a part in the narrative, this shortcoming is pretty easy to forgive. In addition to the voice cast, the biggest positive aspect of Megamind is its impressive animation, which is especially emphasized during some of the more complicated action sequences within the film. Of course, the film was released in 3D, and like many recent entries, the technology was underused…the tragedy is in the fact that it was largely unnecessary, because the visual effects were stunning enough on their own that it didn’t really matter if they jumped off the screen. With the solid voice work and the showcasing of the ever-improving quality of animation, Megamind had plenty of positive reasons to draw a strong audience.
However, despite these positive aspects, the biggest criticism that I have for Megamind is that the film itself should have been much better, and I largely blame this unfulfilled potential on the film-makers’ confusion over whether Megamind was intended for younger or older audiences. Let me clarify, one of the main reasons that current animated films are popular with a wide range of audiences is that they balance silly humor for children with the occasional clever joke that older movie-goers can chuckle at, but some of the best humor within Megamind is so complicated that I doubt most audiences will get the joke. When audiences have to work that hard for a laugh, the overall level of humor remains low, and when you consider the comedic talent of the voice cast, it’s pretty disappointing that I sat in the theater constantly waiting to laugh. Another example of the unclear positioning of Megamind had to do with the film’s soundtrack, which clearly catered to older movie-goers…I understand that Megamind himself is a villain, but it still felt a little inappropriate that the artists featured included AC/DC, Ozzy Osbourne, and Guns N’ Roses, especially when a majority of the audience is children. When it is this unclear whether Megamind is supposed to be silly or serious, it is difficult to know how to react to the film’s attempts as emotion; for instance, the protagonist’s attempts at romance with Roxanne seem so out of place that it just ends up coming across as awkward. Besides this unclear positioning, the fact remains that with the sheer volume of material available concerning the superhero and super-villain mythos, Megamind should have been more creative and engaging.
From a box-office perspective, Megamind has been performing incredibly well, taking the top spot its opening weekend with just over $46 million, outperforming the other big weekend release (Due Date) and setting the impressive tone for the Holiday Movie Season. While I don’t necessarily agree with all of the glowing reviews that critics have for this newest animated comedy, I don’t think that Paramount will have any trouble recovering the production budget. If DreamWorks plans to turn Megamind into a franchise, I hope that they will tweak future installments to make them funnier and more heartwarming. Megamind isn’t a bad movie, and Will Ferrell did provide some good laughs, but when you consider the quality of some of the more recent animated films, I still don’t think that there are enough elements that necessitate rushing to the theater for this film.
Overall Recommendation: Medium
Subscribe to:
Comments (Atom)