When I reviewed Harry Potter and the Deathly Hallows, Part 1 back in November, I elaborated on how the Harry Potter film series based on J.K. Rowling’s insanely popular novels was on par to become the most lucrative film franchise in history. Given the success of that first installment of the two-part epic finale, it was an absolute no-brainer that Part 2 would be the undisputed champion of the 2011 Summer Movie Season. After David Yates went to such elaborate lengths to set up the back-story for the final chapter in Harry’s story with such solemn maturity and pacing in Part 1, devoted fans knew that they had nothing to look forward to but no-holds-barred action in Harry Potter and the Deathly Hallows, Part 2. Leading up to the film’s release, media coverage was relentless, with countless news specials detailing the fact that Daniel Radcliffe, Rupert Grint, and Emma Watson were about to say goodbye to the characters that made them famous in a climactic battle between good and evil that had been building since audiences first met Harry on the big screen in 2001’s Harry Potter and the Sorcerer’s Stone. Having bought my tickets to the midnight screening a full three weeks in-advanced, I was more than ready to visit Hogwarts one final time.
Back in the summer of 2007, like countless fans, my imagination was in overdrive as I read the details of the infamous “Battle of Hogwarts” that takes place in the seventh and final book of the Harry Potter series, dreaming of how it would be adapted to film, and thankfully, David Yates was more than happy to pay due service to the hopes of Potter fanatics around the world. To call Harry Potter and the Deathly Hallows, Part 2 epic is a bit of an understatement, as screenwriter Steve Kloves and the special effects artists painstaking detailed the most exciting parts from the book to make sure that audiences would be on the edge of their seats the entire time. Noticeably darker and more emotionally-charged than any entry in the series, the cast of Part 2 go out of their way to bring deeper dimensions to the revered literary characters, the two standouts being Alan Rickman as the ever-complex and malicious Severus Snape and Helena Bonham Carter as the thoroughly psychotic Bellatrix Lestrange. Of course, as the final entry in the series, some storyline omissions and lip-service character appearances and sure to disappoint fans of the book, especially when one considers the fact that, at just over two hours, Part 2 is the shortest entry in the series. Still, ending on an undeniably emotional high note and breaking every box office record out there, Harry Potter and the Deathly Hallows, Part 2 fully does justice to the global phenomenon surrounding the young wizard with the lightning-shaped scar.
For more information, please read the full review.
Overall Recommendation: Very High
Monday, July 18, 2011
Harry Potter and the Deathly Hallows, Part 2: Full Review
Harry Potter and the Deathly Hallows, Part 2 - (July 15th, 2011): PG-13
Distributor: Warner Bros. Pictures
Opening Weekend Box-Office: #1 with $168,550,000
Domestic Box-Office Gross to-date: $168,550,000
Gross Revenue: $475,550,000
Production Budget: $250 million (Shared with Part 1)
Director: David Yates
If you turned on a television or picked up a magazine during the weeks leading up to July 15, chances are good that you were barraged with previews and news specials detailing Harry Potter and the Deathly Hallows, Part 2. “Harry Potter Weekend” on ABC Family, a special interview with the cast on Larry King Live, a special collector’s edition of Entertainment Weekly, footage of fans camping out to get tickets…everyone knew that Harry, Ron, and Hermione were about to embark on their last adventure. Potter loyalists around the world rejoiced when it was first announced that Warner Bros. would be splitting the epic seventh book of the Harry Potter series into two films, and after Part 1 fully set up the events surrounding the final conflict between good and evil in the wizarding world established by J.K. Rowling, there was nothing left to do but sit back and watch the action. As has come to be expected from the film series, early critical response to Part 2 was overwhelmingly positive, and analysts knew that this summer release would break every box office record out there; hardcore fans would undoubtedly see the film multiple times, while even the most casual of followers would be eager to see the final entry in the historic series…in 3D. After growing up with the books and following the films for the last decade, saying goodbye to Harry was going to be difficult, but with a tagline like “It All Ends,” I knew that there was no way filmmakers would risk disappointing fans.
Back in November, Deathly Hallows, Part 1 established that the evil Lord Voldemort (Ralph Fiennes) had risen to power while Harry (Danielle Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) were tasked with hunting down and destroying the six horcruxes containing fragments of the Dark Lord’s soul. At the end of the first film, the trio discovered the existence of the fabled magical artifacts, the Deathly Hallows: the Cloak of Invisibility, the Resurrection Stone, and the Elder Wand, the most powerful wand in existence. By the beginning of Part 2, Voldemort has obtained the Elder Wand; Hogwarts is now under the control of Severus Snape (Alan Rickman), who murdered former headmaster Albus Dumbledore (Michael Gambon) in the sixth film; and Harry, Ron, and Hermione, have decided to break into Gringotts Bank in order to retrieve and destroy another horcrux. Once Voldemort discovers that his secret to immortality is being threatened and it is revealed that another horcrux is hidden inside Hogwarts, Harry must race against time and finally return to the school. With Hogwarts faculty and students teaming with the Order of the Phoenix to defend against Voldemort and his advancing army of Death Eaters, the stage is set for a final confrontation that has been years in the making.
Some of the more casual Potter fans were slightly disappointed by the lack of action and slow pacing in Deathly Hallows, Part I, but that shortcoming is effectively destroyed this time around, because Part 2 hits the ground running. Escaping from Gringotts on the back of a Dragon, fleeing a wall of fire in the Room of Requirement, and battling thousands of Death Eaters, the spectacular action and brutal danger that Harry, Ron, and Hermione, all experience just does not stop; and it all jumps off the screen with glorious special effects that are only further enhanced by 3D technology. Within the first five minutes, it is blatantly obvious that this film is the darkest in the series, and each of the actors approach their roles with undeniable maturity and talent; the trio all demonstrate how much they have grown over the years by moving past simplistic innocence, but the real surprises are Alan Rickman and Helena Bonham Carter. As Severus Snape, Rickman embodies an iconic presence on the screen, bringing the complex character to life in as tragic and menacing way as possible. As for Bonham Carter, she has always relished her time as the psychotic Death Eater Bellatrix Lestrange, but this time around, her tremendous acting ability is showcased as she portrays another character. Similar to the Ministry of Magic sequence in Part 1, Hermione uses Polyjuice potion to adopt the physical appearance of someone else, none other than Bellatrix herself; watching Bonham Carter embody Emma Watson’s nervous mannerisms as Hermione-in-disguise is supremely entertaining, especially since we have watched her play a cold-blooded murderer for so long. Beyond the action and acting, there were some disappointing omissions in transferring the story of Part 2 from print to screen, but it is still done in such a stylish way that it is easily forgivable.
As a hardcore devotee who has read each of the books multiple times, I could easily compile a laundry list of every plot line or character that is missing from this finale, and while I acknowledge that some elements had to be cut down, some are so minor that it’s a little insulting that the filmmakers wouldn’t just include them to placate the fans who would be first to point out the discrepancies. At just over two hours, Deathly Hallows, Part 2 is the shortest entry in the film series, and when you consider that this is the last time the beloved characters will be seen together, you cannot help but question some of David Yates’ choices; c’mon, add another twenty minutes to evenly pace some of the rushed opening scenes, further elaborate on some of the more complex storylines, prolong the final goodbye, or at least pay more than mere lip-service to some of the more beloved characters…fan-favorite Hagrid (Robbie Coltrane) is on-screen for less than two minutes and only has two lines, and that’s a shame. Still, there is something to be said for the high levels of emotions that the final goodbye generates; true fans know every element of the story, and the fact that they can still cry when a character dies, cheer when Neville Longbottom (Matthew Lewis) finally embraces his inner-hero, and feel chills as Hogwarts prepares for battle is insanely impressive. Parents be warned, if your young kids have not read the book and are expecting another cheery Quidditch match, you might want to think twice before letting them see the gory action, scary images, and truly mature themes that surround the final conflict. At the very least, Part 2 does end on a positive note; without spoiling anything for those who don’t know how the story concludes, I have to complement the creative final scene, which is a heartwarming and nostalgic reward for fans…the perfect way to say goodbye to the magic of Harry Potter.
When I saw that some midnight showings of Deathly Hallows, Part 2 were sold out three weeks ahead of time, I knew it was going to break some impressive records, but in the end, it absolutely decimated the box office. Both internationally and domestically, Deathly Hallows, Part 2 broke fifteen records related to ticket sales, including, but not limited to, $43.5 million generated from midnight showings alone and a single day gross of $92.1 million. With an opening weekend of $168.55 million across 11,000 screens in 4,375 locations, Part 2 boasts the highest-grossing opening weekend ever, dethroning 2008’s The Dark Knight which previously held the record with $158.4 million…the rights to both juggernauts happen to belong to Warner Bros., and I guarantee the executives were doing back-flips when the first numbers came in. In three days alone, the boy wizard raked in just under half-a-billion dollars across the world, more than covering the pricey production budget of $250 million that ran across both Part 1 and Part 2. With J.K. Rowling’s much-hyped website Pottermore hitting in October, fans still have much to look forward to related to new content, but there has to be some sadness over no more films being made…don’t worry, Warner Bros. Studios, Leavesden is opening a The Making of Harry Potter studio tour in London in Spring 2012. At the very least, don’t miss this epic and fully enjoyable finale that is now just as historic as its revered source content.
Overall Recommendation: Very High
Distributor: Warner Bros. Pictures
Opening Weekend Box-Office: #1 with $168,550,000
Domestic Box-Office Gross to-date: $168,550,000
Gross Revenue: $475,550,000
Production Budget: $250 million (Shared with Part 1)
Director: David Yates
If you turned on a television or picked up a magazine during the weeks leading up to July 15, chances are good that you were barraged with previews and news specials detailing Harry Potter and the Deathly Hallows, Part 2. “Harry Potter Weekend” on ABC Family, a special interview with the cast on Larry King Live, a special collector’s edition of Entertainment Weekly, footage of fans camping out to get tickets…everyone knew that Harry, Ron, and Hermione were about to embark on their last adventure. Potter loyalists around the world rejoiced when it was first announced that Warner Bros. would be splitting the epic seventh book of the Harry Potter series into two films, and after Part 1 fully set up the events surrounding the final conflict between good and evil in the wizarding world established by J.K. Rowling, there was nothing left to do but sit back and watch the action. As has come to be expected from the film series, early critical response to Part 2 was overwhelmingly positive, and analysts knew that this summer release would break every box office record out there; hardcore fans would undoubtedly see the film multiple times, while even the most casual of followers would be eager to see the final entry in the historic series…in 3D. After growing up with the books and following the films for the last decade, saying goodbye to Harry was going to be difficult, but with a tagline like “It All Ends,” I knew that there was no way filmmakers would risk disappointing fans.
Back in November, Deathly Hallows, Part 1 established that the evil Lord Voldemort (Ralph Fiennes) had risen to power while Harry (Danielle Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) were tasked with hunting down and destroying the six horcruxes containing fragments of the Dark Lord’s soul. At the end of the first film, the trio discovered the existence of the fabled magical artifacts, the Deathly Hallows: the Cloak of Invisibility, the Resurrection Stone, and the Elder Wand, the most powerful wand in existence. By the beginning of Part 2, Voldemort has obtained the Elder Wand; Hogwarts is now under the control of Severus Snape (Alan Rickman), who murdered former headmaster Albus Dumbledore (Michael Gambon) in the sixth film; and Harry, Ron, and Hermione, have decided to break into Gringotts Bank in order to retrieve and destroy another horcrux. Once Voldemort discovers that his secret to immortality is being threatened and it is revealed that another horcrux is hidden inside Hogwarts, Harry must race against time and finally return to the school. With Hogwarts faculty and students teaming with the Order of the Phoenix to defend against Voldemort and his advancing army of Death Eaters, the stage is set for a final confrontation that has been years in the making.
Some of the more casual Potter fans were slightly disappointed by the lack of action and slow pacing in Deathly Hallows, Part I, but that shortcoming is effectively destroyed this time around, because Part 2 hits the ground running. Escaping from Gringotts on the back of a Dragon, fleeing a wall of fire in the Room of Requirement, and battling thousands of Death Eaters, the spectacular action and brutal danger that Harry, Ron, and Hermione, all experience just does not stop; and it all jumps off the screen with glorious special effects that are only further enhanced by 3D technology. Within the first five minutes, it is blatantly obvious that this film is the darkest in the series, and each of the actors approach their roles with undeniable maturity and talent; the trio all demonstrate how much they have grown over the years by moving past simplistic innocence, but the real surprises are Alan Rickman and Helena Bonham Carter. As Severus Snape, Rickman embodies an iconic presence on the screen, bringing the complex character to life in as tragic and menacing way as possible. As for Bonham Carter, she has always relished her time as the psychotic Death Eater Bellatrix Lestrange, but this time around, her tremendous acting ability is showcased as she portrays another character. Similar to the Ministry of Magic sequence in Part 1, Hermione uses Polyjuice potion to adopt the physical appearance of someone else, none other than Bellatrix herself; watching Bonham Carter embody Emma Watson’s nervous mannerisms as Hermione-in-disguise is supremely entertaining, especially since we have watched her play a cold-blooded murderer for so long. Beyond the action and acting, there were some disappointing omissions in transferring the story of Part 2 from print to screen, but it is still done in such a stylish way that it is easily forgivable.
As a hardcore devotee who has read each of the books multiple times, I could easily compile a laundry list of every plot line or character that is missing from this finale, and while I acknowledge that some elements had to be cut down, some are so minor that it’s a little insulting that the filmmakers wouldn’t just include them to placate the fans who would be first to point out the discrepancies. At just over two hours, Deathly Hallows, Part 2 is the shortest entry in the film series, and when you consider that this is the last time the beloved characters will be seen together, you cannot help but question some of David Yates’ choices; c’mon, add another twenty minutes to evenly pace some of the rushed opening scenes, further elaborate on some of the more complex storylines, prolong the final goodbye, or at least pay more than mere lip-service to some of the more beloved characters…fan-favorite Hagrid (Robbie Coltrane) is on-screen for less than two minutes and only has two lines, and that’s a shame. Still, there is something to be said for the high levels of emotions that the final goodbye generates; true fans know every element of the story, and the fact that they can still cry when a character dies, cheer when Neville Longbottom (Matthew Lewis) finally embraces his inner-hero, and feel chills as Hogwarts prepares for battle is insanely impressive. Parents be warned, if your young kids have not read the book and are expecting another cheery Quidditch match, you might want to think twice before letting them see the gory action, scary images, and truly mature themes that surround the final conflict. At the very least, Part 2 does end on a positive note; without spoiling anything for those who don’t know how the story concludes, I have to complement the creative final scene, which is a heartwarming and nostalgic reward for fans…the perfect way to say goodbye to the magic of Harry Potter.
When I saw that some midnight showings of Deathly Hallows, Part 2 were sold out three weeks ahead of time, I knew it was going to break some impressive records, but in the end, it absolutely decimated the box office. Both internationally and domestically, Deathly Hallows, Part 2 broke fifteen records related to ticket sales, including, but not limited to, $43.5 million generated from midnight showings alone and a single day gross of $92.1 million. With an opening weekend of $168.55 million across 11,000 screens in 4,375 locations, Part 2 boasts the highest-grossing opening weekend ever, dethroning 2008’s The Dark Knight which previously held the record with $158.4 million…the rights to both juggernauts happen to belong to Warner Bros., and I guarantee the executives were doing back-flips when the first numbers came in. In three days alone, the boy wizard raked in just under half-a-billion dollars across the world, more than covering the pricey production budget of $250 million that ran across both Part 1 and Part 2. With J.K. Rowling’s much-hyped website Pottermore hitting in October, fans still have much to look forward to related to new content, but there has to be some sadness over no more films being made…don’t worry, Warner Bros. Studios, Leavesden is opening a The Making of Harry Potter studio tour in London in Spring 2012. At the very least, don’t miss this epic and fully enjoyable finale that is now just as historic as its revered source content.
Overall Recommendation: Very High
Friday, July 15, 2011
Horrible Bosses: Short and Sweet
As I said in my review for Bad Teacher, this summer has been undoubtedly dominated by the raunchy adult comedy genre, and perhaps one of the most eagerly anticipated entries was Horrible Bosses. Positioned in such a way as to be appealing to anyone who has ever had an employer that they’ve despised, the biggest buzz builder for Horrible Bosses was its ensemble cast. The presence of Hollywood veterans Kevin Spacey and Jamie Foxx was more than enough to draw a crowd, but additions like Jason Bateman and rising stars Jason Sudeikis and Charlie Day were just icing on the cake. The two surprises were Colin Farrell and Jennifer Aniston; Farrell hasn’t been that prevalent in theaters for a while, and Aniston has been consistently hounded by the media concerning every film she makes or every relationship she pursues. As a fan of every member of this strong cast, my anticipation for Horrible Bosses was only enhanced by the tremendously positive buzz surrounding this newest comedy.
I had worried that my expectations for Horrible Bosses may have been a little too high, but I am glad to report that this comedy is one of the funniest films I have ever seen, rivaling other recent R-rated juggernauts like The Hangover or Bridesmaids. Other comedies take a while to build momentum and have funny scenes interspersed between a tamer narratives designed to develop other elements of the story, but in the case of Horrible Bosses, the film is completely hysterical from start-to-finish. Within the cast, the “bosses” shine as each actor fully embraces the abusive personas of their ludicrous characters, with Jennifer Aniston standing-out as the aggressively-sexy and manipulative Dr. Julie Harris. In terms of the abused employees, Jason Bateman, Jason Sudeikis, and Charlie Day work incredibly well together, effectively dethroning Bradley Cooper, Ed Helms, and Zach Galifianakis’ “Wolfpack” as the go-to comedy team. If you have ever been a disgruntled employee on any level, you will instantaneously empathize with the downtrodden protagonists and absolutely adore the ludicrous and hysterically dark comedy offered by Horrible Bosses.
For more information, please read the full review.
Overall Recommendation: Very High
I had worried that my expectations for Horrible Bosses may have been a little too high, but I am glad to report that this comedy is one of the funniest films I have ever seen, rivaling other recent R-rated juggernauts like The Hangover or Bridesmaids. Other comedies take a while to build momentum and have funny scenes interspersed between a tamer narratives designed to develop other elements of the story, but in the case of Horrible Bosses, the film is completely hysterical from start-to-finish. Within the cast, the “bosses” shine as each actor fully embraces the abusive personas of their ludicrous characters, with Jennifer Aniston standing-out as the aggressively-sexy and manipulative Dr. Julie Harris. In terms of the abused employees, Jason Bateman, Jason Sudeikis, and Charlie Day work incredibly well together, effectively dethroning Bradley Cooper, Ed Helms, and Zach Galifianakis’ “Wolfpack” as the go-to comedy team. If you have ever been a disgruntled employee on any level, you will instantaneously empathize with the downtrodden protagonists and absolutely adore the ludicrous and hysterically dark comedy offered by Horrible Bosses.
For more information, please read the full review.
Overall Recommendation: Very High
Horrible Bosses: Full Review
Horrible Bosses - (July 8th, 2011): R
Distributor: Warner Bros. Pictures
Opening Weekend Box-Office: #2 with $28,302,165
Domestic Box-Office Gross to-date: $42,372,139
Gross Revenue: $42,372,139
Production Budget: $35 million
Director: Seth Gordon
When it comes to building an ensemble cast, Warner Bros. absolutely swung for the fences when it started casting for Horrible Bosses. Screenwriter Michael Markowitz wrote the lead role specifically for Jason Bateman, but for the other disgruntled employees that would be facing off against A-list managers; the casting director wisely looked for lesser-known but undoubtedly talented television actors. Jason Sudeikis has been a loyal fan-base from his work on Saturday Night Live, while Charlie Day undoubtedly enjoys the cult-following that surrounds FX’s It’s Always Sunny in Philadelphia. Kevin Spacey, Jamie Foxx, and Colin Farrell were all welcome, if mildly surprising, additions to the cast, but the biggest question marks surrounded Jennifer Aniston. Beyond the fame she gained from Friends, Aniston has had some well-publicized trouble as a lead actress (The Bounty Hunter and The Switch), but anytime she relegates to a supporting role, the result has always been both commercially and critically successful (Bruce Almighty and Marley & Me). Early critical praise was surprisingly strong, and having had a few incompetent supervisors in the past, I was more than ready for a good laugh with Horrible Bosses.
As the title suggests, Horrible Bosses follows three workers who are perpetually abused by thoroughly psychotic bosses. Nick Hendricks (Jason Bateman) is a financial analyst in-line for a promotion that his boss, Dave Harkin (Kevin Spacey) ultimately gives to himself. Dale Arbus (Charlie Day) is a dental assistant who is consistently sexually harassed by his manipulative and sex-crazed supervisor, Dr. Julia Harris (Jennifer Aniston). Kurt Buckman (Jason Sudeikis) is an accountant who actually enjoys his job, but suddenly finds himself answering to the cocaine-addicted kung fu enthusiast Bobby Pellitt (Colin Ferrell), when his former boss (and Bobby’s father) suddenly passes away. Fed up and pushed to the limit, Nick, Dale, and Kurt, all decide that their lives would be better if their bosses were no longer around, and after hiring murder consultant Dean “Motherf*%#er” Jones (Jamie Foxx), they each decide to kill each other’s bosses…think Alfred Hitchcock’s Strangers on a Train. Despite the dark plot, considerable dark comedy also ensues, making Horrible Bosses one of the best comedies of the year.
To call Horrible Bosses funny is a drastic understatement, as I was laughing hysterically throughout the entire film, as the jokes start almost instantaneously and just do not stop. Each of the characters is off-the-wall insane, but that is where the inherent appeal of the film lies. Bateman, Day, and Sudeikis work surprisingly well together, but Charlie Day is easily the funniest of the three, portraying his character as so tweaked-out and neurotic that you cannot help but hang on his every word and movement, waiting for the next hysterical freak-out. Kevin Spacey is the menacing psychopath that everyone loves to hate, and Colin Ferrell gives a new meaning to the term “tool,” but Jennifer Anniston steals the show with a character that is such a far departure from her normal roles that her on-screen presence is mesmerizing. I personally wouldn’t mind if Dr. Julia Harris was my boss, but given Dale’s status as an engaged man, one tends to sympathize. Despite the consistent laughs, some critics have still found elements to criticize, but on closer inspection, all are easily forgivable.
Looking at the core premise, the idea of three white-collar employees resorting to murder is ridiculous, but again, this break from reality appeals to everyone’s darker tendencies…I’m not saying that we’ve all thought about premeditated murder, but everyone, and I mean everyone, has had a boss/teacher/authority figure they have hated on some level. Of course the plot shouldn’t be taken seriously and the story is going to have a few holes in it, but seriously, anyone expecting anything deeper only had to consider that Jamie Foxx’s character’s name is “Motherf*%#er” Jones. You may not be running to your friends to praise the brilliant emotional depth or the real-world accuracy of the narrative, but I guarantee that you will be quoting the film for weeks…bottom line, don’t take it too seriously and just have fun. The jokes and characters are raunchy, dark, and above-all, consistent, and that makes Horrible Bosses inherently likable and entertaining.
From a box office perspective, even though Horrible Bosses obviously wasn’t going to dethrone Transformers: Dark of the Moon, the fact that a non-franchise R-rated comedy made just under $30 million its opening weekend is still impressive. Even without an international presence, Warner Bros. has already recovered its modest $35 million budget, and I expect word-of-mouth to keep the film on everyone’s radar until the next adult comedy hits in early August. Incidentally, the next comedy to look for, The Change-Up, also stars Jason Bateman, but I’m sure that audiences would love to see more of every cast member from Horrible Bosses. At the very least, hopefully the tabloids will stop predicting the doom of Jennifer Aniston’s career, because I guarantee that this comedy proves that the sexy starlet is not going anywhere. It may not be the best film to discuss at the water cooler while your supervisor is walking by, but that doesn’t mean that you are going to enjoy Horrible Bosses any less.
Overall Recommendation: Very High
Distributor: Warner Bros. Pictures
Opening Weekend Box-Office: #2 with $28,302,165
Domestic Box-Office Gross to-date: $42,372,139
Gross Revenue: $42,372,139
Production Budget: $35 million
Director: Seth Gordon
When it comes to building an ensemble cast, Warner Bros. absolutely swung for the fences when it started casting for Horrible Bosses. Screenwriter Michael Markowitz wrote the lead role specifically for Jason Bateman, but for the other disgruntled employees that would be facing off against A-list managers; the casting director wisely looked for lesser-known but undoubtedly talented television actors. Jason Sudeikis has been a loyal fan-base from his work on Saturday Night Live, while Charlie Day undoubtedly enjoys the cult-following that surrounds FX’s It’s Always Sunny in Philadelphia. Kevin Spacey, Jamie Foxx, and Colin Farrell were all welcome, if mildly surprising, additions to the cast, but the biggest question marks surrounded Jennifer Aniston. Beyond the fame she gained from Friends, Aniston has had some well-publicized trouble as a lead actress (The Bounty Hunter and The Switch), but anytime she relegates to a supporting role, the result has always been both commercially and critically successful (Bruce Almighty and Marley & Me). Early critical praise was surprisingly strong, and having had a few incompetent supervisors in the past, I was more than ready for a good laugh with Horrible Bosses.
As the title suggests, Horrible Bosses follows three workers who are perpetually abused by thoroughly psychotic bosses. Nick Hendricks (Jason Bateman) is a financial analyst in-line for a promotion that his boss, Dave Harkin (Kevin Spacey) ultimately gives to himself. Dale Arbus (Charlie Day) is a dental assistant who is consistently sexually harassed by his manipulative and sex-crazed supervisor, Dr. Julia Harris (Jennifer Aniston). Kurt Buckman (Jason Sudeikis) is an accountant who actually enjoys his job, but suddenly finds himself answering to the cocaine-addicted kung fu enthusiast Bobby Pellitt (Colin Ferrell), when his former boss (and Bobby’s father) suddenly passes away. Fed up and pushed to the limit, Nick, Dale, and Kurt, all decide that their lives would be better if their bosses were no longer around, and after hiring murder consultant Dean “Motherf*%#er” Jones (Jamie Foxx), they each decide to kill each other’s bosses…think Alfred Hitchcock’s Strangers on a Train. Despite the dark plot, considerable dark comedy also ensues, making Horrible Bosses one of the best comedies of the year.
To call Horrible Bosses funny is a drastic understatement, as I was laughing hysterically throughout the entire film, as the jokes start almost instantaneously and just do not stop. Each of the characters is off-the-wall insane, but that is where the inherent appeal of the film lies. Bateman, Day, and Sudeikis work surprisingly well together, but Charlie Day is easily the funniest of the three, portraying his character as so tweaked-out and neurotic that you cannot help but hang on his every word and movement, waiting for the next hysterical freak-out. Kevin Spacey is the menacing psychopath that everyone loves to hate, and Colin Ferrell gives a new meaning to the term “tool,” but Jennifer Anniston steals the show with a character that is such a far departure from her normal roles that her on-screen presence is mesmerizing. I personally wouldn’t mind if Dr. Julia Harris was my boss, but given Dale’s status as an engaged man, one tends to sympathize. Despite the consistent laughs, some critics have still found elements to criticize, but on closer inspection, all are easily forgivable.
Looking at the core premise, the idea of three white-collar employees resorting to murder is ridiculous, but again, this break from reality appeals to everyone’s darker tendencies…I’m not saying that we’ve all thought about premeditated murder, but everyone, and I mean everyone, has had a boss/teacher/authority figure they have hated on some level. Of course the plot shouldn’t be taken seriously and the story is going to have a few holes in it, but seriously, anyone expecting anything deeper only had to consider that Jamie Foxx’s character’s name is “Motherf*%#er” Jones. You may not be running to your friends to praise the brilliant emotional depth or the real-world accuracy of the narrative, but I guarantee that you will be quoting the film for weeks…bottom line, don’t take it too seriously and just have fun. The jokes and characters are raunchy, dark, and above-all, consistent, and that makes Horrible Bosses inherently likable and entertaining.
From a box office perspective, even though Horrible Bosses obviously wasn’t going to dethrone Transformers: Dark of the Moon, the fact that a non-franchise R-rated comedy made just under $30 million its opening weekend is still impressive. Even without an international presence, Warner Bros. has already recovered its modest $35 million budget, and I expect word-of-mouth to keep the film on everyone’s radar until the next adult comedy hits in early August. Incidentally, the next comedy to look for, The Change-Up, also stars Jason Bateman, but I’m sure that audiences would love to see more of every cast member from Horrible Bosses. At the very least, hopefully the tabloids will stop predicting the doom of Jennifer Aniston’s career, because I guarantee that this comedy proves that the sexy starlet is not going anywhere. It may not be the best film to discuss at the water cooler while your supervisor is walking by, but that doesn’t mean that you are going to enjoy Horrible Bosses any less.
Overall Recommendation: Very High
Zookeeper: Short and Sweet
Love him or hate him, there’s really no middle ground when it comes to Kevin James, the former sitcom star who has been struggling a bit to make a fully successful transition to the silver screen. While I tend to enjoy his self-depreciating humor and thought he demonstrated some considerable entertainment value in 2007’s I Now Pronounce You Chuck and Larry, some of his more recent ventures (Paul Blart: Mall Cop, Grown Ups, and The Dilemma) have failed to completely charm audiences. I’ll admit that I rolled my eyes a bit when I first saw the trailer for this newest project, but then again, watching humans interact with talking animals is usually surprisingly effective; I mean, if Dr. Doolittle could make Eddie Murphy watchable, then why couldn’t Zookeeper do the same for Kevin James? Add this potential to the unusual, yet strong voice cast that included Adam Sandler, Sylvester Stallone, Cher, and Nick Nolte, and maybe Kevin James would finally be able to placate all the naysayers. After preparing myself for some inevitably juvenile jokes, I actually found myself actually looking forward to Zookeeper.
Well, I’m not sure if Kevin James was actively trying to prove that he’s not funny or if the script gave him absolutely nothing to work with, but make no mistake about it…Zookeeper is awful. You can only watch a fat guy “accidentally” hurt himself for so long before he transforms from a lovable buffoon into an obnoxious jackass. The story is pretty linear and the characters are completely one-dimensional, but the biggest failure present in this summer comedy is the animals themselves. It is not exactly hard to lend your voice to an animal in an entertaining manner, but for some reason almost every voice actor felt the need to manipulate their lines in the most annoying way possible…if you thought Adam Sandler sounded like an idiot in The Waterboy, wait until you hear him as a Capuchin monkey. With only a handful of chuckle-worthy jokes, Zookeeper isn’t going to convince anyone to label Kevin James as Hollywood’s next go-to comedy actor; I guarantee you have something better to do with your time than see this film.
For more information, please read the full review.
Overall Recommendation: Very Low
Well, I’m not sure if Kevin James was actively trying to prove that he’s not funny or if the script gave him absolutely nothing to work with, but make no mistake about it…Zookeeper is awful. You can only watch a fat guy “accidentally” hurt himself for so long before he transforms from a lovable buffoon into an obnoxious jackass. The story is pretty linear and the characters are completely one-dimensional, but the biggest failure present in this summer comedy is the animals themselves. It is not exactly hard to lend your voice to an animal in an entertaining manner, but for some reason almost every voice actor felt the need to manipulate their lines in the most annoying way possible…if you thought Adam Sandler sounded like an idiot in The Waterboy, wait until you hear him as a Capuchin monkey. With only a handful of chuckle-worthy jokes, Zookeeper isn’t going to convince anyone to label Kevin James as Hollywood’s next go-to comedy actor; I guarantee you have something better to do with your time than see this film.
For more information, please read the full review.
Overall Recommendation: Very Low
Zookeeper: Full Review
Zookeeper - (July 8th, 2011): PG
Distributor: Columbia Pictures (subsidiary of Sony Pictures Entertainment)
Opening Weekend Box-Office: #3 with $20,065,617
Domestic Box-Office Gross to-date: $30,052,466
Gross Revenue: $37,552,466
Production Budget: $80 million
Director: Frank Coraci
From a developmental standpoint, there really wasn’t anything that groundbreaking about Zookeeper, unless you count the fact that it would be Kevin James’ first solo run at the theater after the disappointing Paul Blart: Mall Cop. Given the fact that the film was produced by Happy Madison and thereby guaranteeing a certain brand of humor, it wasn’t surprising in the least that Adam Sandler was going to be lending his voice to one of the animals, but for me, that was anything but a strong selling point. As any of my regular readers know, after the sub-par Grown Ups and the disastrous Just Go With It, I have no problem in declaring that Adam Sandler isn’t funny anymore…if you disagree, go watch the trailer for his newest film, Jack & Jill. Luckily, I still find Kevin James entertaining, and some of the other cast additions (like Ken Jeong and Rosario Dawson or voice actors Sylvester Stallone and Cher) made it look like Zookeeper might actually be worth seeing. Regardless of the cast, some tell-tale signs still warned that Zookeeper could prove disastrous, but I was still convinced that it would take a tremendous effort to screw up a family comedy that featured talking animals.
In perhaps the most appropriately titled film of the summer, Zookeeper follows the recently dumped and perpetually lonely animal caretaker Griffin Keyes (Kevin James). Despite his heartbreak, Griffin takes pride in his role as head zookeeper of the local zoo, working alongside eagle-expert Kate (Rosario Dawson) and reptile specialist Venom (Ken Jeong). When Griffin’s ex-flame Stephanie (Leslie Bibb) resurfaces and hints that she would take him back if he decided to leave the zoo, the loyal animals Griffin cares for decide to break their code of silence. With the help of Joe the lion (Sylvester Stallone), Janet the lioness (Cher), Donald the Capuchin monkey (Adam Sandler), and Bernie the gorilla (Nick Nolte), the zoo animals dedicate themselves to teaching Griffin how to become the alpha male and win Stephanie back without quitting his job. Despite his efforts, Griffin soon finds that he is competing with another one of Stephanie’s ex-boyfriends, Gale (Joe Rogan), and he must soon decide if he is truly willing to change himself for someone who dumped him in the first place.
For balance, I usually like to start my analysis by listing the positive elements of a film, but unfortunately, there aren’t too many present in Zookeeper. I usually enjoy watching Kevin James, and his character is endearing and likable enough, but his antics get old very quickly; imagine over an hour-and-a-half of: “oh look, Griffin fell down…again.” Had the script given a little more screen-time to Ken Jeong or Rosario Dawson, both of whom actually brought some heart and humor to the film, I feel like the end result would have been far more balanced and infinitely more entertaining. As far as the story goes, the concept of a zookeeper finding out that the animals he cares for can talk and have decided to help him was novel enough, but in the end, the filmmakers just couldn’t execute. Being able to identify only two or three mildly funny moments in a family comedy is pretty tragic, and I lay most of the blame on the animals who were supposed to be the stars of the film.
When I first saw the voice cast listing for Zookeeper, I couldn’t believe how grossly misplaced some of the names seemed; Adam Sandler, Jon Favreau, and Maya Rudolph are no strangers to comedy, but how in the hell did Columbia Pictures sign Sylvester Stallone, Nick Nolte, and Cher? To their credit, Stallone, Nolte, and Cher actually ended up providing the most entertaining animal-voices, but that also means that the other voice actors failed horribly. At the top of that dubious list is none other than Adam Sandler…we may have tolerated his buffoonish rambling when he was in Billy Madison or part of the SNL cast, but it’s time for him to grow up…it’s NOT funny anymore. For unknown reasons, most of the “voice talent” decided follow Sandler’s lead and manipulate their voices to try and make the animals sound funny, but it just came across as completely idiotic; I doubt that even five-year-olds were amused by all the pandering. Bottom line, audiences, both young and old alike, deserve far better.
Opening up in third place behind Transformers: Dark of the Moon and Horrible Bosses had to sting a little bit for Zookeeper, but just over $20 million in its opening weekend is still a pretty respectable haul for a family comedy. Unfortunately, this colossal disappointment cost $80 million to make, and with every family either heading to Winnie the Pooh or Harry Potter and the Deathly Hallows: Part 2 in the next few weeks, Columbia Pictures is guaranteed to lose money. If Kevin James truly wants to become a movie star, he needs to stop picking projects that continually justify labeling him as Adam Sandler’s new lapdog…looks like you’re off the hook Rob Schneider. If you are looking for a painful way to waste both your time and money, then you should buy your ticket for Zookeeper immediately.
Overall Recommendation: Very Low
Distributor: Columbia Pictures (subsidiary of Sony Pictures Entertainment)
Opening Weekend Box-Office: #3 with $20,065,617
Domestic Box-Office Gross to-date: $30,052,466
Gross Revenue: $37,552,466
Production Budget: $80 million
Director: Frank Coraci
From a developmental standpoint, there really wasn’t anything that groundbreaking about Zookeeper, unless you count the fact that it would be Kevin James’ first solo run at the theater after the disappointing Paul Blart: Mall Cop. Given the fact that the film was produced by Happy Madison and thereby guaranteeing a certain brand of humor, it wasn’t surprising in the least that Adam Sandler was going to be lending his voice to one of the animals, but for me, that was anything but a strong selling point. As any of my regular readers know, after the sub-par Grown Ups and the disastrous Just Go With It, I have no problem in declaring that Adam Sandler isn’t funny anymore…if you disagree, go watch the trailer for his newest film, Jack & Jill. Luckily, I still find Kevin James entertaining, and some of the other cast additions (like Ken Jeong and Rosario Dawson or voice actors Sylvester Stallone and Cher) made it look like Zookeeper might actually be worth seeing. Regardless of the cast, some tell-tale signs still warned that Zookeeper could prove disastrous, but I was still convinced that it would take a tremendous effort to screw up a family comedy that featured talking animals.
In perhaps the most appropriately titled film of the summer, Zookeeper follows the recently dumped and perpetually lonely animal caretaker Griffin Keyes (Kevin James). Despite his heartbreak, Griffin takes pride in his role as head zookeeper of the local zoo, working alongside eagle-expert Kate (Rosario Dawson) and reptile specialist Venom (Ken Jeong). When Griffin’s ex-flame Stephanie (Leslie Bibb) resurfaces and hints that she would take him back if he decided to leave the zoo, the loyal animals Griffin cares for decide to break their code of silence. With the help of Joe the lion (Sylvester Stallone), Janet the lioness (Cher), Donald the Capuchin monkey (Adam Sandler), and Bernie the gorilla (Nick Nolte), the zoo animals dedicate themselves to teaching Griffin how to become the alpha male and win Stephanie back without quitting his job. Despite his efforts, Griffin soon finds that he is competing with another one of Stephanie’s ex-boyfriends, Gale (Joe Rogan), and he must soon decide if he is truly willing to change himself for someone who dumped him in the first place.
For balance, I usually like to start my analysis by listing the positive elements of a film, but unfortunately, there aren’t too many present in Zookeeper. I usually enjoy watching Kevin James, and his character is endearing and likable enough, but his antics get old very quickly; imagine over an hour-and-a-half of: “oh look, Griffin fell down…again.” Had the script given a little more screen-time to Ken Jeong or Rosario Dawson, both of whom actually brought some heart and humor to the film, I feel like the end result would have been far more balanced and infinitely more entertaining. As far as the story goes, the concept of a zookeeper finding out that the animals he cares for can talk and have decided to help him was novel enough, but in the end, the filmmakers just couldn’t execute. Being able to identify only two or three mildly funny moments in a family comedy is pretty tragic, and I lay most of the blame on the animals who were supposed to be the stars of the film.
When I first saw the voice cast listing for Zookeeper, I couldn’t believe how grossly misplaced some of the names seemed; Adam Sandler, Jon Favreau, and Maya Rudolph are no strangers to comedy, but how in the hell did Columbia Pictures sign Sylvester Stallone, Nick Nolte, and Cher? To their credit, Stallone, Nolte, and Cher actually ended up providing the most entertaining animal-voices, but that also means that the other voice actors failed horribly. At the top of that dubious list is none other than Adam Sandler…we may have tolerated his buffoonish rambling when he was in Billy Madison or part of the SNL cast, but it’s time for him to grow up…it’s NOT funny anymore. For unknown reasons, most of the “voice talent” decided follow Sandler’s lead and manipulate their voices to try and make the animals sound funny, but it just came across as completely idiotic; I doubt that even five-year-olds were amused by all the pandering. Bottom line, audiences, both young and old alike, deserve far better.
Opening up in third place behind Transformers: Dark of the Moon and Horrible Bosses had to sting a little bit for Zookeeper, but just over $20 million in its opening weekend is still a pretty respectable haul for a family comedy. Unfortunately, this colossal disappointment cost $80 million to make, and with every family either heading to Winnie the Pooh or Harry Potter and the Deathly Hallows: Part 2 in the next few weeks, Columbia Pictures is guaranteed to lose money. If Kevin James truly wants to become a movie star, he needs to stop picking projects that continually justify labeling him as Adam Sandler’s new lapdog…looks like you’re off the hook Rob Schneider. If you are looking for a painful way to waste both your time and money, then you should buy your ticket for Zookeeper immediately.
Overall Recommendation: Very Low
Wednesday, July 13, 2011
Transformers - Dark of the Moon: Short and Sweet
Of all the directors out there, there are few that generate as much criticism as Michael Bay, who has become known for favoring loud explosions, rotating camera angles, and a gratuitous idolization of the U.S. Military over actual substance in his films. Still, with blockbuster credits like The Rock, Armageddon, Pearl Harbor, and the Bad Boys and Transformers series, Bay has generated billions of dollars at the box office. In regards to Bay’s biggest franchise, when it was first introduced, the idea of adapting a summer film from Hasbro toys sounded ridiculous, but then Bay surprised everyone using stylish special effects to bring giant alien robots to life in a spectacular fashion in 2007’s Transformers. Unfortunately, 2009’s much anticipated sequel, Revenge of the Fallen, almost completely dropped the ball by using controversial characters and mind-numbingly idiotic story-telling. Even though Bay was going to try and redeem some of his severely-damaged credibility with Dark of the Moon, my expectations were near-zero; still, early buzz was claiming that this sequel was not only the greatest action movie ever, but also easily the best use of 3D technology since 2009’s Avatar.
For the first hour of Dark of the Moon, I was convinced that Michael Bay had completely screwed the pooch…again. I have not walked out of a film in years, but the painfully bad story, annoying characters, and shocking lack of humor, had me seriously considering breaking that record. Shia LaBeouf’s fidgety, neurotic arrogance may have been endearing when he was playing a high school student, but now, it is just painfully irritating; as for Megan Fox’s much-hyped replacement, Rosie Huntington-Whitley serves as little more than eye candy, making a cardboard cutout look dramatic. Thankfully, what Dark of the Moon lacks in competent storytelling, it more than makes up for in gratuitous violence and jaw-dropping action…Optimus Prime makes other action heroes look like complete wimps, dispatching Decepticons with the brutality of a Mortal Kombat character. Though it is sad that moviegoers can legitimately skip the first hour of the film, Transformers: Dark of the Moon has more than enough action to narrowly avoid completely going down in 3D-rendered flames.
For more information, please read the full review.
Overall Recommendation: Medium
For the first hour of Dark of the Moon, I was convinced that Michael Bay had completely screwed the pooch…again. I have not walked out of a film in years, but the painfully bad story, annoying characters, and shocking lack of humor, had me seriously considering breaking that record. Shia LaBeouf’s fidgety, neurotic arrogance may have been endearing when he was playing a high school student, but now, it is just painfully irritating; as for Megan Fox’s much-hyped replacement, Rosie Huntington-Whitley serves as little more than eye candy, making a cardboard cutout look dramatic. Thankfully, what Dark of the Moon lacks in competent storytelling, it more than makes up for in gratuitous violence and jaw-dropping action…Optimus Prime makes other action heroes look like complete wimps, dispatching Decepticons with the brutality of a Mortal Kombat character. Though it is sad that moviegoers can legitimately skip the first hour of the film, Transformers: Dark of the Moon has more than enough action to narrowly avoid completely going down in 3D-rendered flames.
For more information, please read the full review.
Overall Recommendation: Medium
Transformers - Dark of the Moon: Full Review
Transformers: Dark of the Moon - (June 29th, 2011): PG-13
Distributor: Paramount Pictures
Opening Weekend Box-Office: #1 with $97,852,865
Domestic Box-Office Gross to-date: $273,009,241
Gross Revenue: $679,221,956
Production Budget: $195 million
Director: Michael Bay
Prior to 2009’s Revenge of the Fallen, I actually had a favorable opinion of the Transformers franchise, but after watching Michael Bay take a creative idea and destroy it in the most idiotic and blatantly offensive way possible, I was ready to declare the franchise dead and buried. Not surprisingly though, with flashing lights and big robots, this science-fiction series still made millions and was able to justify the executive decision to push another sequel forward. Gratuitous merchandising and the expected partnership with Burger King aside, the biggest buzz-builder for Dark of the Moon involved the fact that series mainstay Megan Fox would not be reprising her role as the female lead and Shia LaBeouf’s love-interest. It was no secret that Fox and director Michael Bay clashed on the set of Revenge of the Fallen, but when Fox called Bay a “Nazi” in an interview, producer Steven Spielberg apparently picked up the phone and demanded her job. Well, after this decision to forego one of the biggest draws of the entire franchise and sacrifice what little appeal still existed, my expectations for Dark of the Moon hit rock bottom, so there was no possible way I could be disappointed at the theater…right?
I could spend pages explaining the Transformers franchise, but instead I am just going to assume that most of my readers are relatively familiar with the planet Cybertron and the ongoing battle between the Autobots and the Decepticons. Revising established history, Dark of the Moon opens in 1961 with a Cybertronian spacecraft crash-landing on the moon, setting off the Space Race between the United States and the Soviet Union. Fast forward to present day and Sam Witwicky (Shia LaBeouf) is struggling to find work despite the support of his new girlfriend Carly (Rosie Huntington-Whiteley), all while the Autobots work with the U.S. Military to solve conflicts around the world. Soon enough, Optimus Prime (Peter Cullen), Bumblebee, and the newly-resurrected Sentinel Prime (Leonard Nimoy) discover that Megatron (Hugo Weaving) and the Decepticons are hatching a plan in collaboration with human power-players that will ultimately enslave humanity. With the help of old friends like Colonel William Lennox (Josh Duhamel), Chief Robert Epps (Tyrese Gibson), and former Section 7 chief Seymour Simmons (John Turturro), Sam and Carly team with the Autobots to once again save the world.
Early promotions for Dark of the Moon were claiming that this newest sequel was one of the greatest action movies ever, and thanks to a truly kick-ass sequence that showcases a decimated Chicago cityscape for an extended portion of the film, I largely agree. Once the action starts, it just does not stop, with military skydivers gliding into battle, Decepticons destroying entire buildings, and Optimus Prime and Bumblebee completely decimating any Decepticon unlucky enough to cross their path…all in the 3D. Michael Bay usually gets so much grief for gratuitous explosions and obsessive showcasing of military weaponry, but this time around, he actually pulls off this eccentricity in a glorious fashion with considerable style. In terms of the humans present, Bay wisely toned down John Turturro’s screen-time, making him far less abrasive and annoying than he was in Revenge of the Fallen, while new cast additions Patrick Dempsy and Frances McDormand step out of their comfort zones and bring some character depth to the screen that has been conspicuously missing from this franchise for years. With these enjoyable sequences and characters, Dark of the Moon would have gotten a much higher rating, had it not taken over an hour for any of these impressive elements to surface.
In an attempt to make Dark of the Moon about more than giant robots beating the hell out of each other, Michael Bay attempted to flesh out a new chapter in the story of his series protagonist before jumping into the action, and he failed…miserably. In the first hour of this sequel, the film abandons any attempts at logic, humor, or cohesive storytelling, and for a while, it looked like Bay had made a sequel just as bad as Revenge of the Fallen. Though the story is just as culpable, I blame this nosedive in quality primarily on Shia LaBeouf and Rosie Huntington-Whiteley; with all of his screaming, insecurity, and fidgety arrogance, it is hard to imagine why Shia LaBeouf is famous at all. As for Ms. Rosie, though she is nice to look at and wardrobe went out of their way to put her in dresses that accentuate the qualities that made her an underwear model in the first place, she still makes Megan Fox look like Meryl Streep in terms of acting ability…Michael Bay clearly picked his favorite out of the Victoria’s Secret catalog and then digitally removed the cue cards she was reading from during filming. I’m going to level with you, save yourself the embarrassment and show up to Dark of the Moon an hour into its run time; you will walk right into the action and not have missed a thing.
Despite some lackluster elements, Transformers: Dark of the Moon is still setting all kinds of records at the box office, even after an opening weekend just shy of $100 million. With a first-weekend worldwide total of $382.4 million, Dark of the Moon earned the second-largest opening of all time behind Harry Potter and the Half-Blood Prince…add that achievement to the fact that the film reached $500 million in worldwide receipts in just 9 days, and it is clear that audiences don’t care about the sub-par story or characters of this franchise in the least. When it comes to the future of the Transformers films, Michael Bay has gone on record saying that Dark of the Moon would be his last Transformers film, but Paramount has already announced that a fourth film will launch yet another trilogy, so we have not seen the last of the Autobots. Were I to give any recommendations to future filmmakers, I would simply argue that if they insist on parading around eye-candy with no discernible acting talent, they should at least stick with Megan Fox. It may not be perfect, but Dark of the Moon is still a tremendous improvement over its predecessor…were the film to be edited so that it just started with the Chicago battle sequence, ran an hour, and ended, it could be the greatest movie-going experience ever.
Overall Recommendation: Medium
Distributor: Paramount Pictures
Opening Weekend Box-Office: #1 with $97,852,865
Domestic Box-Office Gross to-date: $273,009,241
Gross Revenue: $679,221,956
Production Budget: $195 million
Director: Michael Bay
Prior to 2009’s Revenge of the Fallen, I actually had a favorable opinion of the Transformers franchise, but after watching Michael Bay take a creative idea and destroy it in the most idiotic and blatantly offensive way possible, I was ready to declare the franchise dead and buried. Not surprisingly though, with flashing lights and big robots, this science-fiction series still made millions and was able to justify the executive decision to push another sequel forward. Gratuitous merchandising and the expected partnership with Burger King aside, the biggest buzz-builder for Dark of the Moon involved the fact that series mainstay Megan Fox would not be reprising her role as the female lead and Shia LaBeouf’s love-interest. It was no secret that Fox and director Michael Bay clashed on the set of Revenge of the Fallen, but when Fox called Bay a “Nazi” in an interview, producer Steven Spielberg apparently picked up the phone and demanded her job. Well, after this decision to forego one of the biggest draws of the entire franchise and sacrifice what little appeal still existed, my expectations for Dark of the Moon hit rock bottom, so there was no possible way I could be disappointed at the theater…right?
I could spend pages explaining the Transformers franchise, but instead I am just going to assume that most of my readers are relatively familiar with the planet Cybertron and the ongoing battle between the Autobots and the Decepticons. Revising established history, Dark of the Moon opens in 1961 with a Cybertronian spacecraft crash-landing on the moon, setting off the Space Race between the United States and the Soviet Union. Fast forward to present day and Sam Witwicky (Shia LaBeouf) is struggling to find work despite the support of his new girlfriend Carly (Rosie Huntington-Whiteley), all while the Autobots work with the U.S. Military to solve conflicts around the world. Soon enough, Optimus Prime (Peter Cullen), Bumblebee, and the newly-resurrected Sentinel Prime (Leonard Nimoy) discover that Megatron (Hugo Weaving) and the Decepticons are hatching a plan in collaboration with human power-players that will ultimately enslave humanity. With the help of old friends like Colonel William Lennox (Josh Duhamel), Chief Robert Epps (Tyrese Gibson), and former Section 7 chief Seymour Simmons (John Turturro), Sam and Carly team with the Autobots to once again save the world.
Early promotions for Dark of the Moon were claiming that this newest sequel was one of the greatest action movies ever, and thanks to a truly kick-ass sequence that showcases a decimated Chicago cityscape for an extended portion of the film, I largely agree. Once the action starts, it just does not stop, with military skydivers gliding into battle, Decepticons destroying entire buildings, and Optimus Prime and Bumblebee completely decimating any Decepticon unlucky enough to cross their path…all in the 3D. Michael Bay usually gets so much grief for gratuitous explosions and obsessive showcasing of military weaponry, but this time around, he actually pulls off this eccentricity in a glorious fashion with considerable style. In terms of the humans present, Bay wisely toned down John Turturro’s screen-time, making him far less abrasive and annoying than he was in Revenge of the Fallen, while new cast additions Patrick Dempsy and Frances McDormand step out of their comfort zones and bring some character depth to the screen that has been conspicuously missing from this franchise for years. With these enjoyable sequences and characters, Dark of the Moon would have gotten a much higher rating, had it not taken over an hour for any of these impressive elements to surface.
In an attempt to make Dark of the Moon about more than giant robots beating the hell out of each other, Michael Bay attempted to flesh out a new chapter in the story of his series protagonist before jumping into the action, and he failed…miserably. In the first hour of this sequel, the film abandons any attempts at logic, humor, or cohesive storytelling, and for a while, it looked like Bay had made a sequel just as bad as Revenge of the Fallen. Though the story is just as culpable, I blame this nosedive in quality primarily on Shia LaBeouf and Rosie Huntington-Whiteley; with all of his screaming, insecurity, and fidgety arrogance, it is hard to imagine why Shia LaBeouf is famous at all. As for Ms. Rosie, though she is nice to look at and wardrobe went out of their way to put her in dresses that accentuate the qualities that made her an underwear model in the first place, she still makes Megan Fox look like Meryl Streep in terms of acting ability…Michael Bay clearly picked his favorite out of the Victoria’s Secret catalog and then digitally removed the cue cards she was reading from during filming. I’m going to level with you, save yourself the embarrassment and show up to Dark of the Moon an hour into its run time; you will walk right into the action and not have missed a thing.
Despite some lackluster elements, Transformers: Dark of the Moon is still setting all kinds of records at the box office, even after an opening weekend just shy of $100 million. With a first-weekend worldwide total of $382.4 million, Dark of the Moon earned the second-largest opening of all time behind Harry Potter and the Half-Blood Prince…add that achievement to the fact that the film reached $500 million in worldwide receipts in just 9 days, and it is clear that audiences don’t care about the sub-par story or characters of this franchise in the least. When it comes to the future of the Transformers films, Michael Bay has gone on record saying that Dark of the Moon would be his last Transformers film, but Paramount has already announced that a fourth film will launch yet another trilogy, so we have not seen the last of the Autobots. Were I to give any recommendations to future filmmakers, I would simply argue that if they insist on parading around eye-candy with no discernible acting talent, they should at least stick with Megan Fox. It may not be perfect, but Dark of the Moon is still a tremendous improvement over its predecessor…were the film to be edited so that it just started with the Chicago battle sequence, ran an hour, and ended, it could be the greatest movie-going experience ever.
Overall Recommendation: Medium
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