Abraham Lincoln: Vampire Hunter - Short and Sweet

Months ago, I caught sight of a standee advertisement featuring a mythical twist on a revered historical character; while my initial reaction was one of extreme skepticism, a little digging revealed that the offbeat film premise was actually based on a popular book.  Fast-forward a few weeks and I had barreled through the 2010 mashup novel and I found myself really looking forward to the script-to-screen translation that Tim Burton and director Timur Bekmambetov would produce with Abraham Lincoln: Vampire Hunter.  However, despite my reverence of the source material and my proclivity for the vampire horror genre, I couldn’t help but notice some pretty significant shortcomings in 20^th Century Fox’s marketing campaign.  After gauging social media awareness and having first-hand exposure to initial audience reaction to the trailers, I concluded that very few people took this attempted blockbuster seriously, and even fewer were actually aware that the film was based on an established book.  So, while I myself was eager to see Abraham Lincoln: Vampire Hunter, I didn’t expect the action fantasy horror film to make any real waves at the box office, especially when going up against Disney-Pixar’s Brave.

Offering a boldly creative visual style and some truly exciting action sequences, I certainly enjoyed Abraham Lincoln: Vampire Hunter, but I do have to acknowledge that the film itself has a decidedly uneven quality and limits its appeal to a very specific demographic.  While there are some pretty significant changes from the original novel, the fact that the novel’s author, Seth-Grahame-Smith, wrote the adapted screenplay, means that the film remains an altogether faithful and entertaining adaptation.  However, the entertaining aspect of the film takes some time to kick-in, and while the change is welcome, the dramatic tonal shift highlights the weakness of the narrative’s first half.  Benjamin Walker ably portrays the titular historical figure and Bekmambetov knows how to stage a gory fight, but those positives certainly aren’t enough to appeal to mass audiences.  So, while Abraham Lincoln: Vampire Hunter is far from a bad film, overlooking the imaginative execution of the inherently offbeat premise may be too tall of an order for casual moviegoers.  

Overall Recommendation: Medium

Abraham Lincoln: Vampire Hunter - Full Review

Abraham Lincoln: Vampire Hunter - (June 22^nd, 2012): R

Distributor: 20^th Century Fox

Opening Weekend Box Office: #3 with $16,306,974

Domestic Box Office Gross to-date: $23,034,193

Gross Revenue: $30,834,193

Production Budget: $69 million

Directors: Timur Bekmambetov

As I mentioned in the “Short and Sweet” review, I sought out thoroughly enjoyed the source novel for Abraham Lincoln: Vampire Hunter; so, when you add that reverence to my fandom of the Marvel Comics character Blade, my hatred of the Twilight series, and my fanaticism concerning the cult series Buffy the Vampire Slayer, I was pretty excited for this newest summer film.  Only adding to my expectations was the involvement of Tim Burton the director Timur Bekmambetov, the latter of whom wowed audiences and earned my loyalty for life with his work on 2008’s Wanted, thereby setting the bar very high for the action sequences that were sure to saturate his newest project.  Still, I do acknowledge that my fandom and immediate acceptance of this type of this film is shared only by a very specific demographic, making the failure of 20^th Century Fox’s marketing campaign to educate potential audiences a signal of potential box office suicide.  Not one marketing promotion identified the fact that Abraham Lincoln: Vampire Hunter was based on a book, so when that shortcoming combines with a thoroughly awful tagline (“Are you a patriot or a vampire?”), it is ridiculously difficult to come across as a movie that should be taken seriously.  Everyone thought that Hollywood was simply perverting a historical character with no basis, and based on the social media landscape, there wasn’t a huge effort to reverse that opinion; Chris Rock even tweeted his desire to follow the perceived trend and pursue a project dubbed “Martin Luther King: Ninja Warrior.”  Simply put, there was little guarantee that Abraham Lincoln: Vampire Hunter would be a success, but that wasn’t going to stop me from sitting back and enjoying the film.

Challenging whatever you think you may know about American history, Abraham Lincoln: Vampire Hunter posits that the 16^th President of the United States actually held a secret identity as a vampire killer battling the forces of darkness in the New World.  The film opens in 1818, with young Abraham Lincoln and his parents working on a plantation owned by Jack Barts (Marton Csokas); when Abraham’s father defaults on a loan, Barts enacts punishment my poisoning and killing Abraham’s mother.  Fast forward nine years and Abraham (Benjamin Walker) attacks Barts, intent on revenge, but he soon discovers that Barts is actually a vampire; Lincoln is rescued by the mysterious Henry Sturgess (Dominic Cooper), a vampire himself who educates Abraham concerning the existence of vampires and offers to train him as a vampire hunter.  After years of training, Abraham begins targeting vampires in Illinois with Henry’s guidance, working with local shopkeeper Joshua Speed (Jimmi Simpson) and childhood friend William Johnson (Anthony Mackie); all the while building a relationship with Mary Todd (Mary Elizabeth Winstead).  Unfortunately, Lincoln’s activities soon attract the attention of vampire siblings Adam (Rufus Sewell) and Vadoma (Erin Wasson), wealthy and powerful landowners who perpetuate slavery as an easy source of food and desire to create a nation of the undead.  Realizing that slavery acts as an even greater evil due to its support of mass murder in order to satiate vampires, Abraham resolves to start his political career and abolish slavery, leading to both his presidency and The Civil War, both of which are directly influenced and haunted by the hunter’s violent past.

Based on the incessant trailers featuring Benjamin Walker twirling an axe with masterful skill, the violent depictions of vampire killings in the original book, and the action pedigree of director Timur Bekmambetov, there was no way that Abraham Lincoln: Vampire Hunter would be allowed to NOT feature some truly awesome fight sequences.  Luckily, the film more than delivered, and the stylish and energetic choreography easily represents the strongest accolade; Abraham’s first encounter with Adam may represent one of the coolest group battle sequences I have seen in years.  When that type of action combines with the notably dark and stylish cinematography and visual style, the impressive horror special effects, and the added sharpness of 3D, audiences are left with an exciting popcorn flick.  In terms of the acting, while I would have loved to have seen more of Rufus Sewell and Erin Wasson as the unnerving villains, the focus on Benjamin Walker was not wasted, as the young actor ably embodies his character through several stages of life.  Sadly, each of the accolades identified above takes a while to kick-in, and if you didn’t walk in the theater already accepting the strange premise, chances are that you would lose interest pretty quickly.

Because the vampires featured in Abraham Lincoln: Vampire Hunter aren’t sparkling or full of angst and in desperate need of love, chances are that the movie has already inherently cut its audience in half by appealing solely to the male demographic; add to that the inherent silliness of the premise to those unfamiliar with the source material, and not many people are going to enjoy the story told.  If you are unwilling to at least humor the notion that vampires directly influenced The Civil War and that our former president had the abilities of a ninja, then there is not much humor, character development, or coherent storytelling to keep things interesting.  And, in terms of the uneven quality that I hinted at earlier in the review, the first half of the film struggles to build momentum, especially when it comes to Abraham’s first few slayings.  Don’t get me wrong, things do eventually pick-up, but it is difficult to sing the praises related to overall quality when there is such a blatant and dramatic quality shift…had the first half matched the style and energy on the second, this film would have been much stronger.  In the end, even though there aren’t any truly damning missteps in this historical mashup fantasy, the limited appeal of the premise and uneven quality prevent the film from being a must-see.

Considering the weakness of its marketing campaign, things could have gone far worse for Abraham Lincoln: Vampire Hunter than a third place opening, especially when you consider that the R-rated horror flick was opening against Disney-Pixar’s newest heavyweight.  Now, I understand that studio release dates are pushed all the time, but I just cannot see the logic in placing this film against Brave; had it opened in its originally intended release of late October 2011, the Halloween crowd would have been far more accepting and boosted numbers.  With a $69 million budget to recover, chances of turning a profit are slim, especially leading into the stacked month of July, which offers plenty of titles to compete for the attention of ALVH’s intended audience.  Sure, the idea of a spider-bite imbuing powers or a grown man dressing like a bat and fighting crime are ridiculous, but The Amazing Spider-Man and The Dark Knight Rises benefit from widespread familiarity to the source material, established quality, and massive fan-bases.  So, even though it was a noble attempt at trying something new, Abraham Lincoln: Vampire Hunter remains an imperfect film that simply isn’t for everyone.       

Overall Recommendation: Medium

Rock of Ages: Short and Sweet

Though I may regret admitting it, I am actually a fan of the musical genre and do find certain projects entertaining, but I also acknowledge that the film type usually appeals to a limited demographic and is never a guarantee of runaway success.  Still, if there was ever a chance to attract male audience members to the musical genre (beyond the blatant tactics that failed for Burlesque), it would be Rock of Ages, as the film would focus exclusively on classic rock.  Personally, I was sold the second I discovered that the music of bands like Bon Jovi, Guns N’ Roses, and Journey would be featured; but I did have to question whether such a line-up unintentionally aged the project, as large portions of the highly-desired younger movie-going demographic either didn’t recognize these bands or still consider Justin Bieber and LMFAO musical artists.  The cast itself also generated some interesting buzz, as a number of the additions made perfect sense (Julianne Hough and Catherine Zeta-Jones), while others were questionable at best (Russell Brand and Alec Baldwin).  So, even though I myself was excited for Rock of Ages, I had to acknowledge that there were a number of elements that could go wrong.

Whether it involves the characters, the dialogue, or the acting, Rock of Ages is a massive disappointment that represents a significant squandering of the film’s potential.  Even though the film itself is a jukebox musical drawing from familiar songs, the narrative makes no attempt to ease audiences into the format…Julianne Hough’s instantaneous breakout into song is so forced and unnatural that it immediately alienates skeptical audience members.  The story itself also submits to so many cinematic clichés that it is almost nauseating; a fact that is not helped by the overblown and overacted characters (Tom Cruise’s role as a burn-out rocker wears thin quickly).  Now, these missteps could be forgiven if the musical numbers themselves were awesome, but aside from a few interesting mash-ups (“Juke Box Hero/ “I Love Rock ‘n’ Roll”), overall song choice was just wrong.  The only thing that prevents Rock of Ages from being a complete disaster is that I did glimpse certain instances of genius, which, if harnessed, would have produced a far better film than what was ultimately offered.   

Overall Recommendation: Low

Rock of Ages: Full Review

Rock of Ages - (June 15^th, 2012): PG-13

Distributor: Warner Bros. Pictures

Opening Weekend Box Office: #3 with $14,437,269

Domestic Box Office Gross to-date: $29,376,840

Gross Revenue: $33,476,840

Production Budget: $75 million

Directors: Adam Shankman

When you look at the success of films like Moulin Rouge!, Hairspray, Mamma Mia!, there is no denying that there is a definite audience for musical films, but none of these have ever been classified as a summer blockbuster with mass appeal.  Yet, when Rock of Ages was first introduced, it looked like there would finally be a musical that females wouldn’t have to drag their significant others to, as no one questions the masculinity of classic rock.  Beyond my own classic rock fandom, I also had some pretty high expectations for Tom Cruise, because even though he may not be the first name that jumps to mind when you think “musical,” he has demonstrated unparalleled talent in portraying unconventional characters…remember how entertaining Cruise was as Les Grossman in 2008’s Tropic Thunder?  Now, while the original Broadway musical may not be top-of-mind with most households, Warner Bros.’ marketing efforts were primed to raise mass awareness, whether that involved the trailers identifying the numerous classical bands that would be featured, or the theater standees that encouraged patrons to Tweet photos and videos of themselves rocking-out with a guitar replica and have their efforts go viral.  Different from anything that has been featured in theaters for quite some time, Rock of Ages at least looked like it would be a fun experience at the theater, and hopes were definitely riding high.

Set in 1987, Rock of Ages follows ambitious singer Sherrie Christian (Julianne Hough) as she moves to Los Angeles and finds work at the popular nightclub “The Bourbon Room,” with the help of barback Drew Boley (Diego Boneta), a struggling singer himself; uniting with their shared passion, the two quickly build a relationship.  Though the club itself is a haven for rock and roll purists, owner Dennis Dupree (Alec Baldwin) and manager Lonny Barnett (Russell Brand) are struggling to pay the bills and desperately trying to find a way to increase revenue.  Salvation comes when the two business partners are able to book legendary rocker Stacee Jaxx (Tom Cruise), who will give one last performance with his band before he and his manager, Paul Gill (Paul Giamatti), embark on a solo career.  However, things begin to unravel as The Bourbon Room comes under attack from a conservative religious group led by Patricia Whitmore (Catherine Zeta-Jones), Jaxx’s credibility is damaged by a scathing article written by Rolling Stone journalist Constance Sack (Malin Åkerman), and Sherrie and Drew’s relationship is damaged by an unfortunate misunderstanding.  Even though several environmental factors threaten to permanently separate these colorful characters, it is the mutual love of rock and roll that will unite everyone to overcome any obstacle.

As I mentioned in the “Short and Sweet” review, there aren’t exactly numerous accolades within Rock of Ages, as most of the elements that would be inherently worthy of praise were beaten to death and subjected to overuse; if focus had shifted ever so slightly, the end product would have been much, much stronger.  There were a few rock mash-ups within the story that were executed with creativity and were genuinely enjoyable to watch (for instance, I loved “We’re Not Gonna Take It”/ “We Built This City”), but the fact remains that this type of music just doesn’t fit the musical genre.  It was a noble effort, but there is a huge difference between watching one of these classic songs performed, and having multiple characters break randomly into song; the latter is unnatural in this case and fell victim to outright erroneous song choice.  As for the characters themselves, Tom Cruise’s Stacee Jaxx is the clear front-runner, but his burnt-out persona is only funny for a few scenes and grows irritating quickly; and as much as I initially enjoyed the bromance between Alec Baldwin and Russell Brand, a last-minute plot twist ruins that chemistry.  If the film had chosen to feature more of the songs as standalone performances within the narrative, and some of the character personalities had been toned down, Rock of Ages would have been a far stronger and more enjoyable musical film.

Now, as hard as it may be for you to believe, the misfires I identified earlier are actually not the worst part of Rock of Ages…that distinction goes to the story itself, which is saturated with clichéd plot elements, throwaway characters, and utterly useless story arcs.  The fact that The Bourbon Room is struggling to pay bills, that Sherrie and Drew fall apart over a lack of communication, or that Jaxx commits a selfless act to save a day, are all plot elements that have been seen hundreds of times…I understand that this is an adaptation of a classic musical, but that doesn’t mean that all creativity automatically goes out the door and that no attempt be made to update certain elements of the story.  As for the characters themselves, Bryan Cranston and Mary J. Blige appear in roles that amount to little more than cameos, but my biggest gripe involves Catherine Zeta-Jones herself, who, through no fault of her own, delivers a downright embarrassing performance, one that squanders the musical talent that she has showcased repeatedly in the past (case-in-point: 2002’s Chicago).  And, I hinted at this point earlier, but the film should have focused exclusively on The Bourbon Room and the performances the club featured, a fact that makes the overplayed romantic angle between Sherrie and Drew completely useless and altogether distracting.  So, in case I haven’t driven the point home quite enough, the narrative of Rock of Ages is horrendous, even by musical standards, and that fact is damning to overall quality.

Early in this review, I commented on my concern that Rock of Ages’ focus on classic rock music may have unintentionally aged the project, and based on the numbers, it looks like the unconventional musical’s efforts to move beyond a traditional demographic were largely wasted.  A third place opening with under $15 million is one of the last things you want to experience during the Summer Movie Season, especially in light of the star-studded cast; and beating-out Adam Sandler’s latest cinematic suicide is nothing to warrant a pat on the back.  Now, a sub-par opening doesn’t always spell demise for a film, but lukewarm critical response, a near non-existent international presence, and massive box office competition, doesn’t exactly make it easy to recover a $75 million production budget.  With new entries like Brave, Abraham Lincoln: Vampire Hunter, and Seeking a Friend for the End of the World splitting audiences, there is no real surprise that this newest musical slipped to sixth place in its second week.  In the end, despite a few bright points that prevent the film from being a complete disaster, Rock of Ages remains a disappointment that cannot earn the classification of a must-see without a few necessary tweaks.        

Overall Recommendation: Low

Prometheus: Short and Sweet

Big-name sequels always garner the majority of attention leading into the Summer Movie Season, and while the same can largely be said of summer 2012, one science fiction standalone was generating massive amounts of buzz.  When audiences first caught wind of Prometheus, there was a great deal of mystery surrounding the central plot and characters, but once director Ridley Scott and plot hints of an Alien prequel were mentioned in the same breath, pre-release tracking went through the roof.  Early trailers showcased an epic alien world, more than enough to pique the interest of any cinematic geek; but for me, the biggest selling-point of Prometheus was the rising-star cast.  Now, I’ve mentioned repeatedly that I will see anything featuring Charlize Theron, but add-in Idris Elba (Takers), Michael Fassbender (X-Men: First Class), and Noomi Rapace (Sherlock Holmes: A Game of Shadows), and it looked like the next generation of the Hollywood A-list would be delivering the next epic blockbuster.  Granted, the science fiction-horror genre isn’t exactly one of my favorites, but marketing tactics had definitely left me curious, so I was willing to give Prometheus a chance.

While it isn’t exactly the cinematic ground-breaker that many were expecting, Prometheus does offer plenty of strong elements; but for every accolade, there is an almost parallel weakness that keeps overall quality decidedly in the middle of the road.  While the actors do deliver strong performances, the two standouts being Fassbender and Rapace, their efforts are hindered by incomplete and questionable character development.  And while the visuals, special effects, and set designs are all awe-inducing, they cannot overshadow the fact that the narrative generates far more questions than it ever attempts to answer.  Prometheus makes several assertions that would have massive implications for both theological and evolutionary theory…IF the plot had taken the time to fully explore those elements.  Instead, answers are ultimately left for an assumed sequel.  So, while I was surprised by how much I enjoyed the cinematic world generated by Prometheus, I cannot help but be a little disappointed over the fact that the film ultimately failed to fully capitalize on its considerable potential.     

Overall Recommendation: Medium

Prometheus: Full Review

Prometheus - (June 8^th, 2012): R

Distributor: 20^th Century Fox

Opening Weekend Box Office: #2 with $51,050,101

Domestic Box Office Gross to-date: $109,793,319

Gross Revenue: $262,193,319

Production Budget: $130 million

Directors: Ridley Scott

Though many are tempted to immediately associate director Ridley Scott exclusively with the sci-fi genre, the fact remains that Scott has largely stayed away from the genre after his two biggest commercial breakthroughs, Alien (1979) and Blade Runner (1982).  Needless to say, many were eager to see the talented filmmaker return to his roots, and when early interviews revealed that Prometheus would partially function as a prequel to the Alien franchise, lifelong fans expected this newest sci-fi epic to be nothing short of glorious.  Potential audiences were certainly impressed by the talented cast, but newcomer Noomi Rapace in the lead role was a bit of a question mark, as she remained largely unknown to domestic audiences outside of her portrayal of Lisbeth Salander in the Swedish adaptations of the Dragon Tattoo film series; rumor has it that Scott was so set on Rapace portraying the lead character that he personally pushed her to improve her English in preparation.  In terms of generating pre-release audience interest, 20^th Century Fox executed a brilliant marketing campaign, revealing very few concrete facts in relation to the story and instead letting the sci-fi horror angle generate curiosity, all while the viral tactics were set to begin developing the unique cinematic world that would be presented; though personally, I did see promotional partnerships with Coors, Amazon, and Verizon FiOS as somewhat diluting the serious nature of the project.  Still, in spite of the massive build-up to Prometheus, early critical and audience reaction was extreme on both sides of the spectrum, so I was curious to see whether this newest sci-fi blockbuster was something to be revered or reviled.

Opening in 2089, Prometheus focuses on an archeologist couple, Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green), as they repeatedly discover a common star map common across several ancient cultures separated both geographically and historically; they interpret these discoveries as evidence of a common forerunner to humanity, an advanced civilization that have been dubbed “Engineers.”  Fast-forward four years and Shaw and Holloway have followed the star map to the distant moon LV-223, leading an exploratory voyage aboard the scientific vessel “Prometheus,” one that is financed by the recently-deceased Peter Weyland (Guy Pearce) of the Weyland Corporation and is overseen by mission director Meredith Vickers (Charlize Theron).  The crew of the ship includes a weathered and experienced captain, Janek (Idris Elba), numerous geologists and biologists, and an android known as David (Michael Fassbender), who functions as both the ship’s butler and maintenance director.  Shaw and Holloway are initially ecstatic when they find the remains of an Engineer and discover that the alien creature’s DNA matches that of humans, but things take a turn for the worst when the crew also comes across a dangerous biological weapon that begins infecting the scientists.  In the face of this new discovery, Shaw also discovers ulterior motives on the part on both Vickers and David, whose actions could pose an unspeakable threat to Earth and endanger the future of humanity.

Demonstrating a masterful understanding of the sci-fi genre, Prometheus offers more than enough to placate the expectations of lifelong geeks, who will be absolutely giddy over the world and technology that is ultimately showcased in the hands of talented actors.  The atmospheric visual style of the film is epic and absolutely awe-inducing, whether that involves the structures that inhabit the alien moon, the spacesuits and technology utilized by the crew, or the subtle features of the spaceship itself…that kind of detail and surprise is reminiscent of Avatar.  In terms of the cast themselves, Idris Elba and Charlize Theron make of the most of their limited screen-time and showcase their (largely underused) talent, but the true standouts are Rapace and Fassbender; the latter is so chilling and unnerving as the emotionless android, that even his most simple of actions can make the viewer uncomfortable.  As for Rapace, she delivers an absolute standout performance as Elizabeth Shaw, a strong heroine who is not afraid to show fear, but one who demonstrates an unflappable survival instinct; a particular surgical scene featuring Shaw is so intense and horrific that I doubt you will forget it anytime soon.  Unfortunately, even though there is plenty to enjoy within Prometheus and more than enough moments to make the hairs on the back of your neck stand on end, incomplete character development and shoddy storytelling mar overall quality.

Prometheus was clearly made for sci-fi fans, but this fan-base has remarkably high standards and would be first to call foul on any questionable story twists or ill-developed character motivations, and unfortunately, this film is saturated with those types of shortcomings.  First, the crew of the “Prometheus” may be among the stupidest scientists to ever grace the sci-fi horror genre, obliterating any chance of garnering audience sympathy; when a biologist naively approaches a sinister-looking alien creature or fails to alert the rest of the crew of his infection immediately, any tragedy that ultimately befalls is seen as well-deserved.  Second, when it comes to the characters themselves, their driving motivations are either glossed-over or completely ignored; Shaw and Holloway’s curiosity is not enough to justify the loss of so many lives, while David’s intentions as a secondary antagonist are never addressed…one can only infer so much.  Finally, in exploring the origins of the human race, the narrative makes way for some huge implications that are ultimately left on a cliff-hanger; with the two hour build-up, having to wait for an assumed sequel is just frustrating.  So, in the end, there are just as many negatives as there are positives to Prometheus, meaning that this highly-anticipated blockbuster is neither able to sink, nor soar.

As an R-rated sci-fi horror film, there was no way in hell that Prometheus was going to overtake the third entry in an established and revered animated franchise; still, Ridley Scott’s newest film made Madagascar 3 work for its opening weekend title.  A number two opening with over $51 million is nothing to scoff at, and thanks to a thoroughly impressive international presence, it really didn’t take 20^th Century Fox that long to recover a $130 million production budget.  And, given relatively weak competition in the form of Rock of Ages and That’s My Boy, it is not all that surprising that the first and second place standings didn’t shift week-to-week.  And, on a bit of a side-note, even though I myself did not opt for the 3D glasses, I understand that the effect was executed very well, so that is a perk that can lead to some continued revenue down the line.  At the very least, despite somewhat mediocre critical reception, it looks like the numbers are more than strong enough to justify the sequel, so I will be eagerly awaiting Prometheus 2 and a resolution to the story and issues that were introduced.      

Overall Recommendation: Medium

Madagascar 3: Europe's Most Wanted - Short and Sweet

Over the course of this blog, I have regularly provided commentary concerning the race for animated supremacy between Disney Pixar and DreamWorks Animation, and with new releases Brave and Madagascar 3 opening within just two weeks of each other, the Summer 2012 Movie Season seemed primed to provide one hell of a battleground.  Now, personally, the Madagascar series remains one of my absolute favorite animated franchises, so when I first caught wind of Europe’s Most Wanted, I was absolutely ecstatic, and King Julien’s take on “I Like to Move It” was firmly stuck in my head.  Aside from trailers and posters heightening awareness, DreamWorks’ Consumer Products division went into overdrive to make sure that anticipation was through the roof, whether that involved character-specific Blue Bunny ice cream bars and L’Oreal Kids shampoos, or the always-popular McDonald’s Happy Meal.  I also couldn’t help but notice that promotions placed a very strong emphasis on seeing the film in 3D; granted, with this being the third film in the series, that kind of association is a no-brainer, but with the fugitive-circus angle provided by the narrative, it looked like it would be well-worth it to shell out a few extra bucks for RealD glasses (though the character-specific frames were only being given to children’s ticket holders…damn).  Needless to say, my hopes were very high, and by all early accounts, it looked like Alex, Marty, Gloria, and Melman were not going to disappoint.

Visually gorgeous, emotionally rewarding, creative, silly, and comedically-brilliant, Madagascar 3: Europe’s Most Wanted is easily the strongest in the series and one of the best animated films to hit theaters in years.  Start-to-finish, I don’t think I have ever laughed as consistently in a film as I have in Europe’s Most Wanted, which achieves the rare balance of offering rewarding humor for both children and adults, all of which is brought together with top-of-the-line voice acting.  In terms of the rewarding new characters integrated seamlessly into the narrative, whether it is the conniving villain Captain Chantel DuBois or the eccentric circus animals, each personality is so engaging that you cannot wait for their return in a future sequel.  Add impressive animation and surprisingly nail-biting action to the equation, and this animated entry has an undeniable energy that makes it a perfect film for multiple demographics.  Whether you are a fan of the series or simply someone looking for some lighthearted adventure and genuine laughs at the theater, you cannot afford to miss Madagascar 3: Europe’s Most Wanted.   

Overall Recommendation: Very High

Madagascar 3: Europe's Most Wanted - Full Review

Madagascar 3: Europe’s Most Wanted - (June 8^th, 2012): PG

Distributor: Paramount Pictures

Opening Weekend Box Office: #1 with $60,316,738

Domestic Box Office Gross to-date: $60,316,738

Gross Revenue: $135,816,738

Production Budget: $145 million

Directors: Eric Darnell, Tom McGrath, & Conrad Vernon

Last month, I was asked by an executive from Sony Pictures to identify what I believed was a current shortcoming in Hollywood marketing tactics, and we promptly discussed the importance of leveraging the names of stars in upcoming projects, and the heavy financial cost of failing to do so; in animation, this risk can be compounded, and at first glance, it looked like DreamWorks Animation may have made a misstep, as few, if any, of the promotional materials for Europe’s Most Wanted actually identified the voices behind the characters.  Luckily, as this would be the third entry in the Madagascar series, the characters themselves are so well-received and recognizable, that you really don’t need to have it so that Ben Stiller’s name is always next to his big cat counterpart anytime the protagonist shows up on a billboard…just put the zoo animals in multi-colored afros and audiences will know to expect some high-quality work.  As the release date approached, you couldn’t go anywhere or turn on the television without seeing some kind of promotion for Madagascar 3, whether that involved the “Very Funny” seal of approval from the TBS Network or the multiple high-profile partnerships and licensees (see if you can catch the hysterical tongue-in-cheek product placement for HP Printers within the film itself).  With the established fan-base of the franchise, the promotional emphasis on 3D admission, and the inherent international appeal of a story based in Europe, absolutely everyone had the expectation that this animated comedy would hit the box office like a sledgehammer.  As a devoted fan of the series, I could have watched King Julien talk alone onscreen for three hours and been satisfied, but I had it on good authority from my contacts at DreamWorks Animation that this newest entry was brilliant, so seeing and reviewing this film was going to be nothing short of a treat.

Picking up a few months after the events of the second film, Madagascar 3: Europe’s Most Wanted finds Alex (Ben Stiller), Marty (Chris Rock), Melman (David Schwimmer), and Gloria (Jada Pinkett Smith) all disillusioned with their life in Africa and yearning to return to their home in New York.  Along with King Julien (Sacha Baron Cohen), Maurice (Cedric the Entertainer), and Mort (Andy Richter), the zoo animals travel to Monte Carlo to locate the Penguins (Skipper (Tom McGrath), Kowalski (Chris Miller), Private (Christopher Knights), and Rico (John DiMaggio)), and their chimpanzee companions in order to have them fly everyone back to New York City; unfortunately, the protagonists soon draw the attention of Monaco Animal Control officer Captain Chantel DuBois (Frances McDormand), an expert tracker who becomes obsessed with making Alex her newest trophy.  Following a hectic chase and an unsuccessful aerial escape, the four fugitives soon realize that their only way to move through Europe undetected is to join a traveling circus.  Convincing the circus animals Stefano the Sea Lion (Martin Short), Gia the Jaguar (Jessica Chastain), and Vitaly the Tiger (Bryan Cranston), that they are performers, the zoo animals join the act and resolve to catch the attention of an American talent scout who will be watching their upcoming performance in London and who has the power to arrange an American tour.  Unfortunately, after the Penguins purchase the circus, it is discovered that the animal’s act is shockingly inept and unlikely to find success, so each stowaway resolves to help improve the show; Alex develops a romantic trapeze act with Gia, Gloria and Melman perfect a tightrope dance, both Marty and Vitaly embrace the subtle art of cannonball launching; all while King Julien builds a relationship with Sonya the Bear, who proves to be an adept Ducati rider.  Evading DuBois and relishing life in show business, our four heroes must soon decide whether they truly want to return to their former lives or embrace the new adventure and the new friends that they have discovered.

It is not too often that animated characters are able to endure through multiple series entries without falling victim to tired humor, shameless plot points, or straight-to-DVD overall quality, but I am proud to report that Madagascar 3: Europe’s Most Wanted actually improves upon its predecessors and returns viewers to the familiar in full glory.  Audiences have grown to love the Madagascar animals, and each is in top form within this entry, making way for considerable humor that demonstrates masterful comedic timing; King Julien’s courtship of Sonya through the streets of Vatican City is utterly hysterical.  As for the story itself, the narrative actually adeptly blends the nonstop humor with genuine pathos; you feel sorry for the beleaguered circus animals and genuinely want to see them succeed, while the conflict that the central characters feel over their newfound commitment to the circus is far deeper an emotion than the franchise has tackled in the past.  And, in terms of animation, it has been said that fur, clothing, and water, are among the most difficult elements to execute, making a movie about circus-performing animals a potential nightmare; but, as always, DreamWorks Animation has set the bar even higher and made full-use of the 3D technology, as everything onscreen is gorgeous, and the featured performances are so awe-inducing and engrossing that you actually find yourself wishing you could pay admission to an animated circus.  Normally, at this point in my reviews I take the time to point out shortcomings of a film, but the reality is that what could be perceived as a cinematic misstep actually paves the way for some of the most enjoyable elements of Europe’s Most Wanted.

The introduction of new characters is a necessity for any sequel, and while such an addition can run the risk of overshadowing the bankable stars of a franchise, the new personalities showcased in Madagascar 3 are so rewarding that it is hard to criticize the film for reducing its focus on Alex, Marty, Melman, and Gloria.  Though Alex receives enough focus thanks to his budding romance with Gia; Marty, Melman, and Gloria largely take a back seat within a narrative, but they are still treated with respect, and their reduced role helps keeps interest fresh and momentum strong.  Making full use of the varied backgrounds that you would expect from a traveling European circus, each of the circus animals are unique and hysterical, whether is the brash Russian personality of Vitaly or the brawling Cockney attitudes of the performing dogs…Martin Short has such a strong and distracting Italian dialect as Stefano that I heard several audience members react in surprise when his name showed up in the end credits.  And then there’s DuBois herself, who may be slightly offensive (but no less funny) in her portrayal of French culture, but is nonetheless a threatening villain that serves as a perfect foil to the protagonists…all-in-all, the voice cast is brilliant and I look forward to their return.  So, some purists might be aggravated by the slightly shifted character focus, but the reality is that everyone you know and love is present and accounted for, and enough momentum has been injected in the franchise for multiple future sequels and spin-offs.

In terms of box office performance, Madagascar 3 was actually in a tightly-locked battle with Prometheus in terms of the Friday numbers, but was able to pull away and win the weekend with a solid $60 million debut.  When it comes to the international market, a $75.5 million worldwide haul is especially impressive when you consider the fact that the film largely avoided opening in Europe due to competition from the Euro Cup, drawing instead from its other 28 foreign territories.  Prior to its release, I would have thought that marketing efforts in Europe would have written themselves with a title like “Europe’s Most Wanted,” but as I understand it, the upcoming London Olympics made partnership possibilities a little tight; still, the bigger European markets should set the mark for notable debuts and strong week-to-week performances.  Even though there are only two weeks before the debut of Brave, and thus the introduction of a direct competitor that cuts into potential audiences, I don’t see anything less than an impressive future profit against the $145 million production budget.  Bottom line, Madagascar 3: Europe’s Most Wanted offers plenty for audiences of all ages and is an absolute must-see, and I cannot wait to see the series continue to move forward and dominate.           

Overall Recommendation: Very High

Snow White and the Huntsman: Short and Sweet

Leading up to the release of Snow White and the Huntsman, I wasn’t exactly thrilled, not only because it represented the second of two Snow White films behind March’s underwhelming Mirror Mirror, but I also wasn’t charmed by the last fairytale update to hit theaters, 2010’s Alice and Wonderland.  Sure, there were positives to add credibility to the film, as Chris Hemsworth would once again be embodying the tough-guy persona that charmed audiences so strongly in Thor, and the ever-beautiful and fully talented Charlize Theron would be embracing a classic villain role.  The darker tone presented in the trailers seemed to indicate a closer adherence to the original Brothers Grimm tale, and the production design looked outstanding, but there was one element that I just couldn’t get over: Kristen Stewart.  The Internet was having a field-day over the discrepancy inherent in the fact that Kristen Stewart’s Snow White was supposed to be “fairer” than Charlize Theron’s Queen Ravenna, and Stewart hasn’t exactly demonstrated strong acting talent while portraying the deadpan Bella Swan.  Still, as the release date drew closer, sneak-peaks highlighting the narrative’s focus on battle and action made the film look more appealing, so I was willing to give Snow White and The Huntsman a chance.

In retrospect, I was shocked by how much I enjoyed Snow White and the Huntsman, which offers thrilling action, engaging characters, and awe-inducing special effects, costuming, and set design, thereby making this fantasy an incredibly strong summer film.  Charlize Theron is absolutely mesmerizing as Queen Ravenna, her beauty directly contrasting her deranged and ruthless behavior, making her the kind of villain that you silently root for and one that you wouldn’t dare cross.  As for the titular characters, Hemsworth’s Huntsman so closely resembles Thor that you cannot help but love him, while Stewart Snow White is actually engaging and sympathetic, proving that the young actress is capable of more than one facial expression.  When considering the epic set design, impressive costuming, and award-worthy special effects and make-up, it is very easy to overlook some of the weaker elements of the story that is somehow able to both over-rely on and pervert the original tale.  So, even though it may not be perfect, Snow White and the Huntsman offers more than enough to make the film worth seeing.

Overall Recommendation: High

Snow White and the Huntsman: Full Review

Snow White and the Huntsman- (June 1^st, 2012): PG-13

Distributor: Universal Pictures

Opening Weekend Box Office: #1 with $56,217,700

Domestic Box Office Gross to-date: $71,403,845

Gross Revenue: $118,026,056

Production Budget: $170 million

Director: Rupert Sanders

While comic book films have been the prevalent cinematic trend of the past decade, one that doesn’t show any signs of slowing down, after the runaway success of 2010’s Alice in Wonderland, fairytale updates have been gaining steam (both Jack the Giant Killer and Hansel and Gretel: Witch Hunters will hit in 2013).  Perhaps one of the biggest stories in Hollywood as 2012 began involved the fact that two fairytale updates focusing on the same character would be hitting theaters within months of each other, and after the underwhelming impact of Mirror Mirror, Snow White and the Huntsman certainly had something to prove.  It was questionable to hand control over to director Rupert Sanders, who would be tackling his first feature film, but from what I could see from early trailers, he seemed to be more than up to the challenge, as it looked like this fantasy adventure’s battle sequences and mystical focus would be echoing both Braveheart and The Lord of the Rings.  I was excited to see skyrocketing star Chris Hemsworth onscreen again so soon after the success of The Avengers, and I will see anything that Charlize Theron features in, so those two names helped overshadow the apparent shortcoming that is Kristen Stewart; even the marketing strategy seemed to play to this association, as promotions offered little more than a passing glance of the Twilight alum.  So, with a familiar story and a thoroughly compelling villain, I found myself actually looking forward to Snow White and the Huntsman.

This updated fairytale opens in exposition, with the Huntsman narrating how the recently-widowed King Magnus (Noah Huntley) fell in love with the mysterious and beautiful Ravenna (Charlize Theron), a powerful sorceress who murders the king on their wedding night and proceeds to imprison the king’s daughter, Snow White.  Fast forward several years and Queen Ravenna allows the kingdom to fall into ruin as she uses her dark magic to remain young and beautiful; while consulting her Magic Mirror, Ravenna discovers that she will become immortal if she takes the heart of “the fairest of them all,” who conveniently happens to be locked away in the castle dungeons.  Once Snow White (Kristen Stewart) learns of the Queen’s plans, she escapes imprisonment and flees to the Dark Forest; because the enchanted forest drains her powers, Ravenna hires Eric, the Huntsman (Chris Hemsworth); a drunkard with extensive knowledge of the wilderness.  Tasked with locating Snow White, the Huntsman soon tracks her down, but once he discovers her true identity as heir to the throne and learns of Ravenna’s deception concerning their deal, he decides to help the young princess.  With the help of Snow White’s childhood friend, Prince William (Sam Claflin), and a band of nomadic dwarves, Snow White and the Huntsman work to overthrow Ravenna and restore peace to the troubled kingdom.

Offering a considerably darker take on the fairytale than most audiences are used to, Snow White and the Huntsman reenergizes the familiar story with stunning action, epic visuals, and thoroughly engrossing characters brought to life by strong acting.  Whether it is the thoroughly unhinged Ravenna or the undeniably badass Huntsman, you will love the characters within this film; even Snow White is subtly endearing and heroic…to think, maybe Kristen Stewart wouldn’t be as hated outside of the Twilight fan-base if she had played Snow White before that feminism set-back, Bella Swan.  When it comes to the special effects and makeup surrounding Ravenna’s magic, the work is nothing short of Oscar worthy, especially when you consider the way that Charlize Theron is aged and then restored as the effects of her spells begin to fade.  Finally, thanks to the costuming, set design, and choreographed action, you are fully engrossed in the cinematic world that echoes some of the best fantasy blockbusters; if your jaw doesn’t drop during the wedding scene or you aren’t amped as the Snow White and her army approach the castle for the final battle, then I fear you might be dead inside.  While all of these positive accolades cannot mask some of the weaker elements present, they do help make those shortcomings far easier to forgive.

 As much as I would have loved to declare Snow White and the Huntsman a perfect film, the narrative’s interaction with its source material severely weakens the credibility of the overall story.  When the film is faithful to the original story, it fails to add anything truly engaging, as the familiar plot plays out rather tediously while you are waiting for the next action sequence or Ravenna freak-out; when the film tries to branch out and add some twists, it goes a little too far…the hinted love triangle between Snow White, the Huntsman, and Prince William is so reminiscent of Twilight that it is actually nauseating.  So, it turns out that a certain fondness for the original Snow White fairytale is required to fully appreciate the story that is told by this new update, otherwise the princess’ interaction with wildlife and camaraderie with the dwarves will be completely lost on you.  I would also be remiss if I didn’t point out that the pacing of the narrative is decidedly uneven, as some of the segments, the introduction of the dwarves being a strong example, grind the momentum and the energy of the film to a screeching halt.  In the end, when you weigh the negatives against the positives, there turn out to be far more reasons to see Snow White and the Huntsman than there are to miss this newest fantasy adventure.

Though I previously predicted that Snow White and the Huntsman might not be able to dethrone Men in Black 3, it turns out that I underestimated the appeal of this stylish fantasy adventure, which debuted with a beefy $56 million.  Unfortunately, even with a solid international presence, Universal’s newest project cannot yet be declared a runaway hit, as there is still some significant ground to cover in order to overcome the $170 million production budget.  As for lasting impact, week-to-week drop-off will probably be significant, especially against the undoubtedly massive competition that Madagascar 3 and Prometheus will provide.  At the very least, Snow White and the Huntsman should make some waves in the makeup category come Awards Season, and it proved to me that Kristin Stewart is actually capable of smiling.  Definitely different from anything that has been seen at theaters in some time, this film proves that it is well worth your time to revisit a childhood tale.

Overall Recommendation: High

The Best Exotic Marigold Hotel: Short and Sweet

While I undoubtedly respect the veteran ensemble cast that includes Bill Nighy, Tom Wilkinson, Dame Judi Dench, and Dame Maggie Smith, the biggest selling-point, for me, of The Best Exotic Marigold Hotel, was the exotic setting.  Focusing on the emotional struggles of a group of British retirees would present an interesting enough character study, but placing them in a foreign environment adds an even stronger hook.  And, speaking from personal experience, there are few places on the planet that can provide as deep a culture shock as India.  Having traveled to Jaipur, India (the setting of the film), a little over a year ago, my memories of the culture are still very vivid, so I was most curious to see if director John Madden and Fox Searchlight could provide a faithful translation of the country to mass audiences.  Based on the trailers alone, it looked like the dissonance between expectation and reality for the elderly characters would provide plenty of humor, and early critical reviews were very positive for this creative and unconventional comedy-drama.

Though the film doesn’t take any definitive risks in the name of ground-breaking storytelling, The Best Exotic Marigold Hotel remains a sweet and heartfelt character study brought to life by a talented veteran cast.  The direction and cinematography do an excellent job of capturing the foreign essence and simple beauty of the setting, and it is the character’s reactions and adaptations to that setting that provides the bulk of the humor.  Each big name makes the most of their screen time, but the standout is undoubtedly Maggie Smith, whose transformation from bigoted and bitter to compassionate and resolute is engrossing and executed with flawless talent.  That being said, the fact remains that there is no gripping central conflict to keep the story moving forward; so unless you find yourself truly invested in the development and individual storylines of the characters, things can get a little boring, especially in relation to an over two hour running time.  So, despite the fact that there are no overt shortcomings; The Best Exotic Marigold Hotel still lacks the mass-appeal to be labeled as an absolute must-see.

Overall Recommendation: Medium

The Best Exotic Marigold Hotel: Full Review

The Best Exotic Marigold Hotel - (May 25^th, 2012 – Wide; May 4^th, 2012 - Limited): PG-13

Distributor: Fox Searchlight Pictures (subsidiary of 20^th Century Fox)

Opening Weekend Box Office: #8 with $6,383,203

Domestic Box Office Gross to-date: $27,187,621

Gross Revenue: $109,374,621

Production Budget: N/A

Director: John Madden

Though I will forever associate Judi Dench with the James Bond character M, and Maggie Smith has now permanently replaced my previous mental image of Hogwarts teacher Minerva McGonagall, I still respect the tremendous amount of talent that both actresses possess, and so the idea of the two working together is naturally appealing.  In fact, most members of the elderly ensemble cast of The Best Exotic Marigold Hotel have had distinguished and celebrated careers that could help draw a diverse crowd to this independent comedy-drama; personally, I was curious to see Bill Nighy outside of the villain role that he has thrived under within the Pirates of the Caribbean and Underworld franchises.  Now, Fox Searchlight has delivered some powerhouse Oscar-winners in the past few years (Slumdog Millionaire, Black Swan, The Descendants), and director John Madden has demonstrated a talent for producing story-driven character studies that demand mass attention (Shakespeare in Love, The Debt), so needless to say, my hopes were very high.  Even though independent festival sweethearts never rely too heavily on mass marketing, I was a bit curious over the apparent lack of critical praise after the film’s limited release…sure, reviews were positive and per-theater grosses were impressive, but it wasn’t the kind of buzz you would expect from a future award winner.  Either way, despite the dissonance between the cast and early reactions to the end-product, with my own memories of India fresh in my mind, there was no way that I was going to miss The Best Exotic Marigold Hotel.

Focusing on an eccentric group of British pensioners, The Best Exotic Marigold Hotel introduces a number of independent character storylines, with each septuagenarian reacting to life in a retirement hotel located in Jaipur, India; one that is far more dilapidated than was initially advertised.  Evelyn (Judi Dench) is a recently-widowed housewife struggling to recover from her late husband’s debts; Graham (Tom Wilkinson) is a recently-retired high-court judge; Jean (Penelope Wilton) and Doug (Bill Nighy) seek a more exotic lifestyle, having lost their savings in an internet venture; Muriel (Maggie Smith) seeks a cheaper, outsourced hip replacement; while Norman (Ronald Pickup) and Madge (Celia Imrie) each search for new romance.  The Marigold is run by the energetic and idealistic Sonny (Slumdog Millionaire’s Dev Patel), who himself is struggling to both keep the hotel from shutting down, and earn his mother’s approval of his intended future bride, Sunaina (Tena Desae).  Though they are understandably wary of their new environment, in time, each retiree finds a way to thrive, the most notable being Evelyn, who begins working as a telemarketing consultant, and Graham, who was born in India and has now returned to confront a ghost from his past.  With each character seeking a new start and new possibilities, “The Best Exotic Marigold Hotel for the elderly and beautiful” presents an unexpected opportunity within an intense, but wonderfully unforgettable environment.

Though no single character’s story is overtly compelling, in its entirety, The Best Exotic Marigold Hotel still sends a sweet and altogether uplifting message to its audience about hope in the most unexpected of circumstances.  As someone who has first-hand knowledge of the momentous culture shock that India provides, I can say that both the script and the acting perfectly conveyed the adjustments that a sheltered foreigner would have to make, thus providing material for considerable humor.  Watching Bill Nighy trying to stomach the cuisine or Maggie Smith trying to adjust to the crowds is just entertaining; and given all that the characters have to put up with, the occasional freak-out is more than acceptable.  And, speaking of the characters themselves, Maggie Smith is the clear standout, with her bigotry far more riotous than mean-spirited, which makes her adjustment and gradual acceptance of the country all the more rewarding.  So, with beautiful direction and cinematography painting an altogether positive and rich portrait of India, the addition of the strong performances of the talented cast members makes The Best Exotic Marigold Hotel an enjoyable, if slightly flawed, film.

The last time that Fox Searchlight decided to focus on India (Slumdog Millionaire), the narrative offered was so unique and exciting that the film HAD to be experienced by mass audiences, but with The Best Exotic Marigold Hotel, the multiple character story-arcs dilute the overall appeal and relegate the end product to a very defined and limited demographic.  With eight different storylines, it is difficult to become invested in any one character, especially with the narrative focus jumping around so often, and even then, getting truly excited by the “conflicts” faced is a tall order.  Unless you are really set on watching Judi Dench find meaning with a new job in India or truly curious as to whether Celia Imrie will find a rich husband, I fear that you will find yourself rather bored.  The running time is also too long, and when you consider the fact that the “fish-out-of-water” humor arc eventually wears thin, it is hard to classify this film as a must-see.  As much as I wanted to classify The Best Exotic Marigold Hotel as an early Oscar contender, I think the reality is that I only enjoyed the film so much BECAUSE I have been to India; and if you don’t belong to that select group, there is no real need to rush to the theater.

From a box office perspective, The Best Exotic Marigold Hotel certainly wasn’t expected to make much of a mark against some of the big-budget blockbusters, but upon closer review of the numbers, this offbeat dramedy has actually turned out to be a powerhouse.  Having already passed the $100 million mark, Fox Searchlight’s newest project has become the highest grossing specialty film of 2012 and the seventh highest grossing film for the studio, all thanks in large part to a juggernaut foreign performance.  Now, some of my readers might be compelled to think that a $27 million domestic total is something to scoff at, when you look at per-theater averages, The Best Exotic Marigold Hotel pulled in over $27,000 in each showing of its limited release opening, far exceeding the per-theater openings of both Men in Black 3 ($12,800) and Snow White and the Huntsman ($14,900).  Granted, I have been unable to find accurate production budget estimates, but I still think that it is very safe to assume that the film has already turned a profit.  In the end, the choice is yours, as The Best Exotic Marigold Hotel may not be perfect, but it still has something to offer to a defined audience.  

Overall Recommendation: Medium