The Dark Knight Rises: Short and Sweet

Ever since I started this blog over two years ago, there is one film that I have been chomping at the bit to review; it is no secret to any of my regular readers that I am an absolute comic book fanatic, but my love for Batman borders on obsession, so one can sympathize with the high regard that I hold for Christopher Nolan’s interpretation of the character.  Following the unprecedented critical and commercial success of 2008’s The Dark Knight, film fans around the world rejoiced when Nolan announced in early 2010 that he would be returning for the final installment of the series, and of course, I tracked every development and announcement associated with the film like a hawk.  With most of the high-profile cast returning, curiosity was very high concerning who would be added to the mix, and with Inception alum like Tom Hardy, Marion Cotillard, and Joseph Gordon-Levitt coming on board, buzz went through the roof.  Add-in the clever viral marketing campaign and cross-promotions with the likes of Mountain Dew and Chevrolet, and no one doubted that The Dark Knight Rises was going to be THE movie to see of the 2012 Summer Movie Season.  So, midnight IMAX showing ticket in-hand and sporting my favorite Batman t-shirt alongside my equally-obsessed friends, I was more than ready to see how Christopher Nolan would bid farewell to his beloved trilogy.

Offering epic action, brilliant writing, strong acting, masterful direction, and gratuitous amounts of fan-service, The Dark Knight Rises is a ridiculously entertaining film that demands your attention and earns both your respect and utter reverence.  Because this superhero films acts as more of a direct sequel to Batman Begins than a standalone entity in the vein of The Dark Knight, it cannot be placed in direct comparison to the 2008’s juggernaut, but that does not mean that this third entry doesn’t showcase its own merits.  When you consider the scale of the storyline and the epic energy of the narrative, what The Dark Knight Rises has accomplished in terms of film-making is staggering; the special effects alone are so strongly complemented by the IMAX film format and Nolan’s direction that you will undoubtedly be on the edge of your seat for most of the near-three-hour running time.  In terms of the performances delivered, each of the regulars more than rose to the requirements of this final installment, but it was the new additions that represented the biggest standouts; from Tom Hardy’s threatening physicality as Bane, to Anne Hathaway’s sexy, no-nonsense demeanor as Catwoman, it is all just…brilliant.  Granted, at times the story is heavily-convoluted and it is sometime very difficult to understand Bane’s speech, but those gripes are easily forgiven in light of the project in its entirety and the masterfully executed ending that will leave you cheering.  Bottom Line: whether you are a comic book fanatic or someone who has never heard of Gotham City, DO NOT let yourself miss The Dark Knight Rises.              

Overall Recommendation: Very High

The Dark Knight Rises: Full Review

The Dark Knight Rises - (July 20^th, 2012): PG-13

Distributor: Warner Bros. Pictures

Opening Weekend Box Office: #1 with $160,887,295

Domestic Box Office Gross to-date: $243,061,000

Gross Revenue: $419,161,000

Production Budget: $250 million

Director: Christopher Nolan

With a stunning reboot and modernization of the classic character in 2005’s Batman Begins and the lightning-bolt redefinition of the superhero genre that was 2008’s The Dark Knight, Christopher Nolan cemented his reputation as a master filmmaker and had fans clamoring for another chapter in his cinematic interpretation of The Caped Crusader; so when The Dark Knight Rises was first announced, a record-breaking box office presence was virtually guaranteed.  Based on the franchise’s reputation, everyone knew that The Dark Knight Rises was going to be amazing, so the entire buzz saturating the social media networks was simple fan curiosity concerning exactly how Nolan was going to execute his masterpiece, and the casting choices were invariably going to be a huge part of that formula.  When it was first revealed that Catwoman was going to be making an appearance, longtime Batman fans were understandably thrilled, but a large amount of skepticism hit when Anne Hathaway accepted the role and photos of her streamlined costume were leaked; personally, I knew that Hathaway could play an ass-kicker after her performance as Agent 99 in 2008’s Get Smart, so I was confident in her ability to ably portray the complex cat burglar.  As for the announced villain, no one was going to be able to surpass Heath Ledger’s Oscar-Winning performance as The Joker, but many did have high hopes for Tom Hardy’s Bane, especially after the notoriously complex and threatening character was thoroughly run through the mud with Joel Schumacher’s Batman & Robin.  Either way, barring a massive and damn-near impossible cinematic failure, Warner Bros. knew that they had cinematic gold on their hands, and thanks to an aggressive and expansive marketing campaign and the added appeal of the IMAX format, absolutely everyone was looking forward to this newest superhero film.  Christopher Nolan had repeatedly maintained that The Dark Knight Rises would be his last Batman film and that both he and his brother Jonathan Nolan (the two screenwriters for the film) were thoroughly pleased with the ending presented; with a promise like that, how could any fan not rush to the theater?

Set eight years after the events of The Dark Knight, this final entry in Christopher Nolan’s trilogy opens with Gotham City in a state of peace; thanks to Batman taking the blame for the murders of Harvey Dent, the late District Attorney’s legacy and reputation have cleaned up the streets and there is no longer any need for a masked vigilante.  In the interim between movies, Bruce Wayne (Christian Bale) has become a recluse, supported only by his faithful butler Alfred Pennyworth (Michael Caine), all the while allowing Wayne Enterprises to fall into shambles after a failed clean energy project.  However, after Police Commissioner James Gordon (Gary Oldman) is injured by a mysterious and brutal mercenary, Bane (Tom Hardy), Bruce is thrust back into action and seeks to learn all he can from his new enemy with the help of a zealous young Gotham cop, John Blake (Joseph Gordon-Levitt), and a brazen and thoroughly alluring cat burglar, Selina Kyle (Anne Hathaway).  However, upon encountering his formidable foe, Bruce discovers that Bane assumed control of the League of Shadows after the death of Ra’s al Ghul (thereby referencing events from Batman Begins), and because of that kind of shared physical training between the opponents, Bane is able to thoroughly incapacitate the rusty hero and banish him to foreign prison.  In Batman’s absence, Bane imposes martial law in Gotham, trapping the police force underground and freeing all prisoners from confinement, all the while obtaining a nuclear weapon that he threatens to detonate should anyone try and escape the city.  Forced to retrain his body to health and find a way to escape his imprisonment, Bruce must find the strength to “rise” and return to Gotham, enlisting the help of his allies, including both Lucius Fox (Morgan Freeman) and new Wayne Enterprises board member Miranda Tate (Marion Cotillard), in order to formulate a plan that can save his city from destruction.

With so many strong elements present, it is almost unfair to try and identify any single or standalone component that makes The Dark Knight Rises brilliant; suffice it to say that everything, from the acting and the writing to no-holds-barred action and subtle instances of humor…it all just works.  From a directorial standpoint, Christopher Nolan proves himself as a master filmmaker, as the epic tonal energy of the narrative takes off like a rocket, thereby making room for amazing action, all while some of the deeper themes presented are handled with elegance and depth; for instance, Bruce’s time in the prison is executed as a remarkable character study, but when Batman suits up and gets ready to face-off with Bane, you find yourself pumped.  As for the new characters, the sexy Anne Hathaway steals nearly every scene she is a part of (thereby representing the perfect embodiment of Catwoman), while Joseph Gordon-Levitt is endearing as a noble police officer that you cannot help but support.  And when it comes to action alone, the creativity of the special effects and the usage of IMAX cameras is awe-inducing; your jaw will hit the floor the first time “The Bat” takes flight.  Finally, perhaps the most rewarding part of the Dark Knight Rises is the ending, which executes a creative and thoroughly satisfying conclusion to the trilogy; you will invariably be sad that the series is over, but rest assured that it ends on a high and very rewarding note.

Granted, for as much as I enjoyed the Dark Knight Rises, I can acknowledge that there are a few shortcomings that prevent the film from being perfect; but upon closer examination, I would argue that each is easily forgiven.  The most prevalent criticism I have heard involves the convoluted story; there is a lot going on within this film, and because of that, things do get a little confusing, but that simply means that this is the type of action film that you have to see multiple times in order to comprehend fully…but c’mon, did any of you really have a clue what was going on the first time you saw Inception?  Then there is Bane himself…all comparisons to Heath Ledger’s Joker aside, even though Tom Hardy more than delivered in his role, the man was still very difficult to understand with his muffled speech; true, it is one hell of an improvement over the garbled IMAX footage that was presented back in December, but you are still going to have to listen carefully.  As for the returning characters, the screen time of heavyweights like Morgan Freeman and Michael Caine is substantially reduced, but that fact does not diminish their importance to the story or the quality of their performances; Caine himself shows a depth of emotion as Alfred that no one would expect to see in any kind of superhero film.  In the end, all of these “shortcomings” are, as best, gripes, and with so many faithful references to comic book lore and impressive action sequences, both comic book fanatic and casual moviegoer will be far too charmed to care whether every element of the story makes perfect sense.

When I put forth my predictions for the Summer Season box office, I acknowledged that even though The Dark Knight Rises would be a force to be reckoned with, it would not be able to outperform The Avengers, but in retrospect, that truth is likely due to Christopher Nolan’s aversion to the 3D format and the extra $3 that would have been added to ticket prices.  Opening with just over $160 million, The Dark Knight Rises represents the third highest opening of all time, behind The Avengers and Harry Potter and the Deathly Hallows: Part 2, and the single highest non-3D release.  Given the scale of this blockbuster, it really isn’t all that surprising that Warner Bros. spent $250 million on this project, but trust me when I say that no one has to worry about the bottom line, as it will be weeks before this superhero film is finally dethroned, either domestically or internationally.  It is a true shame that the legacy of this film and its opening will now be marred by the senseless tragedy of the Aurora, Colorado shootings, but you have to give credit to both the studio and the stars of the film for how the situation is being treated with such solemn respect.  As for the future, both Nolan and Bale have adamantly confirmed that they are now done with the Batman films, but Anne Hathaway has already expressed interest in a “Catwoman” spinoff and it will only be a few years before the character in his entirety is rebooted to make way for a “Justice League” project.  To put it simply, The Dark Knight Rises is not something to be missed, and if you have the chance to see it in IMAX, run, don’t walk, to the theater in order to experience the final chapter of what may be the greatest film trilogy of all time.   

Overall Recommendation: Very High

Ice Age: Continental Drift - Short and Sweet

Pre-dating some of the most famous properties from both the Disney/Pixar and DreamWorks Animation libraries, the Ice Age franchise has remained a consistently successful cinematic cash-cow ever since Manny, Sid, Diego, and even Scrat, were first introduced to audiences in 2002.  And, even though the Ice Age films have never truly been on par with some of the direct competitors within the children’s demographic, that fact has never prevented the individual entries from offering high levels of clever and entertaining humor.  Now, the first sequel in the series (2006’s The Meltdown) might not have delivered anything truly memorable, but I absolutely adored 2009’s Dawn of the Dinosaurs, so I was understandably thrilled when the mischievous squirrel Scrat started showing up in short segments back in 2010, thereby hinting at another sequel.  Despite heavy competition during the Summer Movie Season in the form of Madagascar 3 and Brave, audiences still had high hopes for Continental Drift, especially with the newest high-profile additions to the cast.  Fully acknowledging that there wasn’t likely to be much depth to the newest Ice Age entry, I was still nevertheless looking forward to strong animation and trademarked laughs.

While it may not be the biggest surprise, it is still disappointing that Continental Drift signifies the decline of a franchise that has finally run out of momentum and failed to offer audiences anything new.  Granted, I could watch Scrat chase after that unobtainable acorn for hours, but with the exception of a few fleeting laughs, the fact remains that Continental Drift still represents a pretty big cinematic misfire that tried to borrow a little too heavily from heretofore untouched genre norms.  The most obvious shortcoming is represented by the new characters, as even though Wanda Sykes is hysterical as Sid’s grandmother, not one of the villainous pirates is funny nor altogether interesting; even Jennifer Lopez wasn’t able to bring a lot to the table.  The story itself also offers very little to the overarching series, a move that is sure to have audiences questioning the overall necessity for this sequel.  So, even if you are a fan on the Ice Age series, there is very little to Continental Drift to motivate an immediate trip to the theater.     

Overall Recommendation: Low

Ice Age: Continental Drift - Full Review

Ice Age: Continental Drift - (July 13^th, 2012): PG

Distributor: 20^th Century Fox

Opening Weekend Box Office: #1 with $46,629,259

Domestic Box Office Gross to-date: $105,547,000

Gross Revenue: $555,537,862

Production Budget: $95 million (Estimated)

Directors: Steve Martino and Mike Thurmeier

Blue Sky Studios may not have the same cinematic library or reputation as Disney/Pixar and DreamWorks Animation, but the fact remains that a tiny and neurotic saber-toothed squirrel named Scrat is one of the most recognizable animated characters in the world, so audience interest had to go through the roof when he started showing up in promotions to signal the future launch of Continental Drift.  And even though they aren’t exactly A-list talent that can invariably fill theaters, Ray Romano, John Leguizamo, and Denis Leary have delivered their characters of the past decade with considerable skill and imbued each with a personality that audiences have come to love.  So, that truth alone was enough to guarantee interest in this newest animated comedy, but 20^th Century Fox took the extra step within its promotions to accentuate the star power of its newest film and actually identify and feature the voices behind both the returning and new characters.  Jennifer Lopez was an interesting enough addition, but new cast members like music stars Nicki Minaj and Drake were the biggest buzz builders; say what you will about each of their individual singing abilities, both Minaj and Drake have huge fan bases that aren’t part of the usual animated audience demographic and could potentially be drawn-in out of sheer curiousity.  No one can deny that so far this summer, Madagascar 3 and Brave have set the bar very, very high for animated movies, thereby setting up huge expectations for the quality of Ice Age: Continental Drift that would not be easy meet, much less overcome.

Starting up several years after the conclusion of Dawn of the Dinosaurs, Continental Drift opens with the saber-toothed squirrel Scrat hunting for acorns and inadvertently triggering the break-up of the Pangaea landmass into the individual continents.  The narrative then shifts focus to the familiar Ice Age protagonists Manny the mammoth (Ray Romano), Sid the sloth (John Leguizamo), and Diego the saber-toothed cat (Denis Leary); each of our heroes are facing a personal crisis, as Manny is quarreling with his teenage daughter, Peaches (Keke Palmer), Sid is being forced to care for his elderly relative, Granny (Wanda Sykes), and Diego is fearing the loss of his predatory instincts.  Once the continental break is triggered, Manny is separated from Peaches, his wife Ellie (Queen Latifah), and his brothers-in-law, Crash and Eddie (Seann William Scott and Josh Peck); together with Sid, Diego, and Granny, the prehistoric animals must navigate the seas and find a way to reunite with their loved ones.  Unfortunately, the heroes soon cross paths with a pirate gang led by the villainous ape, Gutt (Peter Dinklage), and his second-in-command, the female saber-toothed cat, Shira (Jennifer Lopez); Gutt immediately takes a dislike to Manny, especially after the mammoth steals Gutt’s ship in order to return home.  Desperate to return things to normal, the heroes must work together to find a way to avoid the dangerous new villains; all while Scrat continues his desperate search for the perfect acorn.

As one has come to expect from this successful series, the best part of Ice Age: Continental Drift is the sharp and quick-witted humor, which may not be a consistent presence throughout the entire running time, but when the jokes do hit, they definitely score.  And nowhere is the humor more prevalent than in the character of Granny, whom Wanda Sykes brings to life with her own trademarked sarcasm; just like Simon Pegg’s Buck from Dawn of the Dinosaurs, Granny is a standout addition that overshadows the characters that are now making their fourth appearance.  Unfortunately, that is where the appeal of the new characters ends, as each of the one-note villains is far more annoying than threatening, so much so that you wish they would disappear soon after their introduction; even Jennifer Lopez’s Shira wasted a considerable amount of potential and added very little to the story.  It really is a shame that the narrative chose to focus so strongly on this weak characters, all while relegating entertaining personalities like Ellie and Crash and Eddie to the background.  Now, with the misuse of the characters severely weakening the appeal of Continental Drift, one would hope that at least the story keeps things entertaining; but unfortunately, as this franchise has established many times in the past, the best parts of the Ice Age movies are usually the characters.

Now, fourth entries in any film series are a bit of a gamble, but if you do choose to revisit a story and its characters for a third go-around, you sure as hell better have a story worth telling in order to add to the overarching narrative…sadly, such is not the case with Continental Drift.  Separating the main characters from loved ones could have opened the door for a heartfelt emotional journey laced with humor, but the narrative instead chooses to focus its time on several inconsequential story arcs, none of which are altogether interesting or enough to get you invested in the eventual outcome.  If you have to deviate from the main story, I would have loved to see more elaboration on Scrat’s journey, but filmmakers inexplicably introduced a love story for Diego and an identity crisis for Peaches; neither of which was executed appropriately.  And, in the “Short and Sweet” review, I hinted that Blue Sky Studios relegated to heretofore untouched genre norms, and in Continental Drift, that shift comes in the form of singing, which has never been seen in the Ice Age series; when the pirates break into song to describe their villainy, the moment is mind-numbingly stupid…that stuff really needs to be left to Disney.  So, in the end, with so few engaging characters and no real story to keep things interesting or altogether coherent, Ice Age: Continental Drift represents one of the weakest animated films to his theaters in some time.

As the only new release of the weekend, Continental Drift was virtually guaranteed a first place opening, and let’s be honest, virtually every July release had to try and make its money before The Dark Knight Rises had its record-setting weekend.  Still though, when you consider the recent successes of animated movies, a $46 million opening is relatively weak, especially with the revenue boost that should have come along with this film being the first of the series to be featured in 3D.  Luckily, the Ice Age franchise is insanely popular overseas, so thanks to a beefy international presence, Continental Drift has already secured over a half a billion dollars in ticket sales.  And, even though I believe that the franchise’s appeal has run its course, it already looks like the brass over at Fox are working on a fifth installment.  Summing it all up, what should have been a fairly easy continuation of a popular series fell almost completely flat, and it really isn’t something to see in theaters, even if you have been a fan for years.

Overall Recommendation: Low

                 

Savages: Short and Sweet

With a filmography that includes thrillers like Platoon, Wall Street, JFK, and World Trade Center, director Oliver Stone has never been one to shy away from controversial and emotionally-charged subject material, so it is always worth paying attention whenever his name appears during the Coming Attractions.  When I first caught wind of Savages, I do have to admit that my interest was piqued over the fact that the narrative was positioned as a gritty thriller focusing on the drug trade, a genre that hasn’t exactly been prevalent in recent years.  Given the fact that Oliver Stone wrote 1983’s bloody, cocaine-filled classic, Scarface, it looked like Savages would offer plenty of no-holds-barred violence, all while treating audiences to a talented ensemble cast.  Granted, Taylor Kitsch and Aaron Taylor-Johnson might not be household names, but Hollywood heavyweights like Salma Hayek, Benicio del Toro, and John Travolta, were sure to draw curious crowds.  With so many popcorn films saturating the box office, Savages had the potential to be the gripping thriller that would represent a very welcome change of pace.

Deftly portraying the dichotomy between the perceived glamour and harsh reality of the drug trade, Savages showcases engaging and thoroughly unhinged characters, who in all honesty deserved a more coherent story than what was ultimately presented.  As the leading men, Kitsch and Taylor-Johnson work remarkably well together, with their differing personalities offing a perfect protagonist balance and showcasing talent that audiences will undoubtedly see more of in the future.  And when it comes to the antagonists, Salma Hayek and Benicio del Toro are both brilliantly psychotic, brutal, and downright scary, so much so that you definitely get edgy whenever they walk on screen.  However, on the other side of the cinematic equation, Oliver Stone more than demonstrates his talent as a director, but I can’t help but believe that he overplayed his hand, sacrificing coherent storytelling for artsy and sometimes downright confusing cinematography…and having Blake Lively as your narrator certainly doesn’t help.  So, even though Savages does have its share of memorable and entertaining moments, overall quality is far too sporadic to qualify this crime thriller as a must-see.

Overall Recommendation: Medium

Savages: Full Review

Savages - (July 6^th, 2012): R

Distributor: Universal Pictures

Opening Weekend Box Office: #4 with $16,016,910

Domestic Box Office Gross to-date: $36,656,195

Gross Revenue: $37,656,195

Production Budget: $45 million

Director: Oliver Stone

You know, one cannot help but feel some sympathy for Taylor Kitsch; Hollywood seems determined to prove to audience that the young actor is a blockbuster leading man, but after the sub-par performances of big budget gambles like John Carter and Battleship, the desired message clearly isn’t coming across.  Needless to say, with Kitsch now set to work alongside other young silver screen talent like Aaron Taylor-Johnson (Kick-Ass) and Blake Lively (Gossip Girl), it was clear that the audience recognition of the top-billed actors wouldn’t be the main selling-point for Savages.  Don’t get me wrong, there were some definite big names attached to this newest action thriller to generate ticket sales, as Benicio del Toro, Salma Hayek, and John Travolta, all have proven cinematic track records, but the best thing Savages had  going for it was the involvement of director Oliver Stone.  Virtually any film featuring the drug trade is sure to draw in fans of the crime genre, and when you weigh that fact against Oliver Stone’s work on a genre icon like Scarface, quality expectations had to be through the roof.  Though the film’s R-rating, dark subject matter, and release just days after The Amazing Spider-Man didn’t exactly guarantee box office success, by all accounts it looked like Universal Pictures and Relativity Media would still be delivering a highly-entertaining project that would be well-worth the price of admission.

Based on the novel of the same name written by Don Winslow, Savages offers an in-depth and chilling look at the brutality of the marijuana business and drug cartels, and at the center of this story are best friends Chon (Taylor Kitsch) and Ben (Aaron Taylor-Johnson).  Combining Chon’s experience as a former Navy SEAL and Ben’s education as a business and botany student, the two Laguna Beach residents produce and distribute what is widely considered the best strain of marijuana in the world; enjoying their success and wealth, Chon and Ben also revel in sharing the affections of the free-spirited Ophelia “O” Sage (Blake Lively).  However, things quickly shift when the two business partners are approached by a powerful Mexican cartel but subsequently refuse the cartel’s offer for partnership, enraging the ruthless drug kingpin and cartel leader, Elena Sánchez (Salma Hayek).  Seeking to teach the independent distributors a lesson in respect, Elena has O kidnapped by her ruthless enforcer, the violent and thoroughly psychotic Miguel “Lado” Arroyo (Benicio del Toro).  Rather than take this punishment lying down and be forced into compliance, Chon and Ben use the resources of their corrupt DEA contact, Agent Higgins (John Travolta), to learn all they can about the cartel, resolving to rescue O and get revenge by any means necessary.

Though some of the finer elements of the story leave plenty to be desired, Savages still remains supremely entertaining, and that fact is due largely to the characters presented in the narrative, a majority of whom are brilliant and utterly engrossing.  As partners in crime, Kitsch and Johnson represent the perfect team-up, showcasing tremendous talent that is sure to be showcased for years to come; it looks like Kitsch has finally found his perfect type of character, as the young actor plays a violent psychopath almost a little too well.  Still, as enjoyable the heroes of the film were, the true stars of Savages are the villains themselves, as both Benicio del Toro and Salma Hayek are just downright scary; because both are usually so menacingly calm, anytime either raises their voice, you know that blood will be spilt.  And speaking of blood, there is more than enough violence within Savages to make even the most hardcore of gore fans cringe from time to time, thereby making full use of the R-rating and showcasing a mesmerizingly dark side of human nature.  Yet, in spite of all these positive accolades associated with the characters and action, when it comes to other filmmaking elements, it is clear that many people behind the camera tried far too hard.

Though no one can deny the directorial talent and legacy of Oliver Stone, it almost seems like the Hollywood icon overplayed his hand in trying to imbue the drug trade with some kind of deeper meaning or symbolism.  Between awkward camerawork and sheer nonsensical non-diegetic elements, there are times where this action thriller is just downright weird, and that truth is not helped by the confusing and convoluted writing.  Despite the fact that the overarching plot hook of a kidnapping remains intact, a number of the character motivations remain unaddressed, and it is not always entirely clear how some of the components of the revenge scheme fall together.  And, if there are times where you find yourself confused, having Blake Lively serve as your narrator certainly isn’t going to make anything easier, as her character is far more interested in spewing some kind of granola-laced Zen haiku than telling an actual story…bottom line, she gets annoying quickly, so much so that you almost wish she would just stay kidnapped.  So, if you were banking on Savages to be the new gold standard of the crime genre, one that you will be talking about for years, you might want to reassess your expectations.

When I wrote about The Amazing Spider-Man’s box office performance, I commented on the awkwardness of the 4^th of July Holiday Weekend falling on a Wednesday, and given the fact that a large portion of moviegoers likely blew town after sticking around to watch Peter Parker, there was a significant chance that Savages would get lost in the fold.  Well, even though a $16 million opening isn’t exactly a disaster, a 4^th place finish isn’t something that any new release actively strives to accomplish, and during the heavily-packed Summer Movie Season, a second weekend come-from-behind victory is near-impossible.  And, at this point, with an almost non-existent foreign release and the failure of box office receipts to recover the production budget after two weeks, it is likely that Universal will post a loss against a modest $45 million expenditure.  In all honesty, with The Dark Knight Rises just opening and high-profile offerings like The Bourne Legacy and The Expendables 2 hitting in August, the fact remains that Savages has seen its best days.  In the end, R-rated thrillers are a pretty rare occurrence in theaters lately, and Savages isn’t likely to have audiences clamoring for more.    

Overall Recommendation: Medium

The Amazing Spider-Man: Short and Sweet

Say what you will about Spider-Man 3, the fact remains that Sam Raimi’s Spider-Man trilogy was a tremendously successful film series and absolutely instrumental in skyrocketing the popularity of the superhero film genre.  So you can imagine everyone’s surprise when Sony Pictures announced in 2010 that the film series would be completely rebooted, returning viewers to Peter Parker’s origin story with a new cast and a new director.  Needless to say, skepticism was rampant, especially in the wake of the early leaked set photos of the new costume that were met with utter internet revulsion; but as time progressed, more and more factors seemed to guarantee future success for The Amazing Spider-Man.  Fresh off his standout performance in The Social Network and his unorthodox-yet-awesome appearance at 2011’s Comic-Con, potential audiences were thrilled that Andrew Garfield would be portraying the web-slinger, and when you place him next to the likes of Emma Stone, some serious on-screen chemistry was guaranteed.  With promises of stunning 3D action, the thoroughly creative and aggressive marketing campaign, and the assurances from my contacts at Sony that I would not be disappointed, I found myself very excited for The Amazing Spider-Man.

Though it didn’t fully live up to my expectations, the fact remains that The Amazing Spider-Man is a completely faithful adaptation of the beloved character that showcases strong acting, clever humor, exciting action, and utterly stunning visuals.  As the nerdy but sarcastic Peter Parker, Andrew Garfield represents the perfect embodiment of the superhero, and alongside the effortless charm of Emma Stone, the two showcase tremendous talent that is sure to keep you entertained.  Respectful attention to the source material will be sure to placate comic book fans, but the visual effects remain the strongest element of the film, with the combination of traditional stunt-work and CGI making Spider-Man’s movements an absolute must-see in IMAX 3D.  Unfortunately this newest superhero film isn’t perfect, as the music choice is noticeably disappointing and many of the promised plot elements simply weren’t delivered; and, because the memory of the original trilogy is so fresh in the minds of the public, some of the inherent wonder and surprise of franchise is watered-down.  Still, in the end, where the Amazing Spider-Man could have been a complete disaster, the fact remains that this reboot is tremendously strong and sets the stage for a fresh and exciting new trilogy.

Overall Recommendation: High

The Amazing Spider-Man: Full Review

The Amazing Spider-Man - (July 3^rd, 2012): PG-13

Distributor: Columbia Pictures (Sony Pictures Entertainment)

Opening Weekend Box Office: #1with $62,004,688

Domestic Box Office Gross to-date: $176,172,000

Gross Revenue: $377,772,000

Production Budget: $230 million

Director: Marc Webb

Following the financial success of 2007’s Spider-Man 3, Sony Pictures secured a May 2011 release date for the fourth entry in the series, but after the sub-par critical reaction and audience disappointment concerning “Emo-Spider-Man,” Raimi announced that he would be unable to maintain artistic integrity under such a deadline, and so both he and Tobey Maguire decided to call it quits.  And so, with just over five years between release dates, Sony announced that the entire franchise would be rebooted and offer a revisited origin story to Marvel’s most popular superhero with 2012’s The Amazing Spider-Man.  Director Mark Webb would be given the chance to tackle his first big-budget blockbuster, while the talented cast that included such names as Andrew Garfield, Emma Stone, Rhys Ifans, Denis Leary, Martin Sheen, and Sally Field would provide one hell of a support team to help deliver the “Untold Story” of the A-list superhero.  Promising a far grittier take on the character (in the vein of Chris Nolan’s Batman series) than had been seen before, promotions guaranteed that audiences would be treated to an explanation surrounding Peter Parker’s parents (a subject-area unknown to all but the most devoted of comic book fans); add-in the partnerships with Target, Twizzlers, and Carl’s Jr., and the hype surrounding this 4^th of July release was going through the roof.  As a fan of the wall-crawler, I was pretty excited for The Amazing Spider-Man, but once I learned that the visual effects would feature first-person perspective of the character’s trademarked web-slinging, I knew that I had to see the film in IMAX 3D, and that fact alone was more than enough to guarantee a significant dent at the box office.

Telling a rehashed version of a familiar origin story, The Amazing Spider-Man introduces audiences to social outcast Peter Parker (Andrew Garfield), a brilliant high school student who has lived with his Uncle Ben (Martin Sheen) and Aunt May (Sally Field) since his parents mysteriously departed years ago.  Coming across some of his father’s belongings, Peter discovers that his father once worked with Dr. Curt Conners (Rhys Ifans), a leading authority in cross-species genetics who works for OsCorp and is researching a reptilian formula designed for limb regeneration.  Sneaking into OsCorp as a potential high school intern, Peter befriends his classmate and current student intern Gwen Stacy (Emma Stone), all the while doing what he can to seek out Conners, learn more about the disappearance of his parents, and share in his father’s top-secret research.  As he wanders away from the group of interns, Peter is bitten by a genetically-modified spider and begins displaying arachnid abilities, a talent he revels in until his indifference to a liquor store robbery leads to the death of Uncle Ben.  Vowing to catch and punish the shoplifter, Peter fashions a costume, mask, and mechanical web-shooters, adopting the vigilante persona of “Spider-Man” and drawing the unwanted attention of NYPD Captain George Stacy (Denis Leary).  Though Peter is focused on his new duties and his growing relationship with Gwen, a new threat emerges when Connors is transformed into a lizard hybrid and begins terrorizing the city with truly sinister motives.

When it comes to the engaging embodiment of classic characters, edge-of-your seat action, and stunning visuals, The Amazing Spider-Man delivers in spades and serves as a brilliant example of bringing superheroes to life in a grittier and far more realistic manner than is usually showcased.  While I can respect Tobey Macguire’s efforts, Andrew Garfield proved that HE is the perfect embodiment of Peter Parker/Spider-Man, delivering the character’s trademark humor and intelligence and playing perfectly off of Emma Stone, who herself is so pleasantly charming that you instantaneously love her; together, the two are a perfect couple that I can’t wait to see return to the screen.  And, in terms of the villain, I absolutely loved the way that Rhys Ifans portrayed The Lizard (a notoriously difficult choice from Spider-Man’s rogue’s gallery); in addition to the solid special effects surround his transformation, the Jekyll and Hyde angle surrounding his decent into madness was executed brilliantly.  And, in using a far more obvious emphasis on traditional stunt work than has been seen in theaters recently, the effects surrounding Spider-Man’s movements and combat are stunning and must be seen in IMAX 3D…when Parker jumps off a building the camera morphs to first-person, you will feel the hairs on the back of your neck stand on end.  Unfortunately, even though the positives of The Amazing Spider-Man are definitely strong, there are three specific gripes that I cannot easily overlook.

The first complaint I have concerning the Amazing Spider-Man is really hard to blame on anyone and is largely something that has to be expected, but given the rest of film’s quality, weaknesses in story and music are pretty blatant.  Position it any way you want to, but the fact remains that it has only been five years since Sam Raimi’s Spider-Man films, and because their memory is so fresh in everyone’s mind, some of the inherent wonder of this story is lost; Uncle Ben’s death, Peter’s discovery of his powers…it all is just too familiar, but perhaps a necessary evil for a reboot.  When weighed against the original trilogy, it is pretty hard to go up against Danny Elfman’s scoring, but the popular music choice in this entry is nevertheless ill-fitting; there always has to be a level of energy to Spider-Man, and because of that, hearing Coldplay during some of the action sequences is just ridiculous.  Finally, in terms of the story, every promotion guaranteed a resolution to the story of Peter’s parents, but in an over two hour running time, that plot hook is left unresolved and largely shelved until the inevitable sequel…what a bummer.  So, even though none of these shortcomings are enough to sink The Amazing Spider-Man, they do weaken overall quality in a time when audiences expect near-perfection from their superheroes (you can thank Christopher Nolan for that one).

From a box office perspective, 4^th of July Weekend is prime distribution scheduling, but when the holiday falls on a Wednesday, it can be a little difficult to draw audiences away from potential travel plans.  Still, a $62 million three-day weekend and a $137 million six-day opening represents a very respectable success…it may be a little short when compared to the Raimi franchise, but when you look back at initial reaction to the project, things could have gone far worse.  Add-in the massive foreign receipts from the overseas markets due to the inherent appeal of “Spidey”, and Sony has nothing to worry about, even against a $230 million production budget.  At this point, it is absolutely no wonder that the studio has already confirmed that a sequel will be released in 2014 and that this reboot represents the first of a trilogy…who knows, maybe the upcoming Fantastic 4 and Daredevil reboots will find similar success.  If you’re on the fence in any way, rest assured that The Amazing Spider-Man is a faithful and entertaining adaptation that you will be sure to enjoy.

Overall Recommendation: High

Ted: Short and Sweet

Whether it is through Family Guy, American Dad, The Cleveland Show, or the Cavalcade of Cartoon Comedy that features on YouTube, nearly everyone has had some exposure to the first name in raunchy cartoon comedy, Seth MacFarlane.  Granted, I do think that Family Guy has long since jumped the shark, but my interest was definitely piqued when I first caught wind that MacFarlane was going to be trying his hand in the live-action realm.  When I saw the trailer for Ted, I was immediately put-off by the fact that the teddy bear sounded almost identical to Family Guy character Peter Griffin, but alongside bankable stars as Mark Wahlberg and Mila Kunis, I was readily able to forgive such an annoyance.  As the release date approached, I must have heard the “White Trash Speed Round” sound bite countless times, but despite that overexposure, I had to acknowledge that there were some pretty clever jokes present.  Fully prepared that the film could be nothing more than an extended Family Guy clip that would beat a single joke to death, I found that I was still expecting some pretty strong laughs from Ted.

There is no way around admitting the fact that Ted is essentially an extensive live-action Family Guy episode, but where that truth could have ended in disaster, the reality is that this comedy is hysterically funny and showcases a talent that I thought had disappeared long ago.  The familiar voice actors and random references to 80’s pop culture keep Ted anchored to the Family Guy formula, but that familiarity doesn’t make the project any less entertaining; Patrick Stewart’s opening narration still has me laughing.  As a character, the raunchy teddy bear pulls absolutely no punches and delivers lines that you will be quoting for years, and alongside Mark Wahlberg, the two insult and offend almost every group possible…and trust me, it’s awesome.  However despite the inherent silliness of the premise, there are times when Ted takes itself a little too seriously; overplaying the bromance between the two central characters so strongly that you will find yourself feeling foolish for caring about the welfare of a stuffed animal.  In the end, Ted represents one of the most positive comedic surprises that I have seen in some time, and it is an early contender for the funniest film of the 2012 Summer Movie Season.

Overall Recommendation: High

Ted: Full Review

Ted - (June 29^th, 2012): R

Distributor: Universal Pictures

Opening Weekend Box Office: #1with $54,100,000

Domestic Box Office Gross to-date: $54,100,000

Gross Revenue: $54,100,000

Production Budget: $50 million

Directors: Seth MacFarlane

When you stop to consider the insane levels of random references and thoroughly irreverent comedy that permeates all of Seth MacFarlane’s work, was there really anyone else in Hollywood who could be trusted to tackle a film about a magic teddy bear who crassly speaks his mind, smokes marijuana, and attempts to seduce the local grocery check-out girl?  Admittedly though, just because MacFarlane has demonstrated a mastery of animated comedy was no guarantee that he could execute on the live-action front, but in terms of swaying skeptics, there are few actors in Hollywood that can produce the draw of Mark Wahlberg, who has demonstrated talent across nearly every genre.  In terms of the rest of the cast, it was clear that MacFarlane was looking out for his television co-stars; sure, Mila Kunis (Meg Griffin) is beautiful and talented enough to warrant her own casting, but I spotted Alex Borstein (Lois Griffin) and Patrick Warburton (Joe Swanson) on the cast list, and those choices were clearly meant to invoke familiarity and novelty related to the Fox’s “Animation Domination” Sunday Night television line-up.  The trailers were enough to illustrate that Ted was going to offer some crass humor, but I was a little concerned when a single joke seemed to dominate all the promotions, something that could definitely represent a red flag indication for an almost two hour running time.  Still, MacFarlane has been pushing the envelope for years, so more than anything, I was ready to see what he could do in the director’s chair with the inherent freedom of an R-rating.

Ted opens with a narration by Patrick Stewart, which explains that in 1985, lonely child John Bennett wished his beloved Christmas gift, a teddy bear named Ted, to life and that the two resolved to remain lifelong friends.  Fast forward to present day and both John (Mark Wahlberg) and Ted (Seth MacFarlane) are roommates and still best friends, but both are decidedly immature and far more content with smoking marijuana than moving forward in life; Ted himself has devolved into a completely vulgar and offensive enabler who is embittered by the fifteen minutes of fame he gained years ago as the “Miracle Bear.”  As John and his longtime girlfriend, Lori (Mila Kunis), approach their four-year anniversary, Lori encourages John to ask his lifelong companion to move out so that both can move on with their lives.  Even though Ted moves into his own apartment and finds a job at a local grocery store, his continued influence on John causes serious problems with Lori, a fact that severely threatens the lifelong friendship.  However, things take a turn when Ted is kidnapped by a crazed stalker, Donny (Giovanni Ribisi), and both John and Lori evaluate just how much the lecherous stuffed animal means to their lives.

Now, the idea of a crass stuffed animal isn’t exactly new, and it has all the markings of a single joke that can wear very thin very quickly, but the strong writing and cast chemistry of Ted keeps things fresh and utterly hysterical.  Insulting nearly every demographic possible, this talking teddy bear would be a nightmare for small children but is definitely the kind of character that you would want to share a beer with, and the film he inhabits is so consistently funny that you will be tempted to watch the comedy multiple times just so you can catch all the memorable quotes.  And with so many random references to pop culture (including Star Wars, Indiana Jones, and Knight Rider), and several distinct narrative cutaways, the Family Guy connection is clear; but the association is actually welcome and cleverly executed.  Finally, in terms of cast chemistry, Wahlberg and MacFarlane play-off of each other perfectly, demonstrating a masterful comedic timing and bringing to life a comedy duo that I cannot wait to see reunited.  Unfortunately, even though Ted is remarkably funny, there are a few shortcomings and tonal miscues that are far from deal-breakers, but still worth noting.

For the most part, Ted is very self-aware concerning the sheer insanity and implausibility of the plot, but there are a few narrative points where things get a little too serious and threaten the fun of watching a child’s toy ruthlessly mock fat children and minorities.  The relationship between Ted and John is the impetus that drives the story, but there are times when the friendship gets in the way of jokes, and you feel slightly ridiculous for getting emotionally attached to a teddy bear.  And, in true MacFarlane fashion, even though there is an almost limitless archive of pop culture to mock, the script does take one joke and completely ruin its appeal…the Flash Gordon reference was funny at first, but around the fifth time, you really wish that everyone would just move on and try something new.  My final gripe has to do with the use of Mila Kunis, who really wasn’t given the chance to demonstrate her considerable comedic talent; aside from the one or two jokes she is allowed to participate in, she just comes across as the snippy girlfriend who always serves as a buzz kill.  Now, none of these shortcomings are enough to ruin the appeal of Ted, but it is sad to think that a few small tweaks could have turned this film into a veritable and beloved classic.

Considering the fanatical devotion that Seth MacFarlane enjoys, I knew that Ted would have a strong debut, but in no way did I expect an R-rated comedy to decimate the box office with a decidedly beefy take of over $50 million.  Though this accolade is absolutely well-deserved, I cannot help but feel that numbers were boosted by the dramatic demographic split that hit theaters this past weekend: guys went with their friends to see Ted, and girls went with their friends went to see Magic Mike.  At the very least, the strong revenue draw should continue until the raunchy comedy faces direct competition in the form of The Watch in late July.  And as much as I would love to see a sequel to Ted, the reality is that the narrative has nowhere else to go, so I will patiently await Seth MacFarlane’s next live-action project.  Bottom line, it’s not perfect, but Ted will have you laughing so hard that I doubt you will care about any shortcomings you identify; don’t let yourself miss this one.

Overall Recommendation: High

Brave: Short and Sweet

Save for Cars 2 (and in my opinion, WALL-E), Disney/Pixar has given audiences no reason not to expect that each project produced will be equivalent to cinematic gold, so when it came to Brave, Pixar Animation’s first attempt at a true fairy tale, audiences were ready to be wowed.  Given the extreme pride I hold in my Celtic heritage, the second I heard the characters speak in Scottish accents, I was absolutely sold on this newest animated fantasy, and leading up to the film’s release, you couldn’t turn a corner without seeing a promotion featuring the newest member of the Disney Princess franchise.  DreamWorks Animation certainly set the bar high earlier this summer with Madagascar 3, but by all accounts, Disney/Pixar was sure to fire back and ultimately keep the race for animated supremacy fairly close.  Though there were a few elements of the marketing campaign that I felt lacked focus, I do give credit to the fact that large portions of the narrative remained a mystery, outside the personality quirks and penchant for archery possessed by the film’s heroine.  Between high expectations and simple curiosity, I couldn’t wait to see the Scottish Highlands beautifully detailed and brought to life.

As you might expect, Brave is visually stunning, filled to the brim with clever humor, and unflinchingly tugs at the heart strings; and even though it does lack some of the same punch as a few of its predecessors, the end product remains an incredibly strong film.  Suffice to say, the only thing that prevents Brave from earning my top recommendation is the fact that a majority of the first half hour of the film was detailed in the pre-release trailers, thereby offering almost nothing new for eager audiences.  That being said though, because the beginning was so strongly detailed prior to release, the remainder of the film becomes an engaging and thoroughly entertaining surprise carried by superb voice acting and thoroughly enjoyable characters.  King Fergus and Scottish Lords will have you laughing incessantly, while the mother-daughter dynamic between Queen Elinor and Princess Merida is so beautiful that it will undoubtedly bring a tear to your eye.  So, even though adherence to the fairytale formula prevents Brave from topping the Disney/Pixar catalog, that fact shouldn’t stop anyone from heading to the theater.   

Overall Recommendation: High

Brave: Full Review

Brave - (June 22^nd, 2012): PG

Distributor: Walt Disney Pictures

Opening Weekend Box Office: #1with $66,323,594

Domestic Box Office Gross to-date: $131,685,000

Gross Revenue: $158,485,000

Production Budget: $185 million

Directors: Mark Andrews and Brenda Chapman

First announced in April 2008 as “The Bear and the Bow,” Brave actually represented a number of firsts for Pixar Animation, in that it would be the studio’s first attempt at a fairy tale and represent the first time that a female would act as the main protagonist.  Enter Princess Merida, a far cry from the traditional damsel-in-distress who would function as a strong and independent role model for young girls, thereby clearing the way for endless merchandising opportunities, whether that involved the dolls with the character’s likeness or the red hair wigs that saturated the aisles of Target.  Yet, even though awareness was high, I did spot a few hiccups in the marketing campaign, but the ludicrous lawsuit by the Atlanta Braves baseball team related to copyright infringement doesn’t really count; instead, I was more concerned about the positioning for the film that was delivered in the trailers.  Aside from the fact that I felt that the main trailer was too long, it was almost like Disney/Pixar couldn’t decide which audience to target, as certain versions of the trailer played up the princess angle and the pedigree of the parent studio, while others used energetic music from the punk-rock band Dropkick Murphys to showcase a funny and irreverent adventure that would appeal to the male demographic…talk about messages that are more than slightly mixed.  Still, in light of all the trailers, very few concrete details concerning Brave’s narrative were actually released, making a tagline like “Change Your Fate” especially tantalizing; so, between Disney/Pixar’s reputation and the high levels of curiosity concerning the plot, this animated film was going to hit theaters like a veritable juggernaut.

Set in the highlands of 10^th century Scotland, Brave follows the tale of the independent and free-spirited Princess Merida (Kelly Macdonald), who is currently quarreling with her parents, King Fergus (Billy Connolly) and Queen Elinor (Emma Thompson), over her impending arranged marriage.  When the lords of the allied clans, Dingwall (Robbie Coltrane), Macintosh (Craig Ferguson), and MacGuffin (Kevin McKidd), arrive and present their first-born sons to compete for the princess’ hand in the Highland Games, Merida embarrasses the kingdom and insults the lords by defiantly entering the competition herself.  After a vicious argument with her  mother, Merida retreats into the forest, where the mystical Will O’ The Wisps lead her to an elderly witch (Julie Walters) who offers to cast a spell that will allow the young princess to change her mother, and by extension, her fate.  Though initially hoping that her mother will simply change her mind and call-off the arranged marriage, Merida is horrified to discover that Queen Elinor has instead been transformed into a giant bear.  Returning to the witch, Merida discovers that the spell must be undone by the second sunrise or the effects will become permanent, and that the only hope of reversal lies in a cryptic riddle.  Add to that the rising tensions between the Royal Family and the Scottish Lords, and Merida is tasked with both restoring her mother and repairing the damage she has caused the kingdom, otherwise she risks losing both forever.

I have complimented the visual clarity and extraordinary detail of animated films so regularly that the accolade has lost a majority of its weight, so even though Brave does deliver in this department, the strongest aspect of this film is instead the character interactions.  In terms of laugh-out-loud humor, King Fergus, the young triplet princes, and the Scottish Lords offer that metric in spades, especially in relation to Celtic culture, but the real brilliance lies in Queen Elinor after she transforms into a bear.  Robbed of speech and therefore forced to mime in order to communicate, the resulting interaction between Queen Elinor and her defiant daughter as they learn more about each other is both clever and hysterical, and I could have easily watched just that dynamic for hours.  Fear not though, because there is plenty of emotional impact as well, because Merida’s independence and the strengthened mother-daughter bond featured both deliver a strong message for young audiences; and, despite my best efforts, the tears did begin to flow during the narrative’s climactic and heartfelt reconciliation.  In light of these strong aspects though, Brave isn’t exactly a groundbreaker, and that is largely due to both the aggressive marketing campaign and the limitations of the traditional fairytale formula.

In the “Short and Sweet” review, I mentioned that the trailers for Brave reveal an enormous portion of the beginning, but even though that misstep is big, it can’t hide the fact that Disney-Pixar failed to truly stretch the traditional fairy tale.  Most of you know that I take pride to seek-out every promotional element possible for a film prior to its release, thereby sacrificing a good amount of surprise, but I guarantee that if you have gone to a family film or turned on the television in the past few weeks, then you have already seen the first half hour of Brave.  Granted, I didn’t see the “transformed-into-a-bear” hook coming at all and that did represent a welcome surprise, but that doesn’t change the fact that I was disappointed that so much of the film’s beginning had been prematurely revealed.  And, even though Disney-Pixar usually goes out of its way to offer an unconventional tale for audiences, there are simply too many familiar fairy tale elements present; anyone who has seen a Disney fairy tale before can decipher the witch’s “mysterious” riddle instantaneously.  In the end, though it is by no means a weak film and does outdo several of its predecessors, it does seem like Brave failed to take the necessary risks that would have put it on par with some of Disney/Pixar’s classics.

Cementing the strength of the Pixar brand, Brave opened in over 4,000 locations and pulled in $66 million in its opening weekend, representing the 13^th-straight first place opening for the studio.  Even though the film did perform at the upper end of pre-release forecasts, absolutely no one was surprised by the opening ranking, considering the fact that Madagascar 3 has been out for weeks and the only real competition at the theater was Abraham Lincoln: Vampire Hunter.  And even though the international presence isn’t as strong as I would have expected, the fact remains away that revenues are quickly closing in on the substantial production budget, so there is little to worry about; at least until Ice Age: Continental Drift opens in a few weeks and splits the animated audience even further.  At the very least, I would love to see more in the future from the characters that were introduced, but as I have mentioned in the past, my strongest lobbying for a Pixar sequel will be The Incredibles 2.  So even though I doubt that a majority of my readers are on the fence concerning Brave, I can quell concerns and assure you that this newest animated film is well-worth seeing.

Overall Recommendation: High