Most of what I know about complex science comes from comic books, so forgive me if my understanding of quantum mechanics is a little off. But, I think it can mean that particles can exist in two states simultaneously. 'The Amazing Spider-Man 2,' a film loaded with such half-understood notions of difficult scientific concepts, is a quantum movie. It manages to be both awful and entertaining, frequently at the same exact time. The script is ludicrous, even by summer blockbuster standards. The characters behave irrationally and without motivation and the story makes lengthy, frequent pit stops into dull backstory. But, for every moment of tedium and confusion there is a tiny explosion of joy. Director Marc Webb just barely ties this collision of half-baked ideas together in a sticky Spidey bow.
Whereas Tom Hanks' Captain Phillips talked, finessed, sweated and went into shock to rescue his crew, Chris Evans' Captain America jumps onto a hijacked boat from a helicopter without a parachute. His liberation of a S.H.I.E.L.D. vessel captured by international terrorists involves flinging himself across the deck; a human pinball with terrorists as his easily neutralized bumpers. Make that a super-human pinball, because as much as Steve Rogers maintains his golly shucks good nature, he is, after all, a Marvel superhero and he's here to save the day in the most preposterous and camera-ready fashion that's possible. Welcome to 'Captain America: The Winter Soldier'.
Sometimes great artistry comes from coloring inside the lines.
Walt Disney Animation's newest film, 'Frozen,' does precious little to push the boundaries of narrative storytelling. Indeed, it is a quite predictable – might I even suggest formulaic - culmination of elements. While picking over the bones of a half-remembered Hans Christian Andersen story, 'The Snow Queen,' Jennifer Lee and Chris Buck's film expands certain themes, disposes of some characters and, of course, modernizes a bit for contemporary audiences. However, miraculously, this doesn't feel like a Xerox of a Xerox impersonating a classic Disney film. There's precious little winking; hardly any of the 'Shrek'-effect. 'Frozen' has enough of the goods to play it straight and succeed on its own terms. It is a major entry in family-friendly entertainment, one that ought to reverberate for years with tie-in toys and stage productions.
For a gal named Carrie White, she's sure got a lot of red on her.
Watching Kimberly Peirce's 'Carrie' is an odd experience. If you've seen Brian De Palma's version from 1976, this new version is - and there's really no point in denying this - like watching a cover band. There's a tweaked scene here and there (including a new, creepy-as-heck opening) plus the addition of cell phones and references to 'Dancing With The Stars.' This remake, more than most, really feels like hitting the same marks. It may be a peculiarity specific to 'Carrie,' because, let's face it, not a whole heck of a lot happens in this story. Considering most moviegoers' familiarity, there's plenty of room to stew and think, "Why is this considered such a classic?"
With piracy drama 'Captain Phillips,' Paul Greengrass ('Bloody Sunday,' 'United 93') has defended his ground as the go-to man for tragic, reality-based pressure-cooker films. The dude really knows how to get your palms sweaty, even when you kinda-sorta know how things are going to end up. Note to self: don't take your cargo ship through the Somali Basin if you don't have to.
Greengrass is also the director of the best two 'Bourne' movies ('Supremacy' and 'Ultimatum') and just as Matt Damon glided through those films as the steely, mixed-martial killing machine, Tom Hanks' center-seat performance here is a master class in keeping it cool.
With 'Star Trek Into Darkness,' Abrams' follow up to the 2009 'Star Trek' reboot (or continuation of the series, if you are Spock Prime) he has solidified his position as a master of propulsive, visceral filmmaking. Dude knows where to put the camera, when the music should swell, when the characters should zing each another or when they should project pathos to the cheap seats. The 'Star Wars' films are mostly gut and little brains and, unfortunately, that is what we have here. The movie still works as an exemplary thrill ride – I laughed, I cried, I cheered – but woe be to anyone who gets caught in a conversation afterwards trying to explain the overly complicated and, at times, silly plot. If you expect something a little sharper out of 'Star Trek' you may come away with some mixed emotions.
I imagine the pitch meeting went like this: "Producer: We got Barbra Streisand, we got Seth Rogen, we get 'em in a car. Release it around Christmas. I mean, you gotta take grandma somewhere during the Holidays. Executive: Are there life-lessons involved? Producer: Does the Pope crap in the woods? Of course there are."
Lo and behold, a year later, these two guys found themselves at the premiere for 'The Guilt Trip,' a movie that didn't cost too much to make and won't make that much of an impact but will empower everyone involved to one day strike again.
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