TITLE: John Carter
STARRING: Taylor Kitsch, Lynn Collins, Mark Strong, Willem Dafoe, Thomas Haden Church
DIRECTOR: Andrew Stanton
STUDIO: Walt Disney Pictures
RATING: PG-13
RUN TIME: 132 minutes
RELEASE DATE: March 9, 2012

By Seth Miller
Staff Writer, Part-Time Ninja

I don’t know how I was able to do it, but I was able to pull myself away from playing Mass Effect 3 to go and see John Carter. I had heard about it and was familiar with the source material, but I wasn’t exactly going crazy for it. After seeing it, I can say that while it has some big problems, it is still an entertaining adventure that feels like a throwback to past films.

Haunted by his time as a soldier in the Civil War, John Carter (Kitsch) spends his days searching for a cave of gold to make his fortune. While on the run from the army, Carter finds himself in a cave and is transported to Mars, or Barsoom, as the natives of Mars call it. With Mars torn by war between its great cities, Carter must aid the princess Dejah Thoris (Collins) in her struggle and find a way back home to Earth.

The best thing that John Carter has going for it is the world they have created. The design work of the airships, the cities, etc. is exquisite and maintains a retro futuristic look of what Edgar Rice Burroughs imagined that is translated beautifully on screen. The effects in creating the savage race known as the Tharks and the battle scenes are incredibly thrilling to watch.

When this movie hits its stride, it’s when it stops trying to over-explain its world to justify it and starts acting like a thrilling adventure. The beginning and the climax of the film maintain this tone and give the film the energy that it needs. The tone also benefits from the performance of the actors; when they just roll with the heroics and action instead of explaining every little part of the film’s world, the characters become more sympathetic and the audience can care about their fates more than before.

While the film has an old school adventure tone in parts of it; the bulk of it is overloaded with information and a little bad characterization that are counter productive to the film. The middle of film is bogged down with a lot of exposition that feels less like explaining all the complexities of the world, and the connections of the characters feels like it’s trying to justify its existence instead of having characters that are merely trying to live in this fantastic environment. Also, John Carter’s character has moments where he comes off as a bit unsympathetic; he is paired with a Thark named Sola who is one infraction away from being executed. So what does John Carter do? He breaks more rules and nearly dooms Sola to being executed. I get that he is supposed to be a soldier who is scarred by his experiences in the Civil War but there is a difference between that and a being a selfish jerk that doesn’t care what happens to anyone else — no matter how severe — as long as he gets what he wants.

These are some big problems, but the moments where John Carter embraces its old school adventure background is where it comes alive so strong that it elevates it above its flaws just enough to be an entertaining adventure on incredibly well realized world.

RATING: 6.5/10

Front page image and interior stills from collider.com.

By Rob Siebert
Editor, Fanboy Wonder

Josh Trank, director of Chronicle, is reportedly in talks to direct a film starring the Marvel character Venom.

In the Marvel universe, several individuals have appeared as the renowned villain/anti-hero, but the most commonly known is Eddie Brock. Outed by Spider-Man as a fraudulent journalist, Brock comes into contact with an alien symbiote and vows revenge on the wall-crawler. Since Venom’s debut in The Amazing Spider-Man #229, he’s been one of Marvel’s most popular characters. The Eddie Brock/Venom character was played by Topher Grace in Spider-Man 3.

It is unknown if this project would have anything to do with this year’s The Amazing Spider-Man.

Source: The Los Angeles Times
Image from comicbookblogger.com.

By Rob Siebert
Editor, Fanboy Wonder

Ralph McQuarrie, the artist who developed concept art for the original Star Wars movies, including initial designs for Darth Vader, C-3PO, R2-D2 and Chewbacca, died Saturday at the age of 82.

In a statement posted on StarWars.com, George Lucas said the following:

“I am deeply saddened by the passing of such a visionary artist and such a humble man. Ralph McQuarrie was the first person I hired to help me envision Star Wars. His genial contribution, in the form of unequaled production paintings, propelled and inspired all of the cast and crew of the original Star Wars trilogy. When words could not convey my ideas, I could always point to one of Ralph’s fabulous illustrations and say, ‘Do it like this.’

“Beyond the movies, his artwork has inspired at least two generations of younger artists—all of whom learned through Ralph that movies are designed. Like me, they were thrilled by his keen eye and creative imagination, which always brought concepts to their most ideal plateau. In many ways, he was a generous father to a conceptual art revolution that was born of his artwork, and which seized the imaginations of thousands and propelled them into the film industry. In that way, we will all be benefiting from his oeuvre for generations to come. Beyond that, I will always remember him as a kind and patient, and wonderfully talented, friend and collaborator.”

In addition to his work on the Star Wars movies, McQuarrie worked on projects like Battlestar Galactica, Raiders of the Lost Ark and Jurassic Park.

Source: CNN
Images from StarWars.com.

By Rob Siebert
Editor, Fanboy Wonder

Joel Kinnaman has been cast in the title role of the upcoming RoboCop reboot from MGM.

Kinnaman will play Officer Alex Murphy, a cop who is rebuilt as a cyborg after nearly dying in the line of duty. The role was played by Peter Weller in the original 1987 film.

Kinnaman has previously appeared in the American version of The Girl With The Dragon Tattoo, The Darkest Hour, and the AMC original series The Killing.

RoboCop was released on July 17, 1987. Made on a $13 million budget, it took in over $53 million at the box office, and spawned two sequels. The remake is scheduled for released in 2013.

Source: ComingSoon.net

TITLE: The Lorax
WITH THE VOICE TALENTS OF: Danny DeVito, Ed Helms, Zac Efron, Taylor Swift, Betty White
DIRECTORS: Chris Renaud, Kyle Balda
STUDIO: Universal Pictures, Illumination Entertainment
RATED: PG
RUN TIME: 94 min
RELEASED: March 2, 2012

By Rob Siebert
Editor, Fanboy Wonder

Lora Van Marel
Staff Writer, One-Woman Show

Every so often, a film comes along that is of such quality, such poise, such graceful execution, that it becomes woven into the very fabric of popular culture. Such a film never truly ages, as its nearly universal appeal transforms it into an instant classic that, like fine wine, gets better with age.

Then you have a film like The Lorax, which hits so many of the wrong notes that it actually gets crappier with age. Considering how crappy it is now, that’s a pretty scary thought.

Loosely based on the classic children’s book by Dr. Seuss, the movie is centered around Ted, a boy hoping to impress his neighbor Audrey by finding her a truffula tree. Such trees, and trees in general, are non-existent in the hyper-industrialized town of Thneedville, where the mayor, Mr. O’Hare,  has made a fortune on bottled air, and light-up electric trees are all the rage. Searching for a real tree, Ted seeks out the Once-ler, who famously destroyed the forest of truffula trees outside Thneedville. Remorsefully, the Once-ler tells Ted his story, and about the only creature who warned him of the error of his ways, the guardian of the forest, the Lorax.

When you make a big budget movie based on a kids book, you often need to take a few creative liberties simply for the sake of stretching the story out. I get that, and I fully expected it. I’m certainly not one of those viewers who pans everything in a movie that isn’t a move-for-move duplication of the book. But when you do a movie like this, you need to make sure you: 1. Make the story a logical extension of the content that’s already there. 2. Stay true to the characters, especially if your movie is based on a classic. 3. Do it well. The Lorax does none of these, opting instead to try and make the story into a clowny musical with comedy akin to Illumination Entertainment’s last big animated hit, Despicable Me (the minions from that movie appear in the company’s video signature, a minion makes a quick cameo in the film, and Chris Renaud also co-directed that film). Most of the songs fall flat, especially the Once-ler’s downright painful number “How Bad Can I Be?”

There’s nothing inherently wrong with a clowny musical for kids, and I liked Despicable Me. But that format doesn’t work for The Lorax, because while it’s filled with imagery from the joyously fun and wondrously individual mind of Dr. Seuss, the story really isn’t a funny one. In its own way it’s a tragedy. This beautiful, enchanting forest is destroyed by the greedy Once-ler, leaving only a bleak, barren, smog-filled wasteland. The Once-ler’s greed and selfishness destroy everything he’s built, until all he has left is his own loneliness. That’s pretty heavy stuff when you consider The Lorax is a kids book. But it works because there’s a certain blatant honesty about it. Dr. Seuss dressed the message up with his unique style, but he didn’t shamelessly pander to kids, or try to fit the story into a certain mold. This movie does both, and as such The Lorax loses a piece of it’s soul.

Way to go, movie. You sucked the soul out of a Dr. Seuss story. Shang Tsung would be proud.

The Lorax, and especially the Once-ler, are also reduced to shells of their literary counterparts. In the book, the Once-ler is a faceless, heartless bad guy who doesn’t care that he’s destroying the homes of these cuddly little creatures. In the movie, he’s a swell ol’ guy who promises the Lorax he’ll only cut down one truffula tree. But then his rotten relatives convince him to do it, though he’s still not quite sure about it. Kind of went the other way on that one, didn’t you movie? Oh, and this just in: the Joker only steals because his aunt goaded him into it. She needed the money to treat her scoliosis. When you meet him, he’s actually a cool dude. The true villain in this film, Mr. O’Hare, is an irritating amalgamation of Lord Farquaad from Shrek and Vector from Despicable Me. His time on screen basically consists of short jokes and over-the-top cartoon bad guy mugging.

As for the Lorax himself, he’s gone from being a wise, somewhat curmudgeonly cautioneer, to being…well, Danny DeVito. I understand why DeVito was cast. If he grows a mustache, he essentially IS the Lorax. And his portrayal does lend itself to an animated kids movie. But the Lorax didn’t necessarily need to be a clowny character. I might have made him into a fairly serious character and let the animals in the forest handle a lot of the comedy. Let the Lorax be the loving, almost fatherly creature that he is, instead of just an orange guy from New Jersey.

Still, DeVito, Ed Helms and Betty White sound like they’re having fun. Zac Efron and Taylor Swift seem to be just reading their lines, especially during their first few scenes. The Mr. O’Hare character would have been irritating either way, so I can’t necessarily blame Rob Riggle for his vocal performance.

Little kids would likely enjoy The Lorax. The animal characters, specifically the barbaloot bears, are pretty cute and provide a lot of that minion-like comedy seen in Despicable Me. There’ a lot of goofy cartoon humor that they’ll like. As for everybody else, I suspect The Lorax film would be an improved experience if you don’t know any better, i.e. you haven’t read the book, or even seen the Lorax TV special from 1972. If you discount the fact that it’s based on a Dr. Seuss book, there’s really not much that sets it apart from the average CGI cartoon movies out these days, and that’s really a shame. If filmmakers wanted to make a Lorax movie, they should have made something more faithful to the story, as opposed to using it as an excuse to make another Despicable Me with some trees.

The most disappointing thing of all? It’s Dr. Seuss’ birthday this weekend. Needless to say, he deserves better.

RATING: 3/10

Images from rottentomatoes.com. 

By Rob Siebert
Editor, Fanboy Wonder

A new trailer for Marvel’s The Avengers was released this week, which shows new footage from the film. The Avengers stars Robert Downey Jr. as Iron Man, Chris Evans as Captain America, and Chris Hemsworth as Thor, Samuel L. Jackson as Nick Fury, Mark Ruffalo as Hulk and Scarlett Johansson as Black Widow. The movie comes out May 4, 2012.

Front page image from badhaven.com. 

By Rob Siebert
Editor, Fanboy Wonder

Sony Pictures is reportedly already developing a sequel to 21 Jump Street, though the film won’t open until March 16.

Jonah Hill, who co-writer and co-star of the film, recently told E! that: “We are writing the sequel now.”

An adaptation of the television show of the same name, which ran for 5 seasons on Fox from 1987 to 1991, the action-comedy stars Jonah Hill and Channing Tatum as cops who go undercover in a high school to break up a drug ring. The movie also stars Brie Larson, Ice Cube, Ellie Kemper, Dave Franco and Rob Riggle. Various stars from the show will reportedly make cameos. Johnny Depp has confirmed that he indeed has a cameo.

Source: ComingSoon.net
Image from stupiddope.com. 

TITLE: Hugo
STARRING: Asa Butterfield, Chloe Grace Moretz, Ben Kingsley, Sacha Baron Cohen, Emily Mortimer, Ray Winstone,  Jude Law
DIRECTOR: Martin Scorsese
STUDIO: GK Films, Infinitum Nihil, Metropolitan Film Export, Paramount Pictures
RATING: PG
RUN TIME: 126 minutes
RELEASE DATE: November 23, 2011 (theaters), February 29, 2012 (DVD/Blu-ray)

By Levi Sweeney
Contributor, Grand X

When I saw this film, I was completely blown away. It was completely unlike any film I had ever seen before, and the best I have ever seen in theaters. Of course, films by Martin Scorsese are usually good like that. But this film is different.

Generally known for R-rated flicks such as Goodfellas, Gangs of New York and Shutter Island, the acclaimed Scorsese has now fashioned a PG-rated film based on popular children’s book The Invention of Hugo Cabret, by Brian Selznik.

Hugo is based in 1930’s Paris, France, and concerns a 12-year-old orphan boy, Hugo Cabret (Butterfield), and his life in a busy Paris train station. We are told in a short series of flashbacks how Hugo happily lived with his father, until the elder Cabret (Law) was killed in a fire at the museum where he worked. When his alcoholic Uncle Claude (Winstone) disappears shortly after taking him in as an apprentice, Hugo is left to meticulously continue his uncle’s work; the maintaining of the vast mechanisms of the train station’s clocks. The boy’s only spot of hope is a small automaton left to him by his father, which Hugo believes may hold a message from him, if only he could get the thing to work. But encounters with a local toy shop owner named “Papa” Georges (Kingsley) and the old man’s book-loving goddaughter Isabelle (Moretz) lead Hugo into a chain reaction of events which provide him with the key to understanding the automaton, and his own place in life. There’s also the small matter of dodging the tenacious Inspector Gustav (Cohen), but fortunately, our hero is a clever boy.

What makes this movie work is that in spite of nearly every scene gushing CGI, style is not what it rides on. The biggest cogs in this film’s mechanism are the characters. From the main characters of Hugo Cabret and Papa Georges to the more minor players of Georges’ wife Jeanne (Helen McCrory) and film historian René Tabard (Michael Stuhlbarg), this movie is filled with character development. Nearly everyone here has at least a small motivation and back-story of some kind. There were two scenes in particular that really drove this point home. One is where Hugo is showing Isabelle a view of Paris from inside a clock-tower, and whilst pondering his purpose in life, Isabelle asks him what he thinks her purpose is, instantly giving herself a huge new dimension of character. The other was when Tabard tells of how he first became truly interested in film, related in an absolutely heartwarming flashback sequence.

This brilliant character dynamic is considerably bolstered by what could nicely pass for an ensemble cast. Granted, most of the film’s more highlighted stars have actually quite minor roles (the esteemed Christopher Lee plays Monsieur Labisse, the low-profile bookshop owner, and Jude Law doesn’t stick around as Hugo’s father for long), but all of the actors deserve praise for their performances. Cohen in particular excellently portrays Inspector Gustav, the train station’s resident cop who suffers from a slight leg injury, hence a rather humanizing leg brace. And though he is most often used for comic relief, Gustav does not suffer from the common archetype of law enforcement figures automatically being hopelessly incompetent buffoons. He just has horribly bad luck, which only makes us sympathize with the character all the more… after we’re done laughing.

And although the film can get fairly dry for younger audience members (it may be family friendly, but that doesn’t mean kids like my hyperactive eight-year-old sister will stay interested), the handful of action scenes involving trains are nothing short of hair-raising. Furthermore, despite the 3D being not often noticed (aside from the receipt for the goofy glasses), the effects are beautifully rendered, and are not clumsy or forced, but actually help the film achieve its true goal; to instill an appreciation for magic that movies can provide in its audience.

Which brings me to the final point of this review: In spite of its impressive characterization, and cohesive, believable and intelligent plot, this film isn’t primarily about the eponymous, good-hearted orphan lad from Paris — this film is primarily about film in and of itself. Working through the character of Georges, we are discoursed to extensively about film not only as entertainment, but as an art form. This movie actually serves as an elaborate love poem written by Martin Scorsese to the genre of film. And it doesn’t even feel like he’s trying to do anything other than make a really good movie, which is exactly what he does.

RATING: 9.5/10

Front page image from cnet.com. All other images from collider.com.

By Rob Siebert
Editor, Fanboy Wonder

Adam Sandler and his production company, Happy Madison, have earned a total of 11 Razzie Award nominations for their films released in 2011.

Every year, the Golden Raspberry Award Foundation dis-honors the worst in cinema by bestowing actors and films with Golden Raspberry Awards. This year, Jack and Jill, which Sandler wrote, produced and starred in, earned nominations including Worst Actor for Sandler, Worst Actress for Katie Holmes, and Al Pacino for Worst Supporting Actor. Interestingly enough, Sandler has also been nominated for Worst Actress for the character of Jill.

Bucky Larson: Born to Be a Star, which Sandler wrote, got nominations that included Worst Picture and Worst Screenplay. Just Go With It, which Sandler starred and produced, earned nominations that included Worst Screenplay and Worst Remake/Rip Off/Sequel.

Source: ComingSoon.net

By Lora Van Marel
One-Woman Show

Last night, as the glitz and glamour of the 84th annual Academy Awards unfolded before her, PI‘s resident one-woman show Lora Van Marel’s eyes were glued to the screen, and her fingertips were glued to her laptop. Now, having spent many an hour washing off the glue, Primary Ignition is pleased to present Lora’s knee-jerk reactions to the events of Hollywood’s most prestigious evening. Plus, a few extra comments by PI‘s Fanboy Wonder, Rob Siebert (shown in italics)….

- Viola Davis, you sure do love to show off the ladies, don’t you? Between here and the NAACP awards you’re really putting them out there for everyone.

Jonah Hill, I really love you, I do. But that bow tie? It looks like you’re choking. I’m uncomfortable for you.

- Emma Stone, why are you dressed like a giant Christmas present?

- Morgan Freeman, why are you wearing a glove…on one hand?

- Billy Crystal, you made me chuckle. Your opening montage reminded me of the classic Oscars. Will you please host every year? And he sings! I’m so glad! “Hanks is a memory” – amazing. (Billy Crystal should just host everything. Not just the Oscars, I mean everything.)

- Tom Hanks looks so distinguished all gray like that.

- That Hugo cinematographer had some long flowing locks that many ladies would be jealous of.

- Kodak Theater jokes – funny to me.

- How did they choose all these movies for this “joy of movies” montage? It’s a weird combination.

- Jennifer Lopez’s nipple is this close to being out there for EVERYONE to see! Someone tell her! She needs to reapply that double stick tape, NOW! (To hell with Justin Bieber, THAT’s how you get the 18-24 year old demographic. It’s also how you boost American Idol‘s ratings.)

- J-Lo and Cameron Diaz, why do you think you’re funny? Because you really, really aren’t.

 - Listening to actors talk about the amazing experience of movies was extremely interesting and gave the show a really nice touch.

 - I think Brad has better hair then Angelina.

- Everything was perfect about the Wizard of Oz focus group skit. (Wow. Fred Willard made it on to the Oscars telecast!) 

- Martin Scorsese knows how to wear a bowtie, unlike Jonah Hill.

- Cirque de Soliel performance really interesting. Love the suits. Couldn’t tear my eyes away, so thoroughly impressed with all of it!

- This sound issue is really starting to get to me. Is anyone else noticing? It’s really bothering my ears.

- I can’t help it, I love Emma Stone and how she presented tonight. She felt so natural and was wildly entertaining. Why can’t everyone present like her? Oh..IDEA! Billy Crystal and Emma Stone co-host NEXT YEAR!

- I really need to see Hugo. The book was one of the best I’ve ever read so I can only imagine what the movie is like, especially in the hands of Scorsese. However, with all these wins, I wish someone would really thank author Brian Selznick. I mean, without him the story of Hugo wouldn’t even exist.

- Christopher Plummer deserved that standing ovation. At 82, the oldest actor ever to win an Oscar, wow! He is the most elegant and well-spoken man to take that stage tonight. The only thing that would have made the moment better: singing Edelweiss.

- Nick Nolte, why do you look like a furry orange?

- YES! “Man or Muppet” WON! So deserved! (I’m pissed that song wasn’t performed. Jason Segel, Jim Parsons and puppets? How is that NOT entertainment?)

- Angelina, you’ve never looked more like a wicked witch until tonight, and that’s saying a lot, knowing your history. What is up with your dress and the way you were standing/posing in it when you got on stage? What exactly are you trying to do? Seriously. (Much like J-Lo’s nipple, Angelina’s leg now has a Twitter handle. That’s not even a joke. Look into it.)

- Dammit, Woody Allen! Why must you take away the Oscar from those awesome Bridesmaids ladies?! They deserved that win! (I’m sorry, but I did not find that movie funny. Melissa McCarthy was very good, but nothing else got a laugh from me.)

- Let’s pause while I go watch the winner of best animated short: The Fantastic Flying Books of Mr. Morris Lessmore…….

 - As much as I love this show every year, something surprising needs to happen, something that will make people talk about it for weeks. So far, the probability of that happening is very slim, which is very disappointing. (What? J-Lo’s nipple doesn’t count?)

- Meryl Streep has been nominated 17 times! She’s only won twice. Is it okay to feel a little bit bad for her?

- You know what I’d like to watch? The footage of James Earl Jones as he was doing the voice for Mufasa in The Lion King. Just seeing him in that sound booth, saying some of those famous lines would really make me happy.

- Jonah Hill’s enthusiasm for Brad Pitt is so cute.

- Jean Dujardin’s win for The Artist is not a surprise. We all knew he was going to win this. I haven’t even seen the movie (or even really know what the plot is) and I knew he was going to win.

- I am completely sick of this electric violinist.

- I want to listen to Colin Firth talk to Meryl Streep about Mamma Mia some more please. (And he didn’t even stutter…)

- Meryl just won! I take that bit back about feeling bad for her. I was sure Viola was going to win this one. But I’m glad Meryl won. I love how comfortable she is up on that stage, she looks like she is home. And she is commanding that audience; she has everyone hanging on every single word.

- Why, Tom Cruise? Why? What makes you so special that you get to present the biggest award of the night? You don’t even have an Oscar of your own.

- No big surprise that The Artist won Best Picture. I really should see that too.

- Overall, I thought the show was an okay one, with nothing too spectacular or out of the ordinary. I think my favorite moments were Emma Stone presenting, Angelina Jolie’s leg and stance (because I thought it was beyond ridiculous), and every time Billy Crystal was on stage.

Front page image from rotten tomatoes.com. Image 1 from hollywoodlife.com. Image 2, 5 and 6 from twincities.com. Image 3 from nydailynews.com.