Jul 07 2015
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Movie Reviews, Music, Pop Culture

Good Vibrations

Paul Dano, John Cusack share role of Beach Boy Brian Wilson

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Love & Mercy

Starring Paul Dano, John Cusack, Elizabeth Banks & Paul Giamatti

Directed by Bill Pohlad

PG-13

The Beach Boys and their songs about surf, sand, hot rods and girls represented West Coast light, life, fun and frolic in the 1960s. But the story “behind the music” had darker undertones, especially when it came to the group’s leader, Brian Wilson.

This trippy, time-tunnel dramatization of Wilson’s troubled, tortured musical genius bridges two different eras, 20 years apart, with powerful performances and mesmerizing filmmaking that recreates pivotal Beach Boys moments along with other, lesser-known incidents in Wilson’s life long after the group’s heyday.

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Paul Dano as ’60s-era Brian Wilson.

The movie’s most striking feature is its use of two different actors to portray its central character. As younger Brain, Paul Dano is nothing short of phenomenal in an Oscar-worthy performance that captures and channels the drive, innocence, obsession and brilliance that coalesced into the 1960s Beach Boys album Pet Sounds.

The movie toggles back and forth between Dano’s Brian and “later” Brian, movingly played by John Cusack as a shattered shell of man in the mid 1980s, imprisoned in a toxic relationship with a greedy, manipulative therapist (Paul Giamatti) who over-medicates him into a stupor and bars him from contact with his family.

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Elizabeth Banks and John Cusack

Elizabeth Banks is terrific as titanium blonde Melinda Ledbetter, the Cadillac saleswoman who comes into Wilson’s life in 1985, falls in love with him—and leads the charge for his deliverance.

The movie takes its title from a 1988 solo song by Wilson, and if you want to hear it, you’ll need to stay through the credits. It’s well worth the wait.

Although the relationship between Brian and Melinda puts much of the dramatic spotlight on Cusack, Banks and Giamatti, it’s Dano who steals the show. Composing songs at a piano, singing on stage, tinkering in the studio or simply feeling his head swell with a symphony of swirling music that only he can hear (kudos to Oscar-winning composer Atticus Ross for his mood-perfect soundscapes), he conveys the sophisticated scope of Wilson’s prodigious talents, the heartbreak of his tumultuous relationship with his abusive father (Bill Camp) and the fissures that would later lead to full-blown mental and physical breakdowns.

“Who are you, Mozart?” Mike Love (Jake Abel) of the group asks Wilson as he seethes over Wilson taking more and more creative control—and leaving the rest of the Beach Boys on the sidelines. “It’s like you’re making your own record—we’re barely a part of the Brian Wilson band.”

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Beach Boys fans will love director Bill Pohlad’s almost documentary-style recreation of the group’s early promotional videos, album-cover photo shoots and TV performances. Sequences that depict Wilson in the recording studio, working with session players and band mates on what would become the 1966 pop-opus masterpiece Pet Sounds, feel like stolen, behind-the-scenes glimpses of the real thing.

But even more casual viewers will be touched by the romance at the heart of the tale, riveted by the acting, retro-grooved by the tunes, and entranced by the opportunity to learn more about a wounded pop-music Mozart who finally, fatefully found the Love & Mercy that healed him.

—Neil Pond, Parade Magazine

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Jul 02 2015
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Movie Reviews

Terminally Cool

Young stars shine in fresh, quirky coming-of-age comedy-drama

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Olivia Cook, Thomas Mann and RJ Cyler

Me & Earl & the Dying Girl

Starring Thomas Mann, Olivia Cook and RJ Cyler

Directed by Alfonso Gomez-Rejon

PG-13

A movie with “dying girl” in its title would seem to be giving you a pretty big spoiler right up front.

But don’t let thinking you know what’s going to happen keep you away from the many delights, heart pangs and sweet surprises of this fresh, quirky comedy-drama, the big hit at last summer’s Sundance Film Festival now spreading into the movie mainstream.

Based on author Jessie Andrews’ award-winning 2013 debut young-adult novel, Me & Earl & The Dying Girl unfolds through its central character, Greg (Thomas Mann), who narrates. He begins, “This is the story of my senior year in high school and how it destroyed my life—and how I made a film so bad it killed someone.”

Intrigued? You should be.

Greg, who’s cruised through high school by avoiding close friendships with just about anyone while breezily associating with just about everyone, has only one real buddy, Earl (RJ Cyler). Greg and Earl have been “associates”—Greg can’t bear to use the word “friends”—since childhood, bonding over classic movies and making their own low-budget parodies. Their video mini-masterpieces include Gross Encounters of the Turd Kind, Senior Citizen Kane and A Sockwork Orange.

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Connie Britton & Nick Offerman

Greg’s mom and dad (Connie Britton of TV’s Nashville and the wonderfully dry Nick Offerman from Parks and Recreation) inform him that one of his classmates, Rachel (Olivia Cook of Bates Motel), is dying of cancer—and it sure would be nice if Greg reached out to her. Greg isn’t keen on the idea, and neither is Rachel. But soon the ice between them begins to melt, Rachel begins to dig Greg and Earl’s oddball movies, and Greg begins his next cinematic subject—featuring Rachel. But completing it becomes harder than he thought.

Director Alfonso Gomez-Rejon, making his second feature film after a run of TV (Glee, American Horror Story), has a real feel for the material with a keen visual style that captures the story’s emotional swirl and its spectrum of teen alienation, attraction, anger, angst, frustration, whimsy

Olivia Cooke as

and wisdom. Subplot threads about a super-cool history teacher (Jon Bernthal) and Greg’s college application process tie up neatly—and significantly—at the end. And the terrific young actors (who actually range in age from 20 to 25) flesh out their characters with relaxed, natural performances that never feel forced, fussy, sappy, goofy or unnecessarily dramatic.

It’s up at times, down at others, ultimately life-affirming and bustling with originality, even while it traverses somewhat familiar teenage territory: Think The Fault in Our Stars crossed with Napoleon Dynamite with just a pinch of The Breakfast Club for seasoning. It may remind you of other things, but it’s definitely got it’s own chill, cool, youthful, coming-of-age vibe.

Just give into it, go with it and let it take you where it leads you—and don’t caught up in thinking that you already know where that will be.

—Neil Pond, Parade Magazine

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Jun 26 2015
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Movie Reviews

Trashy Teddy

Seth MacFarlane and his foul-mouth furball strike again

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Ted 2

Starring Mark Wahlberg & Amanda Seyfried

Directed by Seth MacFarlane

R

The bawdy little talking furball is back. Writer-director Seth MacFarlane’s raunchy teddy bear returns in all his crass, computer-generated comedic glory for another round of surrealist stoner silliness with his Bostonian best friend, John (Mark Wahlberg), in this sequel to the $550-million-grossing 2012 hit.

It begins, as many movies do, with a wedding, as Ted (voiced by MacFarlane) ties the knot with his gum-smacking bride, Tami-Lynn (Jessica Barth). Soon, however, there’s trouble in paradise: Ted and Tami-Lynn discover they can’t have a baby, for a couple of reasons—including that Ted, a teddy bear, lacks the necessary anatomical equipment. And trying to adopt creates another problem, which comes to loom large: The legal question of whether Ted is a person or a piece of property.

5708_FP2_00111RV2.jpg_cmykHow you feel about the humor in Ted 2 will likely align with how you feel in general about the work of MacFarlane, whose TV show Family Guy established and enshrined him as a golden boy of rollicking, ribald politically incorrect hilarity. For some, he’s a brilliant, envelope-pushing social satirist. Others lean to the opposite, more “offended” side of the critical spectrum, noting his penchant for crude jokes, scatological humor and the sharp, scathing edges on the blades of his irreverent, “insensitive” lampoonery.

There’s plenty of all of that, however you feel about it, in Ted 2, from the dazzling Busby Berkeley-inspired musical opening credits sequence to the almost nonstop parade of bawdy jokes, celebrity cameos and gurgling bong hits that follow.

I won’t say it’s not funny, and some of it is flat-out hilarious. MacFarlane runs his characters (which include Amanda Seyfried as a newbie attorney who takes on Ted’s “personhood” case) through a gamut of R-rated punch lines and crazily comical setups. A Liam Neeson walk-on, as a grocery-store customer overly concerned about the age-appropriateness of his breakfast cereal, is a total hoot. (Stay for all the credits for the full payoff.) Jay Leno gamely goes along with a joke about gay sex.

5708_AC0003_COMP_V013_1006R.JPG_cmykCharacters come to expect the same (obscene) search suggestion for any Google query. Ted’s bachelor party—remember, he’s a bear—features a unique kind of porn. There a profanely inspired moment of speculative banter about what the F. in author F. Scott Fitzgerald’s name really stands for.

But some things seem unnecessarily drawn-out and repetitive, with gags and ploys from the first movie simply recycled or repeated—like a subplot with the creepy stalker Donny (Giovanni Ribisi), who wants to slice into Ted to see what makes him tick. At one point, John yells “Déjà vu!” I hear you, sir!

The Kardashians, rocker Steven Tyler and Harrison Ford all but assuredly won’t like the jokes made at their expense, but quarterback Tom Brady was clearly aboard for his scene, in which Ted and John infiltrate his bedroom for an ill-fated artificial-insemination scheme.

If some of that sounds like the bottom of comedy barrel, perhaps you’ll be a bit more uplifted by Ted 2’s underlying civics lesson about gay rights, the struggle of blacks in America and the inherent dignity of all living things.

Who says tubby, trash-talking teddy bears are all huff, puff and fluff?

—Neil Pond, Parade Magazine

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Jun 19 2015
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Uncategorized

Head Trip

Latest Pixar gem gets plenty of laughs but also goes deep

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Inside Out

Starring Amy Poehler, Bill Hader, Mindy Kaling & Phyllis Smith

Directed by Pete Doctor and Ronaldo Del Carmen

PG

At some point or another, every parent has wondered what—if not what in the world—his or her kids were thinking.

Pixar offers an answer—or at least some exuberantly fanciful, wonderfully imaginative, wildly creative, richly emotional speculation—with Inside Out, which takes place mostly inside the head of an 11-year-old girl, Riley.

Since Riley’s birth, the five emotions in the command center of her noggin have been working together as she interacts with the world, sending the proper signals down her neural pathways, keeping her safe and trying to make her happy—and storing away her memories at the end of every day in a vast memory bank. The emotions are all “characters” themselves, with their own (literally) colorful personalities: Perky, effervescent yellow-glowing Joy (voiced by Amy Poehler), the leader of the cranial crew, is joined by the geeky, purple all-phobic Fear (Bill Hader); blue, depressed Sadness (Phyllis Smith); prissy green young maiden Disgust (Mindy Kaling); and blustery red hothead Anger (Lewis Black).

INSIDE OUTWhen Riley’s young life hits some major growing-up turbulence, the emotions spring into overdrive to help her through it. But a snafu separates Joy and Sadness from the rest of the emotions, whooshing them out of Riley’s command center and marooning them in the deeper recesses of her conscious and subconscious—and leaving Fear, Anger and Disgust to call the shots. Soon things begin to fall apart, both inside Riley’s head and outside in the real world.

The magic and wonders of Inside Out, steered by directors Pete Doctor (Up and Monsters, Inc.) and Ronaldo Del Carmen, are wide-ranging as the inventive initial setup expands to become a rollicking adventure for Joy and Sadness, especially after they encounter Riley’s imaginary childhood friend Bing Bong (Richard Kind), who’s part elephant, part cotton-candy, part cat, part dolphin—and all delight.

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The brain, science tell us, is one of the most complex things in all of creation, and the movie’s depiction of it is a thing of ingenious splendor, a mix of fantastically cartoonish sight gags and sublime comedic riffs, all of them connected to the emotional rollercoaster ride being experienced by Riley—and, by extension, any of us, at some time or another. (There are some terrific side trips, especially during the credits, into the heads of other characters, where we meet their emotions.)

Pixar’s best films, like Toy Story, Up, Finding Nemo and The Incredibles, have always worked on double levels, entertaining kids and moving grownups—often to tears. The exceptionally well-made Inside Out is no exception: Kids and adults will both laugh, and plenty. But the movie’s underlying themes about how Sadness and Joy “work together” in more ways than one, and how some memories—and parts of childhood—fade away forever will resonate on a profound, deeply moving level with adults who can relate in ways that many younger viewers can’t…at least yet.

Settle in early for Lava, a heartwarming, all-musical Pixar short about a Pacific volcano looking for love. Then get ready for another Pixar gem that starts in the head, but ends up settling into somewhere much, much deeper.

—Neil Pond, Parade Magazine

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Jun 12 2015
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Movie Reviews, Pop Culture

Building a Badder Dinosaur

‘Jurassic World’ takes a big new bite out of the classic franchise

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Bryce Dallas Howard, Chris Pratt, Nick Robinson & Ty Simpkins

Jurassic World

Starring Chris Pratt, Bryce Dallas Howard and Vincent D’Onofrio

Directed by Colin Trevarrow

PG-13

The ingredients to a new dinosaur movie are a lot the ones for a new dinosaur: Bigger, louder and more teeth.

It’s been 22 years since director Steven Spielberg’s Jurassic Park, which broke new ground in computer-generated special effects and left audiences gasping for air with its romping, stomping tale of bio-engineered prehistoric creatures running amok. But after two sequels, the Jurassic franchise lost much of its roar—and its box-office bite. Audiences were no longer gaga for lifelike, big-screen dinosaurs.

In Jurassic World, the owners and operators of a sprawling new “living dinosaur” theme park, re-established after the downfall of the original facility, are faced with the same problem. “No one’s impressed by a dinosaur anymore,” says Claire (Bryce Dallas Howard), the corporate operations manager. Visitors are still coming—up to 20,000 a day—but teenagers barely look up from their smartphones at a stegosaurus, investors are clamoring for greater return on their dollars, and sponsors want something with more wow and pow.

What to do? Create a bigger, badder dinosaur. Meet Indominus Rex, cooked up in Jurassic World’s lab from a monstrous mixture of dino-DNA super-traits. It’s nastier, angrier and more nightmare-inducing than any other creature, even the park’s venerable T. Rex.

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Steven Spielberg is executive producer this time around, but newcomer director Colin Trevarrow loads his film with clever and nostalgic throwbacks to him and his craft, from specific camera shots to an original Jurassic Park t-shirt (one character’s EBay find) and a holographic depiction of a dinosaur that had a memorable small role back in 1993. When several characters come across a decrepit building that was once part of the old park, it looks like they’re strolling through the franchise’s long-abandoned prop room.

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Chris Pratt plays a dinosaur trainer working with wily, lethally dangerous raptors.

As Owen, a dinosaur trainer working with a group of wily, dangerous raptors, Chris Pratt is quick with a quip—even when faced with serious, life-and-death situations. Vincent D’Onofrio plays a contractor who wants to use the raptors for military purposes. “These guys’ll run straight into the enemy’s teeth and eat them, belt buckle and all,” he says.

To further stir the perfect storm, two young brothers (Ty Simpkins and Nick Robinson) are visiting the park, sent by their parents for a weekend-adventure getaway. Guess who gets way more adventure than they ever dreamed?

The movie’s underlying theme of modern man’s hubristic drive to control—and commercialize—nature’s ancient, primal power never gets in the way of its full-throttle fun and its cavalcade of chills, thrills, stupendous state-of-the-art special effects and even outright grins and giddy giggles. Jurassic World isn’t quite the revelation that its granddaddy was, some two decades ago. But for pure summer popcorn wow-and-pow dollars, you certainly won’t find much anything bigger, louder or with more teeth.

—Neil Pond, Parade Magazine

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Jun 05 2015
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Movie Reviews, Television

Boys’ Town

Big, bloated, bro-fest-ic movie picks up where TV series left off

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Entourage

Starring Adrian Grenier, Kevin Connolly, Kevin Dillon, Jerry Ferrara & Jeremy Piven

Directed by Doug Ellin

R

Based on the 2005-2011 HBO TV series about a young actor and his posse of best friends in Hollywood, this feature-film treatment is targeted primarily—and blatantly—to the same kind of hedonistic horn dogs who make up the movie’s base of bro-main characters.

Tinseltown satire, super-rich success fantasy and chauvinistic sex comedy rolled into one, the Entourage movie takes up where the TV series left off—and doesn’t go much anywhere else. A-list movie stud Vince (Adrian Grenier), newly freed from a nine-day whirlwind marriage, is ready to return to work and now wants to direct as well as act. As usual, his longtime nitwit buddies are all-aboard: Eric, his manager and best friend from childhood (Kevin Connolly); Johnny Drama (Kevin Dillon), his dim-bulb, struggling-actor half-brother; and Turtle (Jerry Ferrara), his driver turned tequila mogul.

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Haley Joel Osment, Emily Ratajkowski & Adrien Grenier

High-strung agent Ari Gold (Jeremy Piven), now running a movie studio, green-lights Vince’s film, a ridiculous, futuristic twist on Dr. Jekyll and Mr. Hyde, which quickly balloons over its $100 budget. The movie’s investor, a rich Texas oilman (Billy Bob Thornton), sends his starstruck son (Hailey Joel Osment) to ride shotgun over the troubled production.

The pencil-thin plot: Will Vince and his crew cash in once again, or will Hollywood finally break the bros?

The Entourage TV show was loosely based, at least originally, on the some of the experiences of actor Mark Wahlberg, who served as executive producer and is now one of the producers of the movie (and has a cameo, with his own tagalong “entourage”). But the movie version plays like such an overblown, oafish wet-dream stream of sexy (often topless) women, caustic one-liners and obscene wealth, it seems adrift in its own alt-universe, like an R-rated, 100-minute Viagra commercial shot inside a VIP strip club operated by light-depraved leprechauns. If you liked Entourage and its freewheeling, high-living characters on TV, you may think they’re even cooler enlarged to cinema-size. Otherwise, you might wonder what anyone ever saw in this pack of boors, mooches, rakes and cads with so few discernable, redeemable skills, talents or virtues or values.

The movie’s attempt at addressing something “deeper”—as Eric confronts his paternity with his pregnant ex-girlfriend (Emmanuelle Chriqui), or Ari seeks peace through spirituality—seems pathetically out of sync with its true, crude flow.

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“Turtle” (Jerry Ferrara) prepares to spar with Ronda Rousey.

To add to the movie’s sense of disorientation from the world in which most people live, an almost endless parade of real actors, sports figures and other personalities breeze through, blurring the lines by interacting with the fictional characters. There’s a lecherous Bob Saget, a grumpy Kelsey Grammer, a ticked-off Jessica Alba, an incredulous Martin Landau, a loopy Gary Busey, plus rapper T.I., director Jon Favreau, actors Liam Neeson and Armie Hammer, comedian Andrew Dice Clay, Sports Illustrated swimsuit model Emily Ratajkowski, NFL quarterback Tom Brady, TV personality Piers Morgan, zillionaire Warren Buffett, mixed-martial arts fighting champ Ronda Rousey and many, many more. Blink and you’ll miss someone.

It’s almost like everyone inside Hollywood wanted a piece of the action. The bigger question: How many people outside of Hollywood will want a ticket to this smug, bloated, big-screen, bro-fest-ic boy party?

—Neil Pond, Parade Magazine

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May 29 2015
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Movie Reviews

All Shook Up

Earthquake flick makes a major mess of things…again

SAN ANDREAS

San Andreas

Starring Dwayne Johnson, Alexandra Daddario, Carla Gugino & Paul Giamatti

Directed by Brad Peyton

PG-13

No need to look at the calendar: If the world is about to end, you can be pretty sure that summer’s almost here. As the temps rise, so do the odds that you’ll see some really big things blow up, be swept away or get pulverized—again. Alas, London. Nice knowin’ ya, New York. Woe is Washington, D.C.

In San Andreas, named for the famous fault line that runs through much of California, a monstrous earthquake turns both Los Angeles and San Francisco into pancake-like piles of rubble, creates a tsunami that takes out the Golden Gate Bridge and—symbolism cue—dramatically reunites one “split-apart” family.

This adrenaline-pumping summer blockbuster really busts some blocks, literally. It starts off with a rockslide, and in just a few minutes, we’re watching the Hoover Dam explode in a heaving, slo-mo convulsion of concrete, rebar and water.

Dwayne “The Rock” Johnson is Ray, an L.A. helicopter-rescue pilot, whose plans for a pleasantSAN ANDREAS weekend drive to take his daughter Blake (Alexandra Daddario) back to college are disrupted by gaping chasms, toppled, flaming skyscrapers and collapsed, crumbled interstates (not to mention what must be countless victims that, curiously, never seem to require his services).

Ray’s wife, Emma (Carla Gugino) has filed for a divorce and is about to move in with a filthy-rich real estate developer (Ioan Gruffudd), who turns out to be every bit the weasel the movie leads you to think he’ll be.

Before the big shake-and-bake, Blake meets a couple of oh-so-charming Brits, a resourceful young engineer (Hugo Johnson-Burt) and his bright little brother (Art Parkinson). In movies like this, meetings like this usually pay off later, and this one certainly does.

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Duck! Paul Giamatti takes cover with a TV reporter (Archie Panjabi from TV’s ‘The Good Wife’).

Paul Giamatti is a data-streaming seismologist who predicts the Big One. (“No one listens to us until the ground shakes,” he glumly tells a TV reporter.) Australian pop singer Kylie Minogue has one scene, in a fancy, high-rise restaurant, where she basically gets to chat, scream, run and plummet.

The earth shakes, the oceans rise, buildings topple and fall. But this is clearly The Rock’s show, which is why the screenplay by Carlton (Lost, Bates Motel) Cuse weaves plenty of personal drama into the disaster, and much of movie concerns Ray and Emma’s search for their missing daughter-in-distress. And believe me, if the world is ending, The Rock is the guy I want on my team: A mountain of muscle with a heart of gold, he can rappel out of a hovering helicopter and leap from a zooming airplane, hotwire a pickup truck and pilot a boat through a tsunami, and even bring someone back from the dead. He’s The Rock and The Man.

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Art Parkinson, Alexandra Daddario and Hugo Johnson-Burt stay afloat.

Some of the effects are impressive, but really: We’ve seen it before. And we’ll see it again. “So, what now?” ponders Emma as she surveys the CGI rubble and ruin. Ray, looking out over San Francisco Bay at the exact moment a gigantic American flag is unfurled from the wreckage of the Golden Gate Bridge, has the answer.

“We rebuild,” he says. Yes! In time next summer, and the next disaster movie!

—Neil Pond, Parade Magazine

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May 22 2015
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Movie Reviews, Movies

Disney Dreams

George Clooney goes back to the future

 

Disney's TOMORROWLAND..Casey (Britt Robertson) ..Ph: Film Frame..?Disney 2015

Britt Robertson stars as an idealistic teenager who gets a ticket to ‘Tomorrowland.’

 

Tomorrowland

Starring George Clooney, Britt Robertson & Hugh Laurie

Directed by Brad Bird

PG

Walt Disney always wanted his parks to be “magical.” Here’s a movie that takes that idea and really runs with it. Actually, Tomorrowland takes that idea and flies with it—with rocket packs, no less—into the teeming, gleaming futurama of Uncle Walt’s dreams more than half a century ago when he opened the gates to Disneyland.

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Young Frank (Thomas Robinson) tests his rocket pack prototype.

 

In Tomorrowland, George Clooney plays the modern-day, grownup version of a bright young lad, Frank, who lugs along his homemade jetpack to an invention competition at the 1964 World’s Fair—where Disney unveiled four major attractions. Frank and his contraption are rejected, alas, but he gets a special invitation to hop aboard Disney’s new ride It’s a Small World, which turns out to be much more than just a poky boat cruise through an international chorus of singing animatronic children: It’s a secret portal to the future!

Frank has a glorious time in the splendid world-yet-to-come, a fabulous sky-tropolis called Tomorrowland. But he can’t stay there forever. We eventually find out why he must leave, and why, decades later, he’s compelled to return.

Director Brad Bird, who’s shown his skill in both animation and live action with The Iron Giant (1999), The Incredibles (2004), Ratatouille (2007) and Mission: Impossible—Ghost Protocol (2011), mixes brisk, old-school adventure and a spirit of boundless idealism onto a palette of gorgeous, eye-popping visuals. The script, which he co-wrote with Damen Lindelof (Lost, Prometheus, World War Z, Cowboys and Aliens) and Jeff Jensen, crackles and pops mystery and suspense, wit and whimsy, and deeper, more passionate themes about science, technology and ecology.

Britt Robertson—recently seen saddling up in The Longest Ride—plays Casey, the spunky teenage daughter of a NASA scientist (country singer Tim McGraw) “chosen” for her own trip to Tomorrowland. British actress Raffey Cassedy is Athena, a mysterious young girl who connects both Frank and Cassidy across time. Hugh Laurie plays Tomorrowland’s top dog, who turns out to have quite a bite. Keegan-Michael Key from Key and Peel and Kathryn Hahn, who stars in Showtime’s Happyish, have a Men in Black-ish scene as a couple of space-oddity souvenir-shop owners.

Disney's TOMORROWLAND..Frank Walker (George Clooney)..Ph: Film Frame..©Disney 2015

George Clooney visits a famous international landmark…which is much more than just a famous international landmark.

The movie doesn’t note it, but Disney fans will certainly be aware that Tomorrowland was one of the five original “lands” of Disneyland, opening in 1955 to give visitors an imaginative taste of the future and outer space. Its silent “background” presence in the film deepens the movie’s make-believe mystery about just how forward thinking the House of Mouse might have really been.

There’s quite a lot happening, sometimes almost too much, and the cartoonish violence—aliens blasting people away, humanoid robots being bashed and decapitated—may unsettle some little ones. Plot points become muddled in the rush to keep moving, and the movie’s message gets a bit preachy.

But, like Frank says at one point, “Can’t you just be amazed?” Any movie that can get young people thinking about the future—the future of the planet, their future, our future—and about not giving up, even in the face of doom and gloom, is pretty amazing in itself. Maybe it really is a small, small world, after all. And now I’m super-curious about the secret purpose of Mr. Toad’s Wild Ride.

—Neil Pond, Parade Magazine

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May 15 2015
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Movie Reviews

Max is Back!

Explosively revved-up reboot is big, brash, brutal & beautiful

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Mad Max: Fury Road

Starring Tom Hardy & Charlize Theron

Directed by George Miller

R

If Australian director George Miller never did anything else, he’d forever be remembered as the man who gave the world the post-apocalyptic road-thrills drama Mad Max. Miller’s movie, in 1979, was a low-budget landmark of gonzo filmmaking that became an action-adventure icon, spawning two sequels, both starring Mel Gibson and both directed by Miller.

Now Miller—who went on to produce, write and/or direct other acclaimed films, including Dead Calm, Lorenzo’s Oil, Happy Feet and Babe—has returned to where he started, and this explosively revved-up reboot, epic in every sense of the word, may become the crowning achievement of his already impressive career. It’s big, bold and brash and makes the loudest bang, by a long shot, of any movie this year so far—if not any movie of any recent year. It’s grotesque and gorgeous and glorious all at once, both brutal and beautiful, a thing of cinematic wonder and wizardry, a circus of eye-popping, old-school stunt work, and a crazy orchestration of such sheer, all-out gusto, spunk, energy, imagination and nerve, it makes most other blockbusters, superhero sagas and special-effect blowouts look like they were made with doodles, doodads and trinkets from a toy box.

Miller’s new Max grabs you from the first scene and never lets go as it establishes its central character, its parched desert setting and its harsh parameters. “My name is Max,” intones the figure we first see onscreen snatching a lizard from his boot—then popping it into his mouth and eating it. “A man reduced to a single instinct: survival.”

FURY ROADAnd then, BAM—Max (Tom Hardy) is off and running—and so are we—on a wild, wild chase across a bleak wasteland of sand, mud and rock, pursued by a banshee-like posse of freakish “war boy” cultists, and thrown by dire circumstance into the company of a ferocious, one-armed defector (Charlize Theron) and her precious cargo: the four young wives of the cult’s terrifying leader, Immortan Joe (Hugh Keays-Byrne, who also appeared in the original Max).

FURY ROAD

Charlize Theron

Miller stages his story (written with collaborators Brendan McCarthy and Nick Lathouris)—a ripping fable about a small group of people looking for redemption in a ruined, bizarr-o world of fire, water, gasoline and blood—with constant movement. His cameras, like his characters, almost never pause; they’re always sweeping, swooping, panning, scanning or tracking, adding to the persistent, insistent sensation of motion and danger, of never feeling like it’s safe enough to slow down.

The automotive stunts, chase scenes and fights are so extraordinarily, intensely over-the-top, they become things of art—manic, mad-hatter masterworks of coordination as men scamper over, under, through, in and out of all kinds of cars, trucks and monstrous hybrid vehicles as they roar along at great speeds, often colliding, frequently exploding—and, in one absolutely stupendous sequence, being sucked up into a sand cyclone.

Harding is terrific, Theron is even better, and Miller, well, this time he’s outdone even himself. Mad Max: Fury Road isn’t just the movie to see—it’s the movie so “max” you’ll need to see it more than once to marvel in all it is, all it does, and just how much it blows almost everything else away.

—Neil Pond, Parade Magazine

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May 15 2015
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Movie Reviews, Music

Second Verse

Tuneful reprise picks up a cappella tale, reunites cast

Pitch Perfect 2

Pitch Perfect

Starring Anna Kendrick, Rebel Wilson & Hailee Steinfield

Directed by Elizabeth Banks

PG-13

A musical comedy that costs under $20 million to make and racks up more than three times that much at the box office will likely get another chance to sing.

That’s exactly the case with Pitch Perfect 2, a tune-filled reprise of the its 2012 predecessor that picks up the tale of a fictional all-female collegiate a cappella group, the Bellas, and reunites almost of all of the original cast (Anna Kendrick, Rebel Wilson, Brittany Snow, Skylar Austin, Adam Devine, Anna Camp, Ben Platt and Ester Dean).

Pitch Perfect 2

Das Sound Machine

This time, the Bellas are headed to a world championship sing-off against new rivals, an über-haughy German group called Das Sound Machine. But a major wardrobe oopsy during a performance attended by Present Obama and the First Lady has caused a serious kerfluffle, throwing off the Bellas’ musical mojo. And their senior member, Beca (Kendrick), is ready to move on to life beyond the group.

Forget—and forgive—that most of the actors and actresses (playing college coeds) are pushing 30, or just beyond it. Don’t worry that the plot is a shoestring of jokes and songs stretched 10 to 15 minutes longer than it really needed to be. Let slide the fact that Wilson’s roly-poly character, Fat Amy, would never be called that name by any group of good friends—unless it’s in a movie like this one.

Pitch Perfect 2

Hailee Steinfield

Pooh to all that, because Pitch Perfect 2 just wants to make you laugh—which it certainly does—in between silly cooing about the bonds of sisterhood and the awkwardness of young love. The jokes fly fast and flip, and the humor gets spread throughout the big cast, which includes Hailee Steinfield, who plays a fresh-faced Bella newcomer; Keegan-Michael Key, of the Comedy Central sketch show Key and Peele, as a cocky music producer; and rapper Snoop Dogg, who gets laughs just as himself, singing Christmas carols. (Also watch for Katey Segal; Comedy Bang Bang’s Reggie Watts, bandleader for The Late Late Show with James Cordon; and members of the Green Bay Packers, riffing on Beyoncé’s “Bootylicious.”) Of the returning cast, Wilson, in particular, steals every scene in which she appears, and the writers know it, giving her optimum setups, plum punch lines and plenty of room to improvise.

Pitch Perfect 2

John Michael Higgins and Elizabeth Banks

Some of the funniest bits, however, belong to John Michael Higgins and Elizabeth Banks, who play the commentators covering the various singing competitions at which the Bellas appear. Higgins’ character’s snarky, sexist, racist observations may be politically incorrect, but they strike comedy gold.

The real “star” of the show, however, is its director. Making her feature debut behind the camera, Elizabeth Banks joins a very exclusive club—alongside Angelina Jolie and Jodie Foster—of actresses who’ve moved successfully into an almost wholly male-dominated domain, taken control of a major motion picture and made all the pieces fit—and work—together. Bravo, Ms. Banks!

It’s not quite as fresh as the original, but Pitch Perfect 2 is still a bright, light, fem-centric frolic of music and goofy fun for anyone who likes their laughter with a peppy soundtrack of razzle-dazzle a ca-showmanship.

—Neil Pond, Parade Magazine

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