Review: Rise of the Guardians (2012) is a stunning disappointment, with little substance, no character.

Rise of the Guardians

2012
97 minutes
rated PG

by Scott Mendelson

Rise of the Guardians is an astonishing exercise in generic storytelling, with so little new to bring to the narrative plate that even a morsel of good ideas can't save it from tedium.  I can't speak to the source material, but the film amounts to a high concept idea ("What if the various holiday mascots formed a superhero group?") where no more imagination was offered after the initial pitch.  The story is basically a Mad Libs team-superhero origin story, where we follow a new recruit into a new world and learn the mythology through his eyes.  That the story shamefully rips off the first X-Men is less of a problem than the heroic cohorts having almost no discernible characteristics beyond their costumes and holiday-related duties.  With paper-thin characterization and no real surprises in the offering, Rise of the Guardians amounts to a mostly dull effort that diminishes both big-budget animation and superhero stories at the same time.

Now You See Me gets a snazzy, stylish trailer.

This one is near the top of my 'must see' list for 2013, if only for the cracker-jack premise (a team of stage magicians commit grand larceny right in the middle of their shows) and the terrific cast (Jessie Eisenberg, Mark Ruffalo, Melanie Laurent, Morgan Freeman, Michael Caine, Isla Fisher, Woody Harrelson, etc.).  So I was happily surprised to get a peak during last night's Breaking Dawn showing.  The trailer itself feels a little rushed and edited somewhat chaotically, but it's also relatively spoiler-free, so that's a plus.  And for those wondering who would narrate a trailer for a film that stars both Michael Caine *and* Morgan Freeman, apparently Freeman won out.  Personally, if I were Summit Entertainment, I would have cut two trailers with both actors respectively narrating.  But no matter, this looks like oodles of fun and I was a little disappointed when it got pushed back to the heart of summer, however much that speaks to the film's alleged quality.  It will also speak to just what kind of film Louis Leterrier can make in America when he isn't being screwed over in post production, as happened on The Incredible Hulk and Clash of the Titans. Now You See Me opens on June 7, 2013.  As always, we'll see, but I'm still very much looking forward to this one.

Scott Mendelson  

John Gosling previews the week's new releases (09-07-12).

A relatively quiet weekend with just two major releases, only one of which is out to a substantial number of screens.The Words was written and directed by Brian Klugman and Lee Sternthal and follows a young author (Rory) desperately trying to come up with a story. When his latest effort is rejected he happens across an old manuscript in a house in which he is staying with his partner. Finding himself blown away by how good the story is, he sets to work re-typing it, with a view to passing it off as his own. Thanks to 'his' new book, Rory finds himself the sensation of the publishing world and reaps all the rewards that come with it. But when a man connected with the original manuscript comes into his life, the author soon discovers the high price he will have to pay for stealing another's story. The Words marks the directorial debut of Klugman and Sternthal, who received advice on the script from the Sundance Writer's Lab. With funding in place they set to work on casting, with Bradley Cooper taking the lead role of Rory, Zoe Saldana as his wife Dora and Jeremy Irons as the stranger with the potential to expose Rory's deceit. Other members of the cast included J.K Simmons, Dennis Quaid and Oliva Wilde, the last two acting as a framing device for the picture - Wilde interviewing Quaid's character who has himself written a book relating to the events that unfold as the main body of the film. 

Review: Bachlerorette (2012) successfully mixes vulgar comedy and low-key pathos.

Bachlerorette

2012
87 minutes
rated R

by Scott Mendelson

There is going to come a point, hopefully in the very near future, where we'll see enough female-centric comedies that each one doesn't feel like some kind of major moment in cinema.  We're not quite there yet, so one could arguably discuss Leslye Headland's Bachlerorette in terms of what it does or does not represent in the ever-quickening trail to gender parity in big-screen comedy. For the record, the film is based on Headland's own play, so anyone accusing the film of being a rip-off of Bridesmaids and/or The Hangover should be smacked on the head right here and now.  If the film serves as any kind of benchmark, it will be as a big-screen that will test the ever-present double-standard in terms of how we respond to female characters.  The film's star trio (Kirsten Dunst, Lizzy Caplan, and Isla Fisher) are notable in that they are presented as every bit as vulgar, cruel, and socially-clueless as any number of male comedy trios over the last many years.  Will audiences hold them to a higher standard of sympathy and moral purity, or will audiences realize that they are no better or worse than any given Wolfpack?