Review: Olympus Has Fallen (2013) is violent and stupid, a 'direct-to-VHS Die Hard rip-off' on steroids.

Olympus Has Fallen
2013
120 minutes
Rated R

by Scott Mendelson

If taken at face-value, Antoine Fuqua's Olympus Has Fallen is pretty much morally indefensible. Written by Creighton Rothenberger and Katrin Benedikt, the film offers a level of jingoistic fear-mongering  the likes of which are more commonly associated with a 1980s Chuck Norris vehicle and/or the likes of Cobra.  It is astonishingly violent yet acts as if the safety of a single person is all that necessitates a happy ending.  While the slightly similar 'president in peril' epic Air Force One at least implicitly asked what cost in lives should be spent to preserve the life on a man who happens to hold a certain elected office, Olympus Has Fallen has no such weighty ideas on its mind.  It is not so much a Die Hard rip-off but a high-budget ($80 million) ode to the flurry of cheapie straight-to-VHS knock-offs that flourished in the late 1990s, complete with simplistic plotting and implausible levels of violence.  It isn't terribly smart and it peaks in the first act, but damned if I didn't enjoy the picture nonetheless.

Pity... Universal cancels Oblivion's early IMAX release.

Having rather loathed Tron: Legacy, I've had to work myself up in order to get excited about Joseph Kosinski's Oblivion.  Yes, Tom Cruise usually makes sure that his big-scale pictures are a cut above and yes the film looks better with each trailer, but the biggest cause for hope was its release schedule.  The film's national release was set for April 19th, but the film was also going a full week early in IMAX only, giving paying audiences a week-long sneak preview in IMAX and other larger-screen formats.  But alas, that promising move by Universal has been cancelled.  Chalk it up to Cruise wanting to do international press for the film's overseas debut on the 12th and the film's US debut on the 19th, chalk it up to Universal wanting an extra week of play for their 3D reissue of Jurassic Park on April 12th, but audiences will not be seeing Oblivion: The IMAX Experience one week early after all.  Color me genuinely disappointed.

Trailer: Olympus Has Fallen looks like a terrific old-school action blast with a cast to die for.

Good lord this looks like great fun!  If this is supposed to be the "B-Level" movie about terrorists taking over the White House (proceeding the Channing Tatum/Jamie Foxx action thriller White House Down), then I can't imagine how good that Roland Emmerich action picture might be.  Antoine Fuqua is a generally solid action filmmaker and the cast (Gerald Butler, Aaron Eckhart, Morgan Freeman, Dylan McDermott Ashley Judd, Melissa Leo, Cole Hauser, Angela Bassett, Robert Forster, and Rick Yune) is to die for.  Yes it's mired in cliche, but tell me you didn't grin a little bit when you correctly predicted Butler gravely intoning "I'm the best hope you have!".  It's a little odd to have Ashley Judd for such a small part, unless A) she's still alive in the end or B) she wanted a paycheck to finance her probable US Senate run in 2014.  Either way, this looks like an old-school action blast from the proverbial past, a gee-wiz Die Hard/Air Force One hybrid that is hopefully high-energy, production value-rich, genre fun.  Olympus Has Fallen opens on March 22, 2013.  Come what may, it looks like we may get at least one good Die Hard movie this spring after all.  This one was barely on my radar and now it's among my top must-sees of the season.  Nice work, Film District marketing!

Scott Mendelson

Trailer: Tom Cruise *is* Wall-E in Joseph Kosinski's Oblivion!

It's no secret that I think Tron: Legacy is one of the worst would-be blockbusters in recent memory.  So the idea of another sci-fi would-be tentpole written and directed by Joseph Kosinski doesn't exactly fill me with glee, although the screenplay assist from William Monahan and Michael Ardnt should be noted.  But two things give me relative optimism.  First of all, Tom Cruise generally doesn't make out-and-out terrible films.  Oh sure Rock of Ages was among the worst films of his career, but he had a supporting role in that ensemble and everyone has to shoot an air ball sometime.  Second of all, this film is getting a full week of IMAX-only release, which I'd like to think Universal wouldn't be doing if the film wasn't going to get decent word-of-mouth ahead of its national April 19, 2013 release date.  As for the trailer, the first half amusingly resembles a live-action version of Wall-E before introducing Morgan Freeman and kicking into a somewhat more generic science-fiction action picture.  I'm betting that Sony wishes it had released its teaser for M. Night Shyamalan's somewhat similar sounding After Earth, although we'll see how the Will Smith sci-fi film compares when it teases next weekend with The Hobbit: An Unexpected Journey.  The cast is pretty solid, including the likes of Olga Kurylenko, Nikolaj Coster-Waldau, Andrea Riseborough, and Melissa Leo.  I wouldn't say it looks *good* so much as to admit that it doesn't look *bad*.  Anyway, as always, we'll see.  If you have any thoughts, share them below.

Scott Mendelson   

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  

Catch 22: The ironic failure of Alex Cross.

As I wrote two summers ago, there was a great irony in the idea of Super 8 being sold as the great summer original in a sea of mediocre sequels and reboots.  The J.J. Abrams sci-fi drama sold itself as a diamond in the rough only to find itself facing off against one of the strongest mainstream summers in recent memory.  So it is the case with Lionsgate's seemingly failed Alex Cross.  I've long written about how the inexplicable death of the James Patterson film franchise signaled a sea change in Hollywood.  Despite earning $74 million in America on a mere $30 million budget, Along Came A Spider was the second and last of the Morgan Freeman-starring Alex Cross thrillers.  That Paramount, which once counted on pulpy, star-driven, adult-skewing (and often R-rated) thrillers as their bread-and-butter, would forsake what seemed to be a profit machine signaled that something was changing.  As I've written before, 2001 was a game-changer for mainstream Hollywood in a number of major ways.  One of the major wind changes we saw was the slow death of the adult-driven mid-budget genre film in favor of 'all tentpoles-all the time'.  As I discussed earlier this year, the last two years has seen a real resurgence in just the kind of film that Kiss the Girls represented.  Irony of ironies, when Alex Cross did return, the movie-going world didn't need him anymore.

How a severe lack of 'cause and effect' undoes all that is good about The Dark Knight Rises, and why its alleged political underpinnings are merely a smokescreen.

It's not the plot holes or periodically silly coincidences.  This will not be a list of 'things that don't work in The Dark Knight Rises' but rather an old-fashioned essay (shocker!) concerning what I feel are the overall screenwriting flaws that tear down and ultimately destroy what otherwise is a technically fine motion picture.  Obviously it's pure unapologetic spoilers after the jump, so tread no further if you don't want to know.  But the short version is that, aside from certain logic issues, almost nothing that occurs during the first 150 minutes of the film truly matters in regards to how the story ends.  And moreover, the unwillingness to focus on the people actually being affected by the (mostly off screen) chaos renders the film's token topicality not only politically irrelevant but dangerously close to exploitation.  To wit...

Weekend Box Office: Seemingly affected by frontloaded anticipation more than tragedy, The Dark Knight Rises opens with $160 million, good for third-best debut ever.

When a heavily-anticipated film debuts alongside a mass murder that takes place during a midnight showing of said film, it's difficult to know how to analyze the opening weekend figures.  Under normal circumstances, the fact that The Dark Knight Rises (trailer/review/spoiler thread) debuted with $160 million over the weekend would lend itself to the usual analysis, dealing with weekend multipliers, midnight-percentages, comparisons to The Dark Knight and other recent blockbusters, and a guesstimate in regards to final domestic outcome.  But it is impossible for now to know what the effect of the shooting had on the film's short term or long term box office performance. So for the sake of this calculation, we will basically presume that the shooting had little quantifiable effect on the numbers.  Quite frankly, looking over the data, I'm inclined to believe as much.  The film did about as well, give-or-take, as it would have been expected to do.  But the numbers, presuming little-to-no effect from Friday morning's tragedy, means that the third Chris Nolan Batman film was a slightly less anticipated affair than the last go-around, which will likely bode (comparatively) ill for long-term grosses.  Basically, horror of horrors, The Dark Knight Rises might just perform like a normal quick-kill mega-blockbuster.

The Dark Knight Rises spoiler discussion thread...

So it's midnight on the West Coast, which means the first midnight showings are just letting out on the East Coast.  Okay, you know the drill.  Here's hoping I have more comments here than I did for The Amazing Spider-Man.  Anyway, I'm actually going to be away from my keyboard for a couple days, but I'll *try* to do a weekend box office write-up on Sunday morning.  Until then, it's officially open season for anyone who saw the third and final Chris Nolan Batman film.  You've heard my thoughts, now time to share yours, in as much detail as you desire.

Scott Mendelson

Review: The Dark Knight Rises (2012) is the least of the Nolan Bat-films, continuing the curse of the comic book threequels.

The Dark Knight Rises

2012
165 minutes
rated PG-13

by Scott Mendelson


First and foremost, I cannot decide at the moment if The Dark Knight Rises (trailer) is a 'better film' than Spider-Man 3, Batman Forever, and/or X-Men: The Last Stand.  The fact that I have to outright state as much should tell you what a comparative disappointment this film is.  Overall, its many storytelling flaws bring the picture down, offering only engaging acting, entertaining character interaction, and the kind of empty-headed (but oft impressive) action spectacle associated with more conventional blockbusters.  It is a hodgepodge of several classic Batman stories squished into one chaotic narrative that ends up resembling a mash-up of Transformers: Dark of the Moon and Rocky III. There are moments of emotional engagement in the first third and the final moments pack an appropriate wallop.  But the film frankly drags for much of its middle 90 minutes on its way to a surprisingly unremarkable climax.  Save for mostly fine performances, including a terrific supporting turn by Anne Hathaway, and some wonderful character beats scattered throughout, this is sadly the very definition of an unnecessary sequel.

Watch/Discuss: The Dark Knight Rises panders to the 'I want it now!' crowd, gets one more (generic) trailer.

This smells desperate, folks.  With just a month to go, Warner Bros. drops a third full-length trailer for The Dark Knight Rises. This bothers me on two levels, neither of which are related to the film itself (the film is what it is and we'll know soon enough).  First, the near-daily stream of television spots, some of which are quite spoiler-y, followed by a release of a third trailer, reeks of desperation.  Not about the film per-se, but about the apparent need to stay relevant on the film blogs (which in theory translates into mainstream interest by playing the 'show them everything 30-120 seconds at a time' game that has been the status-quo this year for tentpoles.  Next I assume Warner Bros. will start releasing clips to boot.  Point being, they don't need to play in the mud with everyone else.  The Dark Knight Rises would have been a mega-smash if they didn't realize anything other than a teaser and a one-sheet.  To see the marketing department unwilling to follow their own pitch-perfect template from The Dark Knight is not a little dispiriting, akin to Michael Jackson's later albums not breaking new ground but rather aping the younger musicians who followed in his footsteps in a bid to stay relevant.  This new trailer represents a lack of faith and I'm disappointed.   My second gripe is with the trailer itself.

The Dark Knight Rises gets a pretty solid theatrical one-sheet and six rain or snow-soaked character posters..

I seem to be in the minority, but I rather like this poster.  Unlike the two key posters for The Dark Knight, there are no nonsensical tag-lines ("Welcome to a City Without Rules"), no odd imagery of Batman standing in front of a burning building as if he's claiming credit for said explosion, and no odd placement where the point of visual focus is a giant wheel from that silly Bat-Pod.  It's just Batman himself, appropriately brooding with the unofficial logo for the film (the buildings of Gotham collapsing into a bat-symbol) and a variation on the "The Fire Rises" would-be catchphrase (doesn't quite have the same ring to it as "Why So Serious?").  Of note, Anne Hathaway gets billing above Tom Hardy implying either Hathaway is the obvious bigger star or Bane's role is smaller than has been let on.  I remember being shocked when Tommy Lee Jones got billing ahead of red-hot Jim Carrey in Batman Forever only to realize that Two-Face was actually the primary villain as opposed to The Riddler.  UPDATE - Warner Bros. dropped three moody and rain-soaked character posters and three less impressive snow-drenched character posters this morning, so I'm adding them below the jump.  Anyway, there isn't much left to do but speculate until this starts screening toward the very end of June, with junket screenings likely falling before July 4th weekend and regular press screenings starting about 1.5-2 weeks before July 20th.  Am I as excited for this as I was for The Dark Knight four years ago?  Not even close, but I have no reason thus-far to believe that The Dark Knight Rises won't be an awfully good action-drama.  As always, we'll see...

Scott Mendelson

For those who care - a truckload of The Dark Knight Rises photos...

I'm shocked... SHOCKED that Time Warner's biggest summer movie has made the cover of Time Warner-owned Entertainment Weekly's annual summer movie preview issue.  I'm just happy that I don't have to keep using that same 'Batman aims his laser-gun' shot every time I write about the movie.  Anyway, I'm not going to dissect these to death, and I presume that Nolan and company aren't releasing anything that could be over-analyzed anyway.  But I will say that Bane looks not terribly intimidating in action and it's a little silly to see Batman wielding what appears to be an IPad (minor carping I know...).  Anyway, while most of the Internet was buzzing about Anne Hathaway's ass earlier this week (the promo image was an apparent unauthorized leak and has been removed), I was all about that 'Ella-Enchanted-quality' hair.  But that's no surprise if you know me well enough.The rest are after the jump.   Enjoy.

Scott Mendelson

Weekend Box Office (09/25/11): Moneyball scores near-record for a baseball pic, comes in second to Lion King 3D anyway.

 Defying even the most optimistic of predictions, The Lion King 3D (HERE for the film's big not-so-fatal flaw) repeated at the top of the box office this weekend.  The shockingly popular 3D-converted re-release dropped just 27% in its second weekend, grossing $21.9 million in what was allegedly the last weekend of its 'limited engagement'.  I cannot imagine Disney not keeping this one in theaters until it plays out naturally, as we could easily be looking at a $100 million domestic total for the refurbished 17-year old cartoon.  The Lion King 3D now has $61.4 million, giving the film a $390 million domestic total.  Once it gets past $67 million, it will surpass the 1997 re-release of The Empire Strikes Back and become the second-biggest re-release of all time, behind the $137 million gross of Star Wars: Special Edition.

It's about damn time: Alex Cross returns to the big screen as Idris Elba takes over from Morgan Freeman.

Whenever I blather on about the death of the mainstream, mid-budget, star-driven thriller, the prime example that comes to mind is the Alex Cross franchise. Paramount used to thrive on said pot-boilers, and two of the more successful entries were adaptations of two books in James Patterson's long-running Alex Cross series. I can't count the number of times my wife has casually asked me why Paramount didn't make more. Aside from whether or not star Morgan Freeman was interested, the best I could figure is that a regime change took hold at Paramount, and the new bosses wanted in on the mega-blockbuster game. After all, why spend $50 million and hope to gross $100 million worldwide, when you could spend $150 million, and hope to God that you made at least $300 million worldwide? Well, it appears that saner heads have prevailed, as psychologist/detective/federal agent/super hero Alex Cross is returning to the big screen. And taking over for Morgan Freeman is Idris Elba, a respected character actor from The Wire, The Office, and several film turns (Daddy's Little Girls, The Losers, 28 Weeks Later, etc) who is about to become a superstar.