Movie, music, and television reviews from a select group of bloggers.
'The Mortal Instruments: City of Bones' stars Lily Collins (l.) as heroine Clary Fray and Jamie Campbell-Bower (seen in the TV series 'Camelot,' r.) as the mysterious Jace. (L: Nickelodeon/PR Newswire R: Jonathan Hession/Starz Entertainment/PR Newswire)
'The Mortal Instruments: City of Bones' trailer provides a glimpse into the supernatural story
Studios have been eagerly dipping into the pool of young adult book adaptations, following the runaway success of Harry Potter and Twilight. However, in proportion to every film that hits it big (The Hunger Games), there seem to be a handful that only manage mixed business (Percy Jackson, The Spiderwick Chronicles) or fizzle out immediately on impact (The Seeker: The Dark is Rising).
So that begs the question: what will the turnout be for The Mortal Instruments: City of Bones (which is based on the first installment in author Cassandra Clare’s best-selling fantasy/adventure series)? Well, the first trailer for the film launches in theaters this Friday with the Twilight Saga finale Breaking Dawn – Part 2, but you can check out the theatrical promo online now (along with the official poster).
Mortal Instruments revolves around Clary Fray (Lily Collins, Mirror Mirror), an ordinary teenager living in modern New York City, who discovers the truth about her lineage after her mother (Lena Headey, Game of Thrones) mysteriously vanishes: namely, that she is a descendant of the Shadowhunters, a legion of half-angel warriors who (in secret) protect humanity from the forces of darkness. Soon thereafter, young Clary begins her training as a demon-destroyer, with assistance from Hodge Starkweather (Jared Harris, Mad Men) – who is the elder caretaker at the Shadowhunter Institute - and the handsome-but-deadly warrior Jace Wayland (Jamie Cambell Bower, Camelot).
As you undoubtedly picked up from the synopsis and trailer, Mortal Instruments (in essence) uses the same fantasy/coming-of-age formula as the Harry Potter, Percy Jackson, and The Dark Is Rising series - but with a female, rather than male, teen protagonist. In terms of visual sophistication, Mortal Instruments does seem to be a slight improvement on the first Percy Jackson and first couple of Harry Potter films – though, it’s far behind latter installments in the Potter series. Bear in mind, it’s impossible to judge fully right now, as production quite literally wrapped up a matter of days ago (hence, there are no CGI shots in the trailer).
Overall, the cast for Mortal Instruments is pretty solid, thanks to the involvement of people such as Headey and Harris; even the youngster Collins and Bower have done decent (if not exactly remarkable) work so far in their careers. Meanwhile, the script was penned by I. Marlene King (Pretty Little Liars) and Jessica Postigo (the upcoming 3D animated Tarzan), with directing duties handled by Harald Zwart (Agent Cody Banks, The Karate Kid); that’s not the most inspiring resume, for sure, so we’ll have to wait and see how the final film turns out.
If nothing else, Mortal Instruments fans should be pleased that the original version of this project ultimately fell apart – that is, one where the first three installments in Clare’s original series would’ve been compressed into a single film, with the helming duties given to Scott Charles Stewart (Legion, Priest). Zwart’s adaptation, by comparison, stands to be both better and more faithful.
Sandy Schaefer blogs at Screen Rant.
Elizabeth Banks, pictured with husband Max Handelman, starred this spring in the adaptation of Suzanne Collins' bestseller 'The Hunger Games.' (Matt Sayles/Invision/AP)
Elizabeth Banks joins a superhero movie with... Legos?
Lego, at first, sounds like a blatant Hollywood cash-grab aimed at nostalgic adults and a younger generation who may want to purchase said toys after (or even before) seeing the movie. Similar to the developing Stretch Armstrong, the playthings behind Lego lack even the semblance of a narrative, much less a pre-established mythology (unlike Transformers).
So how then did Lego attract the interest of Dan and Kevin Hageman? After all, that pair devised the story for next month’s Hotel Transylvania, a 3D animated project that allowed the writers’ collective imagination to run wild concocting a tale involving iconic monsters. Well, switch out “iconic monsters” for “Lego toys” and the previous description fits the Lego movie equally well, oddly enough.
Warner Bros. is behind Lego and previous reports indicated that studio heads are taking advantage of ties to DC Comics, so as to allow for Lego-ized versions of superheroes in the film. Hence, it’s been confirmed that Arrested Development star Will Arnett is voicing the Batman Lego in said movie, while the search continues for a viable candidate to lend their vocals to a Lego Superman (Channing Tatum is rumored to still be the top choice).
It’s not yet apparent whether or not the project features additional appearances by recognizable characters in Lego form. However, Deadline says the costars of two of this year’s highest-grossing films – Elizabeth Banks (The Hunger Games) and Morgan Freeman (The Dark Knight Rises) – have been recruited to bring their vocal talents to Lego, with the latter playing a Lego guy called Vitruvius.
Plot-wise, Lego revolves around the exploits of Emmet (Parks and Recreation‘s Chris Pratt), an ordinary Lego guy who is mistaken for a legendary figure known as the MasterBuilder. He is thereafter forced to join a quest to stop an evil tyrant, who plans to devastate the Lego population by gluing all of Lego-dom together.
Credit for that storyline partially belongs to the primary screenwriters on Lego, Phil Lord and Chris Miller (who are also directing). The duo have earned a reputation for turning non-cinematic properties into hip and clever film adaptations that provide solid entertainment value – even while poking fun at their origins as calculating cash-grabs (see: Cloudy with a Chance of Meatballs and 21 Jump Street).
Keira Knightley stars as the title character in 'Anna Karenina.' (Laurie Sparham/Focus Features/AP)
Keira Knightley: What's next after 'Anna Karenina'?
Kenneth Branagh is moving full-steam ahead on his Jack Ryan franchiser restart, wherein he’ll portray a malevolent financial strategist whose attempts to lay ruin to the U.S. economy are complicated by a pre-CIA Ryan (Chris Pine). Branagh is, of course, also directing the project – taking over from long-attached helmer Jack Bender – and working from David Koepp’s script draft.
The actor/filmmaker is searching for an actress to portray Ryan’s (future?) wife, and Keira Knightley is said to be the frontrunner for the role. Knightley strayed into new territory this summer with the indie dramedy Seeking a Friend for the End of the World, but she’s back to working on lavishing period drama fare this fall with Joe Wright’s Anna Karenina adaptation.
Deadline reports that Felicity Jones (Like Crazy) and Evangeline Lilly (Lost) were in the mix for Branagh’s Jack Ryan movie (which is still without an official title). Total Recall co-headliners Kate Beckinsale and Jessica Biel had previously been offered the role with an option to return for two sequels (should they happen), but both took a pass. That could be interpreted as a sign that the role amounts to little more than moral support and/or a passive love interest.
UPDATE: Heat Vision says Knightley has officially entered negotiations to co-headline the Jack Ryan reboot. Branagh auditioned several actresses over the past few weeks, before re-approaching Knightley – who was the first actress considered by Paramount.
Jones is experienced at playing refined and dignified characters in period pieces (Brideshead Revisited, Hysteria), whereas Lilly has a history of portraying more modern female archetypes in films like The Hurt Locker and Real Steel. Knightley actually meets them somewhere in the middle, thanks to her period drama work and efforts in films like Domino and Pirates of the Caribbean. So, perhaps the character of Ryan’s wife calls for someone who can play prim and proper, without coming off as an outdated representation of such a woman.
Paramount’s struggle to get the Jack Ryan reboot going has been further hampered by Pine’s schedule, as the project was pushed back in order to allow him time for filming on J.J. Abrams’ Star Trek sequel. The studio has also burned through several writers to get the story right, as a result of competing interests from Pine, Paramount heads, and producer Lorenzo di Bonaventura (who’re pushing for the film to be a character-oriented espionage drama, an action flick, and a thriller, respectively).
Koepp has (it seems) found a way to satisfy the demands of all concerned parties, while also delivering a script draft that was solid enough to catch Branagh’s eye. The final film is shaping up to be worth the heavy-lifting required to reach this point (in this writer’s opinion, that is).
We’ll continue to keep you updated on the Jack Ryan reboot as the story develops.
Sandy Schaefer blogs at Screen Rant.
'Oz the Great and Powerful' features actor James Franco as the Wizard of Oz. (Andrew Medichini/AP)
'Oz: The Great and Powerful' trailer gives insight into Disney's world of Oz
The teaser trailer for Evil Dead and Spider-Man trilogy director Sam Raimi’s Oz the Great and Powerful (which Disney premiered at this year’s Comic-Con) overflows with vibrant colors, zany creatures, and picturesque 3D trickery, but it does little to counter a longtime assertion – namely, that the Mouse House’s semi-prequel to The Wizard of Oz is an attempt to replicate the $uccess of Tim Burton’s Alice in Wonderland by giving the same cinematic treatment to L. Frank Baum’s Oz literature (right down to the March release date).
A full-length trailer for Raimi’s Oz the Great and Powerful is now online, offering a better look at the film’s unique rendition of that land ‘somewhere over the rainbow’ (as envisioned by Alice production designer Robert Stromberg) and the human cast which includes James Franco – playing the young ‘wizard’ Oscar Diggs – as well as Mila Kunis, Rachel Weisz and Michelle Williams as the three witches wrestling to control the fate of Oz (Theodora, Evanora and Glinda, respectively).
However, if the original Oz trailer left you with feelings of déjà vu dread, this new promo isn’t going to change your mind. The script from Mitchell Kapner (The Whole Nine Yards) and David Lindsay-Abaire (Rise of the Guardians) now appears to lift elements directly from Alice in Wonderland’s playbook, right down to making its protagonist the ‘chosen one’ whose arrival has been prophesied to bring peace to the film’s fantastical setting. Moreover, the CGI characters which are shown here – timid flying monkey Finley (Zach Braff) and fragile China Girl (Joey King, The Dark Knight Rises) – also resemble the celebrity-voiced/digitally-rendered inhabitants of Burton’s Wonderland, in the sense that their personalities and vocals (so far) seem somewhat hit-or-miss.
Bear in mind, the comparisons to Burton’s Alice in Wonderland aren’t meant as a condemnation on their own; after all, despite the thrashing that film continues to take from people, it has entertainment value to offer. Nonetheless, Alice did commit some major missteps – such as a noble, but misguided, attempt to flesh out the source material mythology and over-abundance of quirky CGI characters and effects – and, unfortunately, Oz seems to be repeating many of them. Thus, it’s hard to not be skeptical and suspect that Raimi’s film (much like Burton’s) could amount to another dazzling, but hollow, mishmash of muddled storytelling and technical finesse.
Here is an official synopsis for Oz the Great and Powerful:
When small-time magician Oscar Diggs (James Franco) pulls one flimflam too many, he finds himself hurled into the fantastical Land of Oz where he must somehow transform himself into the great and powerful Wizard—and just maybe into a better man as well.
Sandy Schaefer blogs at Screen Rant.
'Once Upon a Time' needs to simplify the multiple storylines currently happening on the show. (Jack Rowand/ABC/AP)
'Once Upon a Time': Here's how to fix it
If Sunday’s record low ratings are any indication, we’re not the only TV addict who thinks ONCE UPON A TIME may have lost a little magic over the course of the first half of its seconcd season. And while we’re not prepared to jump off the bandwagon by any stretch just yet [Editor's Note: We're still watching HOW I MET YOUR MOTHER!], we did think now might be as good a time as any too offer up five suggestion that co-creators Adam Horowitz and Edward Kitsis might wish to consider moving forward.
1. Shrink Storybrooke
WIth serious apologies in advance to the hard-working and honest townspeople of Storybrooke, who let’s face it, haven’t had the greatest string of luck these past twenty-eight years being cursed and all, ONCE UPON A TIME’s most pressing problem is one of over-population. A problem that plagues many sophomore shows when showrunners inexplicably decide to introduce a slew of entirely new characters in an attempt to conjure up drama at the expense of some much-needed screen time for the original ones that fans have come to know and love.
2. Simplify the number of story lines
The second most pressing issue plaguing ONCE UPON AT IME this season are the sheer number of simultaneous story lines. Take Sunday’s episode for example. Between Red/Ruby’s two predicaments, David juggling his continued effort to rescue his wife and daughter while at the same time having to defend his position against an angry mob of townspeople riled up by Spencer (aka King George) and Henry/Princess Aurora’s concurrent nightmares, we counted no fewer than six plots being mixed into forty-four minutes of show. Which, in case you’re wondering, is a lot to keep track of while our brain attempts to reconcile the fact that Sunday marks the end of a wonderful weekend and the start of a very busy work week.
3. Tone down the special effects
Despite the fact that co-creators Adam Horowitz and Edward Kitsis have gone on record in stating that they’ll never let a lack of visual effects budget or time temper their story-telling ambition, they should. Seriously. While we’re hesitant to be the type of TV Addict to quash any showrunners vision, there comes a point when a writer’s room has to get realistic. Unlike REVOLUTION, whose lack of visual effects as a result of the whole unexplained blackout phenomena continues to work in the show’s favor in terms of creator Eric Kripke’s promise of delivering a mini-movie every week [Editor's Note: Did you see Monday's epic episode?!], ONCE UPON A TIME’s often laughable effects do little more than completely remove us from what otherwise would be a very compelling story. Which is an absolute shame for a show that we’re sure has hundreds of people working around the clock to deliver the best possible product.
4. Remember the Format
Last season, one of the most appealing aspects to ONCE UPON A TIME was the slightly predictable nature of the show in that each episode generally shone the spotlight on a characters’ dual predicament in both the Storybook and Fairytale worlds. With one or two plot points, episodes were interesting enough to keep this generally anti-procedural type of TV Addict interested, yet simple enough to provide the hallmark of a good story that is a beginning middle and end. By contrast, this season has done a bang up job of introducing story, yet not so solid when it comes to finishing them.
5. Have Fun
Having learned under the tutelage of LOSTerminds Damon Lindelof and Carlton Cuse, it’s understandable that the talented twosome that are Horowitz and Kitsis want to do nothing less than shoot for the stars by crafting and equally compelling world filled with good and evil character, not to mention life and death stakes. Unfortunately, the one thing that really seems to have gotten, well lost this season is the fun. In other words, when you’re responsible for writing a show about handsome princes, damsels in distress, witches, fairy-godmothers, etc… it would be nice if an episode could go by that doesn’t involve a grisly murder or loss of limbs. Translation: Where’s our happily ever afters?
The TV Addict staff blogs at The TV Addict.
'Les Miserables' actor Hugh Jackman stars as convict Jean Valjean in the musical. (Lucas Jackson/Reuters)
'Les Miserables' international trailer shows almost every cast member singing
Previous trailers for the Les Misérables musical – from Oscar-winning director Tom Hooper (The King’s Speech) – featured Anne Hathaway’s rendition of “I Dream a Dream,” but kept a lid on the rest of the cast’s singing performances (which were recorded live during filming).
The new international trailer for Les Miz also showcases the vocal capabilities of stars like Hugh Jackman, Russell Crowe, Amanda Seyfried, Eddie Redmayne, and Samantha Barks (covering songs such as “A Heart Full of Love,” “One Day More,” and “Do You Hear the People Sing?”). Moreover, we at last get footage of Sacha Baron Cohen and Helena Bonham Carter (with a customary crazy hairdo) bringing the loathsome Thénardiers to life on the big screen.
For novices, the film (based on the award-winning Broadway musical adaptation of Victor Hugo’s novel) tells the tale of unjustly-imprisoned Jean Valjean (Jackman), who seeks redemption once he is released. However, his decision to break parole incites the wrath of Inspector Javert (Crowe), an obsessive policeman determined to bring Valjean ‘to justice’ no matter what. Hathaway plays a struggling factory worker named Fantine, whose daughter Cosette (Isabelle Allen as a child, Seyfried as an adult) eventually comes under the care of Valjean – having previously been forced to work as a servant by the Thénardiers, who were entrusted to care for her by Fantine and treat her like their own daughter Éponine (Barks).
Les Misérables certainly looks strikingly different than most of the other Broadway musical-turned films released in recent years, thanks to some picturesque visuals and unusual camera angles conjured up by director of photography Danny Cohen (who received an Oscar nod for his similar work on King’s Speech). The singing is raw and unrefined, but that absence of pitch-perfection seems in keeping with the overall gritty design of the film – not just in terms of cinematography, but also the costume and production design by Paco Delgado (The Skin I Live In) and Eve Stewart (another King’s Speech alum), respectively.
However, Hooper’s approach might divide the Les Miz fan base between those who approve of his attempt to give the show real cinematic flavor – while preserving the emotional impact of the music – and those who would’ve preferred there to be more emphasis on making the songs percussive and booming (like an excellent recorded version of the stage show). Of course, we will have to wait for the actual film to see if that’s indeed the case.
Kevin Yeoman blogs at Screen Rant.
'Doctor Who' actor Matt Smith is currently starring on the show as the time-traveling character. (Jordan Strauss/Invision/AP)
Neil Gaiman writes a 'Doctor Who' episode that will bring back a creepy villain
Behind the Daleks, the Cybermen are easily Doctor Who‘s most iconic villains. For over fifty years – ever since their first appearance in the classic Who serial “The Tenth Planet” – the Cybermen have threatened death and assimilation to the Doctor and his many companions. Recently, the metal monsters have gotten short end of the stick, appearing rarely and often only to serve as punching bags for whatever larger threat the episode writer wants to puff up in the process.
Next year, we may see a reversal of this pattern. It looks, as previously reported, that noted genre author Neil Gaiman has scribed an upcoming episode of Doctor Who that will (hopefully) restore the Cybermen to their classic, creepy glory.
In a post featured on their Doctor Who blog, BBC announced that Neil Gaiman has penned an episode that will feature a new appearance by the Cybermen. This is the second script by Gaiman, who wrote the season 6 installment “The Doctor’s Wife” – an episode that netted Gaiman the Hugo Award for Best Dramatic Presentation, Short Form. The episode will be directed by Stephen Woolfenden, who makes his Doctor Who debut after a career as second-unit director on many feature films, including the last four installments of the Harry Potter series. The episode will also sport guest appearances by Warwick Davis (Harry Potter, Willow), Tamzin Outhwaite (EastEnders), and Jason Watkins (Being Human).
Since Russell T. Davies revived Doctor Who from its decade-long dormancy in 2005, Cyberman-centric episodes have been something of a mixed bag. They’ve ranged from the flawed-but-decent “The Age of Steel” to the eye-rolling filler of “Closing Time” (their most recent appearance). As noted earlier in this article, the writers of the past six seasons have had the habit of treating the cybernetic creatures as second-tier villains. In several episodes, the Cybermen have either been defeated by ridiculous plot developments or placed in the path of stronger enemies to be steamrolled in a naked attempt to oversell the new danger.
As such, one has to ask whether this new appearance by the robotic hordes will be able to sell them as a credible threat. Fortunately, I have faith that Neil Gaiman can pull this off. The author has created some rather iconic villains of his own during his long career. For example, during his run on the comic book The Sandman (one of the all-time great graphic novel experiences), he introduced readers to nightmare creatures such as The Corinthian – a serial killer with gnashing mouths for eyes. Despite being a novel for young readers, Coraline presented a rather grotesque antagonist in the False Mother/Beldam. And more germane to the subject at hand, Gaiman’s previous Who outing “The Doctor’s Wife” brought us House, an unsettling extra-universal horror whose sadism matched its immense power.
All this is to say that if anyone can take the time and care to craft an effective new interpretation of the Cybermen, there are few writers as qualified to do so as Neil Gaiman. It will be very interesting indeed to see how he goes about it.
Doctor Who will travel back to television on December 25, 2012 for its annual Christmas episode and appear again in Spring of 2013 for the remaining eight episodes of season 7.
Kyle Hembree blogs at Screen Rant.
Harrison Ford (far right) is 'open' to the idea of doing a new 'Star Wars' film, says an anonymous source. Ford has already reprised one of his famous roles with the 'Indiana Jones' film that was released in 2008, 'Indiana Jones and the Kingdom of the Crystal Skull.' (Lucasfilm Ltd./Business Wire)
'Star Wars: Episode 7': Harrison Ford open to returning for a new film, sources say
Last week, there was a great disturbance in the force, as if millions of nerds cried out and were suddenly silenced. Okay, maybe it wasn’t that dramatic, but it was a pretty big deal when Disney bought Lucasfilm and announced plans for a new series of Star Wars sequels.
Since then, we’ve debated the pros and cons of the news, and have also reported on all of the speculation about Star Wars: Episode 7, including today’s rumor that X-Men: First Class director Matthew Vaughn is in the running to direct the film.
Now, we’ve got another interesting piece of news to share. According to an exclusive report from Geoff Boucher (who has happily landed on his feet at Entertainment Weekly after leaving his gig at the L.A. Times), none other than Han Solo himself has allegedly expressed interest in returning to a galaxy far, far away.
The report quotes sources close to Harrison Ford who say that the iconic actor is “open to the idea of doing the movie” and, moreover, is “upbeat about it.” Obviously, being “open” to doing the movie is a long stretch from actually doing it, and it’s not like the 70-year-old actor is getting any younger. However, if he’s genuinely interested in returning to one of his most famous roles, it can only be a good thing for Star Wars fans.
After all, this is the same actor who told ABC News back in 2010 that he didn’t actually like playing the character of Han Solo that much and was actually hoping that Lucas would kill him off in Return of the Jedi, quipping that he didn’t because “George didn’t think there was any future in dead Han toys.”
Presumably, if Ford returned to the big screen for a Star Wars sequel, it would be alongside his two costars, Mark Hamill (Luke Skywalker) and Carrie Fisher (Princess Leia). In a recent interview, Hamill discussed plans for the sequels to focus on entirely new stories to satisfy fans’ desires for “more and more and more material.”
Nevertheless, it’s entirely possible that Lucas and company could throw in the original trio in expanded cameo roles, much in the same way that Leonard Nimoy played an important role in the new Star Trek film.
Whatever path they decide to take, it’s certainly an exciting development to learn that Ford is interested in returning to one of the film’s that catapulted him to worldwide fame. I was one of the few people that actually enjoyed Ford in Indiana Jones 4, so I would be more than happy to see him strap on the blaster one more time as Han Solo.
What do you think? Is Harrison Ford a must-have for Star Wars: Episode 7 and beyond, or should they start completely fresh with no original characters?
Rob Frappier blogs at Screen Rant.
'Wreck-It Ralph' stars John C. Reilly and Sarah Silverman. (Disney/AP)
'Wreck-It Ralph': Is the video game send-up worth seeing?
In Wreck-It-Ralph, director Rich Moore depicts a world where video game villains aren’t inherently bad (in spite of their in-game evil hijinks), they’re just doing their job. Even though Pixar Studios enjoys a nearly unblemished spotlight at Disney, in-house Walt Disney Animation Studios, which has been churning out animated feature films since 1937 (Snow White and the Seven Dwarfs) continues to produce big screen hits for the Mouse House – including recent offerings Bolt, Tangled, and hand-drawn titles like The Princess and the Frog.
However, in an increasingly congested CGI-animation market, it’s more important than ever that animated films provide an enjoyable experience for both children and adults. Fortunately, Wreck-It-Ralph succeeds in its efforts with a solid mix of humorous adventuring, retro game nostalgia, and heartwarming story beats – one that gamers and non-gamers will easily relish.
Despite what the trailers might have indicated, knowledge of video games is not a prerequisite for appreciating Wreck-It-Ralph. Gamers will find plenty of tantalizing in-jokes (some subtle, some not-so-subtle) but, even though there are numerous easter eggs to relish, the core storyline centers around a straightforward character journey. For years, Wreck-It-Ralph (John C. Reilly) has diligently served as the antagonist to video game do-gooder, Fix-It-Felix, Jr. (Jack McBrayer). Although Ralph shares a healthy working relationship with Felix, he has grown tired of being treated like a villain after work hours and in an effort to win favor from the other characters in his game, Wreck-It-Ralph jumps into another title, Hero’s Duty, where he intends to win a medal that will prove bad guys can also be good guys.
In his attempt at heroism, Ralph inadvertently lands in Sugar Rush, a kid-friendly kart racing title, and falls victim to the wiles of Vanellope von Schweetz (Sarah Silverman), a 9-year-old racer outcast, and is forced to help the girl win an upcoming competition – in exchange for his precious medal. Although, as the pair prepare for the race, they stumble upon a mysterious plot that threatens the entire arcade, forcing Ralph to confront what it really means to be a good guy.
As mentioned, the core storyline is straightforward and, without the video game setup, Wreck-It-Ralph would tell a pretty traditional Disney tale about rejecting established identities and discovering true heroism through adversity. The central character journey follows a number of recognizable beats, and some viewers will find certain developments predictable, but familiarity doesn’t detract from the overall enjoyment that the movie supplies moment to moment. Rich setpieces and a mix of intriguing game environments allow for a range of interesting visuals and, subsequently, varied action and comedy beats. Unfortunately, even though there are countless arcade cabinets shown in the film, Wreck-It-Ralph only explores a tiny fraction of the available game worlds – leaving plenty of room for further franchise misadventures. The plot permits a few entertaining insights into the interconnected arcade world (such as Ralph’s Bad-Anon support group) but gaming fans looking to be inundated with cameos and other iconic gaming culture hat tips may find that the larger Wreck-It-Ralph story doesn’t include quite as much fan service as they might expect. However, even though some viewers might have hoped for a game-hopping adventure, the limited scope ultimately keeps everything tight – in service of a sharp character-focused story.
Ralph and Vanellope, like any good animated buddy film stars, create a smart mix of tenderness and humor – with a fun chemistry that both adults and children will be able to appreciate (even if the characters are surrounded by tongue-in-cheek setups like Nestle Quik-sand and Laffy Taffy tree vines). Regardless of the self-centered motivations in their initial encounter, and plenty of campy lessons about friendship, the two main players contain a surprising amount of depth – imparting a worthwhile and fitting commentary about acceptance and personal identity. Even if the overarching narrative is cut from a familiar Disney fairytale cloth, the video game backdrop breathes a lot of life into what would otherwise be tired character tropes – presenting a surprisingly unique, and amusing to watch, pair of underdogs.
The rich cast of supporting players, riffing on a diverse set of notable game inspirations, provide clever interpersonal drama and fun juxtapositions that compliment the main storyline – best exemplified by the oddball pairing of 8-Bit Felix, Jr. and Hero’s Duty heroine, Sergeant Tamora Jean Calhoun (Jane Lynch). Not only do the characters allow for a humorous glimpse into the evolution of game design, their varied personalities supply an compelling range of conflicts and humorous interactions. As mentioned, even though there are plenty of smaller cameos, none of the iconic franchise faces distract from the primary story beats – serving to add additional humor and immersion without taking anything away from the main plot.
A lot of moviegoers still believe that low quality CGI toon projects should get a pass because they’re just “kid movies” but films like Wreck-It-Ralph remind us that superior animated pictures are more than just cheep gags and one-note cliches – considering the film puts a new spin on tried-and-true stories about friendship and heroism. Not every element of Wreck-It-Ralph is entirely fresh, and some audience members may see a few of the twists and turns coming, but the movie excels with charming characters and a unique setting – delivering thoughtful insights for both young and old viewers.
The movie only skims the surface of its rich video game universe, and future installments could provide a more expansive look at the interconnected arcade world (plus make room for new cameos) but Moore shows smart restraint. Wreck-It-Ralph enjoys a healthy ratio of accessible character drama and goofy gaming gags – resulting in an exceptionally entertaining, and heartfelt, animated adventure.
Ben Kendrick blogs at Screen Rant.
Actors (from left) David Morrissey, Sarah Wayne Callies, Andrew Lincoln, Norman Reedus, Laurie Holden, Steven Yeun, and Lauren Cohan star on 'The Walking Dead.' (John Shearer/AMC/AP)
'The Walking Dead': Did that main character really die?
As the producers of The Walking Dead established before season 3 hit the air, the living would begin to pose a more immediate threat to Rick and those following him than the walkers, and they’ve certainly proved that with ‘Killer Within.’ And that’s a good thing. As much as everyone seems to love the fictional landscape that zombies create, as far as actual characters go, they’re rather one-note. Human interaction beyond the bickering group dynamic – even if it’s as brief as the reappearance of the presumed-dead Andrew (Markice Moore) finding some way to use the undead as a weapon – is something of a welcome sight.
Given what happens as a result, it’s no wonder then that the distrust Rick feels toward those who walk with a spring in their step has been fairly well documented this season. Rick’s as quick to send a man down the road, as he is to bury a machete in his head. Each act having the same result: One less potential killer to worry about, and one more reason for Rick to convince himself the group is closer to securing a place where they can successfully start over. But as much as Rick is comfortable assuming the worst in others, he really mustn’t assume anything when it comes to the living. They’re just as ruthless as he is.
So, while the group takes a few minutes to celebrate Hershel (Scott Wilson) making his way around the yard, Rick has to make another decision regarding the fate of Axel (Lew Temple) and Oscar (Vincent Ward). Turns out neither man is too keen on staying in their cell block with a bunch of dead bodies, and they’d like to join up with the fine folks who’ve taken over C Block. T-Dog (IronE Singleton) believes the men could be of some use and (finally) speaks his mind, which is too bad considering the fate that awaits him. But in what turns out to add insult to eventual life-ending injury, after all this time barely having any lines at all, T-Dog at long last shares something with the rest of the group and Rick blows him off. Perhaps that’s the new harbinger of doom for the series.
If that’s the case, then considering how taciturn and generally uncommunicative Michonne (Danai Gurira) is, it may be in her best interest never to cross paths with Rick and suddenly have an opinion on how things should go. At any rate, she’s still dealing with getting the newly smitten Andrea (Laurie Holden) away from Woodbury, but the Governor/Phillip (David Morrissey) is just so darned convincing and congenial (he has booze!) that Andrea just can’t seem to tear herself away from his quaint little township – even if Merle (Michael Rooker) is counted amongst its citizens. Besides, with a winning vote of confidence from Merle, the Governor is now A-OK in Andrea’s book. And before we question what madness this is that Andrea is seeking opinions on matters of another man’s character from a guy like Merle, let’s keep in mind her post-walker-slaying tryst with Shane last season. In any case, Andrea’s apparently harboring just the teensiest bit ill-will toward her former group for losing track of her during the fracas at Hershel’s farm, and likely figuring them for dead, offers up its location to the consistently ill-tempered redneck – because she know just how much Daryl (Norman Reedus) means to the guy.
Meanwhile, prior to finding out that Andrea would like to hang around Woodbury for a couple more days before heading off to the coast in search of a lifetime of uncertainty, Michonne pokes around the vehicles the Governor brought back from his little excursion during ‘Walk With Me,’ and comes to the conclusion that the time to get out of town has long since passed. But for whatever reason, Michonne’s not going anywhere without Andrea. For as little as we know about her at the moment, the one thing we can tell is that Michonne has a soft spot for people who monotonously dwell on the mysterious pasts of those who save them. Whatever her reason for sticking around is, it certainly isn’t going to end well.
And speaking of not ending well, what started off as a promising day quickly turns chaotic as Rick, Glenn (Steven Yeun) and Daryl prepare to shuttle Axel and Oscar out of the prison only to discover a substantial herd of the undead prowling around the formerly walker-free confines of the yard. While everyone scatters, the prison’s alarm system engages, telling them this isn’t some random occurrence, but the act of a duplicitous person with more on their mind than tasty, tasty flesh. As is nearly always the case when something dubbed a “walker,” or to use the parlance of those in Woodbury, a “biter,” manages to sink its teeth into a victim, said individual is typically preoccupied. In this case, T-Dog is working on getting a gate closed when a good chunk of his shoulder is taken off in one hungry chomp. Still, to his credit, T-Dog does what he can to save Carol (Melissa McBride) by running through the seemingly endless maze of non-descript hallways and just-in-the-nick-of-time rusty doors, to deliver the woman to safety before a pair of walkers snack on his delicious neck meat.
But the body count doesn’t end there – because why should T-Dog’s death be significant when it can be overshadowed by the apparent death of Lori (Sarah Wayne Callies)? (Apparent, because it happened off screen, but it was certainly convincing, otherwise.) Lori hadn’t had the best go of it since the end of the world, and childbirth certainly wasn’t going to make things any easier, so naturally, running from a group of walkers would have to induce labor. Despite a lack of training and supplies, Maggie (Lauren Cohan) manages to save the baby, but simply can’t keep Lori from slipping away. As if all the death weren’t depressing enough, it’s Carl (Chandler Riggs) who takes the unpleasant duty of ensuring Lori doesn’t come back.
If the Governor (deceptively) stands as proof civilization can be rebuilt, then Rick collapsing upon receiving the news of his wife’s passing, serves as the not-so-quiet reminder that death is quite literally at everyone’s door.
Kevin Yeoman blogs at Screen Rant.
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