'White House Down' has the disadvantage of being the second 'Die Hard'-in-the-White-House movie of 2013 after 'Olympus Has Fallen,' and the advantage of being superior to its predecessor in every conceivable way. It's better directed, better written, and better acted. The action is better, with more impressive special effects; the production design is better, with a much more convincing replica of the White House; the camerawork is better; with clear, lucid images. Where 'Olympus Has Fallen' was grim and stern, 'White House Down' actually embraces the silliness of its premise. It's more exciting and more faithful to the 'Die Hard' formula. This is still basically a shameless ripoff popcorn movie, but it's a shameless ripoff popcorn movie popped to near-perfection.
This is the way the world ends; not with a whimper but with an extended improv session featuring Seth Rogen, Jay Baruchel, James Franco, Craig Robinson, Jonah Hill, Danny McBride and a fleet of other popular young comics. On an ordinary night in Los Angeles, the straight-up-biblical apocalypse begins. After the Rapture, our six heroes board themselves up in Franco's Hollywood mansion and wait for a rescue. It never comes. Supplies dwindle. Tensions mount. 'This Is the End.'
The term "product placement" feels insufficient to describe the role of Google in 'The Internship.' This is not so much product placement in a movie as movie placement in a product. For two hours, viewers are treated to a series of bright, high-energy sales pitches for the San Francisco search engine and its vast array of products and services -- Google Play, Google Drive, Google Helpline, Google Maps and, of course, plain-old Googley Google -- plus, occasional attempts at comedy from Vince Vaughn and Owen Wilson while they stand in front of giant Google logos. Shameless? Absolutely. But that wouldn't be such a problem if 'The Internship' wasn't so mirthless, as well.
From the earliest days of his appearances in Marvel Comics' 'Tales of Suspense,' Tony Stark has always been modeled after aviator/inventor/industrialist Howard Hughes. With 'Iron Man 3,' Stark assumes a new dimension of Hughes' persona: that of the paranoid shut-in who, in his later years, became notorious for roaming his private floor of the Desert Inn Hotel in Las Vegas, freaking out about invisible germs and collecting jars of his own urine. 'Iron Man 3's' Tony Stark, played once again by the inimitable Robert Downey Jr.isn't quite that bad, but he's getting there.
After the events chronicled in 'The Avengers,' where Manhattan was nearly leveled by invading aliens and Tony himself was almost killed, he's become obsessed with upgrading his armor -- leaping all the way from the Mark VII to the Mark 42 in a matter of months. When anyone mentions New York or aliens, Tony gets panic attacks. There's a reason Daredevil, not Iron Man, is the Marvel hero known as "The Man Without Fear." Poor Tony is terrified.
Many of Alfred Hitchcock's movies, from 'Psycho' to 'Vertigo' to 'Rear Window,' are about voyeurism, so the idea of peering into Hitchcock's own previously hidden private life does make a certain amount of sense. But if 'Hitchcock' resonates with some of the Master of Suspense's ideas, it's never faithful to his spirit. Hitch would never have put his name on a film so full of lame pop psychology and so bereft of excitement, tension and humor. Which is a shame, since the title of this movie is his name.
Movies allow us to experience life through another person's eyes. Video games allow us to experience life through another person's eyes -- and to control their decisions. We spend hours upon hours with these video game characters, until we feel like we know them; Mario, Sonic, Pac-Man, their adventures are so memorable, and their personalities so vivid that they almost seem alive. But of course their adventures and their personalities are all predetermined by programming, and they remain forever trapped by their unbreakable directives. If these characters weren't just a series of electronic impulses and computer code, it would be a tragic existence.
That, essentially, is the premise of 'Wreck-It Ralph,' a manic children's film about the souls of video game avatars. Made by Disney, it greatly resembles the premise of Disney's (and Pixar's) modern classic 'Toy Story,' in which toys are revealed to have lives and thoughts of their own when no one's around to play with them. Here we learn that when a suburban arcade shuts down for the night, the characters inside all the games cross over into each other's universes to socialize.
Matt had just typed out the title of his 'Seven Psychopaths' review, his byline, and the rating (seven -- no, make that eight --out of ten?) when his wife Melissa walked into the room.
"How was the movie?" she asked as she flopped down on the couch and flipped on the television.
"Good. Really good," Matt replied. "Interesting."
"Interesting? Why interesting?" Melissa said. She started flipping channels.
"It's about a writer who writes himself into his work. Colin Farrell plays this struggling screenwriter named Martin -- and the movie was written and directed by this guy, Martin McDonagh, who wrote that play we saw on Broadway with Christopher Walken in it."
"Right. That was weird."
"It was," he said, nodding. "Weird but good. So, anyway, Colin Farrell plays this writer named Martin. He's come up with a title he really likes for a screenplay -- 'Seven Psychopaths.' But that's all he has, the title. He doesn't even have the seven psychopaths. But then these people in his life -- or perhaps these characters he's invented -- are all revealed to be psychopaths, and he gets caught in the middle of this elaborate gangster-slash-revenge comedy with them involving a kidnapped dog."
Melissa yawned again. "A writer writing himself into his work? That sounds like a terrible idea."
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