My exposure to the work of Miranda Cosgrove is very, very limited.
For example, I could tell you that I think she does lovely work in "Despicable Me 2" as Margo, the oldest of the girls that were adopted by Gru at the end of the first film. She is at that age where she's starting to notice boys, and they're starting to notice her, and while I'm sure every teen (and every father of every teen girl) has trouble during this period of transition, not all of them have a former evil genius for a father.
Watching Gru's frustration as he sees Margo make those first fumbling steps towards adulthood is very funny, but I have to admit… I can only laugh because I have sons. I think I would be a total catastrophe as a dad if I had two girls. Overprotective hardly even begins to describe how I'd handle things. Yesterday, someone ran a photo of Eminem's daughter on Twitter, who was so much a presence in his lyrics when she was basically a baby. She's a pretty teenage girl now, and I can't imagine being the poor teenage kid who goes to pick her up for a date and then has to face Eminem before he can leave the house again. I would have absolutely no problem being a menace if some kid showed up to take my daughter on a date, and "Despicable Me 2" gets a lot of comic mileage out of showing how Gru handles it.
My exposure to the work of Miranda Cosgrove is very, very limited.
I always enjoy a good game of "What if?"
For example, there is an alternate dimension somewhere that is almost exactly like ours in every detail except instead of "The Lone Ranger," Armie Hammer played Batman in "Justice League." After all, it almost happened.
The thing is, George Miller's "Justice League" was going to be perhaps one of the most radical takes on superhero mainstream iconography so far. That's awesome, and I think George Miller is one of our truly great underrated filmmakers. He never gets enough credit or respect, in my opinion. I think he's got a great eye, I think he gets the strangest things out of his actors, and I love his taste in terms of film-craft.
Someone's having a very big summer.
Pharrell's music was a big part of the charm of the first "Despicable Me," and it gave the film a sound that wasn't just a knock-off of every other animated movie out there. That's hard to do sometimes, and there was something so lovely and sunny about his "Despicable Me" songs that perfectly complimented the film.
I'm sure it was an easy decision to have him back for the second film, but honestly, timing must have been a nightmare. In addition to this movie, he also contributed to the Hans Zimmer score for "Man Of Steel," and of course, he's all over the latest record by Daft Punk, including the vocal track for the ridiculously catchy "Get Lucky."
I've written at length about why I admire Gore Verbinski as a filmmaker, and I maintain that there are very few guys working in the blockbuster world who have his skill set when it comes to establishing and maintaining a sense of geography during an action scene. He's also great at laying out gags and paying them off, and I think he has constructed some truly marvelous moments over the years. While I agree that both of his "Pirates" sequels are overstuffed, the things that they are overstuffed with are so much fun that I don't care. All you need to do is look at the horrifying mess that is the fourth film to see how much Verbinski's touch matters with that material.
His last film, "Rango," revealed a true love for the Western genre, and a willingness to tweak that genre while also paying homage to it. I think "Rango" is a marvelous little movie, strange and surreal at times and visually witty from end to end. It served as a promising glimpse at what Verbinski might be up to with "The Lone Ranger," particularly with Johnny Depp attached to play Tonto.
One of the things that we lose when we lose physical media is the thrill of discovery.
Yes, you can browse a streaming media site, and yes, you can still see things that are new to you, and there are ways to encounter things you're not already familiar with in our new media age, but anytime you're relying on something that makes licensing deals for content, you're going to be browsing a much smaller overall pool of possibility than you could in the old days, when record stores would stock things from labels both major and microscopic. There was something amazing about that feeling when you'd spend an afternoon going through bins, only to stumble across some album cover that looked like it had been hand-made, a recording of some band you'd never heard of, on a label you'd never seen before. The feeling of taking something like that home and throwing it on and suddenly having the top of your head cracked open by the sound of the genuinely new… that's something we're losing today, and I think we're poorer for it.
It's an interesting weekend. I can't honestly claim to have enjoyed either "White House Down" or "The Heat," but I would say that in both cases, if you look at the trailer and it looks like something you're interested in, go. You'll absolutely enjoy yourself.
If you want to see Channing Tatum and Jamie Foxx make jokes and play "Die Hard," you'll get your money's worth. And if you think two hours of Melissa McCarthy wringing variations out of the word "fuck" while Sandra Bullock plays a tight-ass sounds hilarious, "The Heat" is going to be your favorite movie this summer.
I would give "The Heat" a truth in advertising award because they are selling you exactly the movie they made. Paul Feig is a very funny man, and working from the script by Katie Dippold, he's made exactly what he set out to make… a buddy cop film with two women in the leads. Nothing more, nothing less. In its own way, it's sort of quietly revolutionary just because they don't dress it up or pretend it's more significant. I know that when I went to go see "Beverly Hills Cop" or "Running Scared" or "Midnight Run" or whatever… what I was buying a ticket for was the combination of the specific comic personas and some gun play and car chases. It's a pretty simple formula, and "The Heat" plays by the rules, start to finish.
I'm staring at the same press release that a hundred other websites have either posted or that they're getting ready to post, and I am almost unable to summon up the irritation or the outrage or the interest to write, for what feels like the thousandth time, about another unnecessary "Terminator" sequel.
Laeta Kalogridis and Patrick Lussier, who are attached to write the film, are two of my favorite people in town. And Laeta in particular comes with what I'm sure would be the hearty endorsement of James Cameron himself, which is as close to being anointed the Keeper of the Flame as you can get. I have no doubt that Laeta and Patrick can write a compelling action film set in the the somewhat strangled continuity that has already been established in earlier "Terminator" projects.
And I don't care.
Please let him be the voice of the raccoon. Please, please, please.
Normally, taking a meeting is not enough to generate a news story, but in this case, Vin Diesel took to Facebook to announce that he had been summoned by Marvel. I think this is good news no matter what, because if there is anyone working in Hollywood right now who looks like they were genetically modified to be a comic book character, it's Vin.
It pleases me enormously that his return to the "Fast and Furious" franchise has brought Vin's career roaring back to life. While I'm not sure I'd advocate casting him in every single film ever, when Vin is used properly, and when he's playing to his strengths, I think he's ridiculous amounts of fun. And from the very first time I dealt with him, at the first Butt-Numb-A-Thon in Austin all those years ago, he has revealed himself to be a genuine, no-apologies fanboy trapped in the body of a superhero. There aren't many action heroes who would give an interview about how much they love to play D&D, but Vin has.
BUCKINGHAMSHIRE - My kids love that the movie "Kick-Ass" exists.
They're not allowed to see the film, and that won't change for many, many years, but they know it exists, and they positively adore saying the title of the film because it's one of the few times they won't get in trouble for using the word "ass." They find ways to work it into every conversation they can, and they can barely restrain themselves from smiling every single time.
They were thrilled when I got the word I'd be going to visit the set. They got to ask me endless questions about it before I left and even more once I got back, and one of the main ones they loved to ask was, 'When you went to watch them make 'Kick-Ass,' did you get to talk to 'Kick-Ass'?" Twice in one sentence? Heaven.
TORONTO - There is something very, very wrong with Charlie Day's eye.
His left eye appears to be filled with blood after every capillary in it burst, and it makes it hard to sit across from him on the set of "Pacific Rim," amidst the smashed and ruined remains of a street in downtown Hong Kong. From where we sit, we can see a hole in the street that was created by a rampaging kaiju that was searching for Dr. Newt Geiszler. Why? Well, it might have something to do with that eye.
"Every time we do something, I go back and look it in the monitors. It's very cinematic in nature and you add that to his imagination… I mean, technically he's a really, really good director. So then you take his love for his creations and the amazing art departments and all that, and it usually makes for something that's visually just stunning."