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96% The Muppets

[ at 2012-1-31 in: lions share]

All Critics (170) | Top Critics (40) | Fresh (163) | Rotten (6)

It may not entirely work as a movie, but The Muppets shines as a piece of touching pop nostalgia.

The purity of the nostalgia turns this franchise film into a love letter to childhood.

You can rest easy – if you have previously loved the Muppets, you will likely currently love The Muppets.

The chorus of one of the songs declares, ‘I’ve got everything that I need, right in front of me.’ For 120 minutes, that’s precisely how I felt.

[Filmmakers] hew close to the essential innocence informing the Muppets’ silliness.

The Muppets is a triumph of simplicity, innocence and goofy jokes. It’s a triumph of felt.

So genial, so joyous, and suffused with such a lip-smacking sweetness, that the occasional pacing issues and subplot hiccups simply don’t seem to matter.

It’s never cloying or too knowing. Cynicism and wariness are real world concerns that have no place among the foam and felt.

Brushing aside decades of nostalgia, this is a whip-smart postmodern romp with a warm heart to boot, and as such, it should please both life-long fans and new initiates to the Muppet universe.

invites viewers to become a bit like the dreamer Walter and, in (re)discovering and embracing their inner child (not to mention their inner muppet), to join a fantastic, funny family that never grows old, no matter how times may have changed.

The innocence is slightly twisted, the harmonious camaraderie is slightly corrosive and the characters are slightly eccentric

I smiled throughout this madcap joyous adventure in which the Muppets are funny, silly, colourful and totally endearing in what must be the happiest film of the New Year

MY inner child – the one who loved The Muppet Show, The Muppet Movie and The Great Muppet Caper – really wants to give this film five stars.

By focusing on the Muppets of The Muppet Show (1976-1981) rather than the independent Muppets of prior films, the writers open up an unexplored aspect of Muppet lore ripe for revival.

A nice throwback to the good old days of the Muppets.

Under James Bobin’s direction, however, the outing feels cheap and strangely small-screen.

An altogether charming, smart and strangely moving little movie.

The Muppets may be one of the best films of the year, not judged as a children’s film, or a family film, but instead, simply as a film.

The Muppets is really two movies. And one of those movies is quite good, albeit awfully similar to previous films.

Even balcony critics Waldorf and Statler would have a hard time faulting this Wonkaful delight.

I am a fan of The Muppets and I’m glad to see them making a comeback. Maybe if this movie is a hit, they’ll make a sequel where they’ll actually get to be the stars of their own film.

A good imitation of the Muppet style.

The Muppets is a celebration of all things Muppets — filled with fun, laughter and moments of pure joy.

The Muppets heralds the return of Jim Henson’s beloved furry creations, resurrected from pop-culture irrelevance and lovingly restored to their former greatness in a vibrant comedy-musical.

More Critic Reviews

Source: http://www.rottentomatoes.com/m/the_muppets/

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Tags: chorus of one, film, world concerns

Fourth “Underworld” film leads domestic box office (Reuters)

[ at 2012-1-23 in: lions share]

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(Reuters) ? Vampires and werewolves lured moviegoers to theaters this weekend as the fourth “Underworld” film topped domestic box office charts and brought in an estimated $38.8 million around the world.

“Underworld: Awakening” stars Kate Beckinsale as a vampire leading the charge in a battle against humans trying to drive her species and the werewolves to extinction.

The fourth movie opened stronger than two of the three earlier films in the franchise, which opened in 2003. “Awakening” pulled in $25.4 million at North American (U.S. and Canadian) theaters from Friday through Sunday, plus $13.4 million from 36 international markets, distributor Sony said on Sunday.

Playing in 3,078 domestic locations, the film’s weekend sales finished “at the high end of where we hoped,” said Rory Bruer, president of worldwide distribution for Sony Pictures. Audiences were eager to see Beckinsale return to the lead role, he said. She had starred in the first two films but skipped the third.

“Awakening” is the first “Underworld” movie in 3D and cost about $70 million to produce. The movie fell flat with critics as just 24 percent gave a positive review on aggregation website Rotten Tomatoes. But audiences polled by survey firm CinemaScore awarded the movie an A-.

In second place, World War Two story “Red Tails” far exceeded studio forecasts with $19.1 million domestically.

“Red Tails” stars Terrence Howard and Cuba Gooding Jr. in a drama about Tuskegee Airmen — a black pilot group in the U.S. Army Air Corps during World War Two. Producer George Lucas paid the film’s $58 million production cost plus marketing expenses, and distributor 20th Century Fox had forecast $8 million to $10 million in domestic ticket sales for weekend.

“Never in our wildest dreams did we think we could pull off a number like this,” said Chris Aronson, senior vice president for domestic distribution at 20th Century Fox. He said audiences clearly enjoyed the film, giving it an A grade in polling by CinemaScore. Critics’ reviews on Rotten Tomatoes came in at 34 percent positive.

WAHLBERG MOVIE DROPS TO THIRD

Last weekend’s winner, thriller “Contraband” starring Mark Wahlberg, finished its second weekend in theaters in third place, grabbing $12.2 million domestically.

“Extremely Loud & Incredibly Close,” a drama about a boy trying to make sense of his father’s death on 9/11, landed in fourth place with $10.5 million. The movie had opened in a small number of theaters on Christmas but expanded nationwide this weekend. The film stars Thomas Horn as the boy and Tom Hanks and Sandra Bullock as his parents.

In fifth place, Steven Soderbergh-directed spy tale “Haywire” took in $9 million domestically, just beating distributor Relativity Media’s projection of about $8 million.

“Haywire” features mixed martial arts fighter Gina Carano as an operative who is double-crossed and becomes the target of assassins. While critics praised the film with an 82 percent rating on Rotten Tomatoes, audiences were not impressed. The film earned a D+ rating from CinemaScore.

Elsewhere this weekend, two movies that won Golden Globe awards last week expanded to more theaters.

Silent film “The Artist,” winner for best musical or comedy film, doubled last weekend’s sales with $2.4 million after moving into in 662 theaters from 446 last week.

“The Iron Lady,” which won Meryl Streep best actress at the Globes for her role as Margaret Thatcher, dropped 32 percent from a week ago despite expanding by more than 800 theaters to 1,076 locations. The movie took in $3.7 million over the weekend.

The movie division of Sony Corp distributed “Underworld.” Time Warner Inc unit Warner Bros. released “Extremely Loud.” News Corp unit 20th Century Fox distributed “Red Tails.” The privately held Weinstein Co. released “The Artist” and “The Iron Lady.” Privately held Relativity Media released “Haywire” in the United States, and Alliance Films distributed the movie in Canada.

(Reporting By Lisa Richwine; Editing by Bill Trott)

Source: http://us.rd.yahoo.com/dailynews/rss/movies/*http%3A//news.yahoo.com/s/nm/20120122/film_nm/us_usa_boxoffice

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Tags: cuba gooding jr, film, producer george lucas

British Ticket Buyers Demand Refunds After Watching The Artist

[ at 2012-1-20 in: lions share]

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It looks like not everyone loves “The Artist.” According to the Telegraph, a “small number” of Liverpool filmgoers were so surprised to find that the Best Picture frontrunner was silent, they demanded their money back.

“I thought it was really funny and laughed,” Nicola Shearer, a 25-year-old Liverpool resident going to see “The Artist” told the Telegraph after being reminded by theater personnel that the film was silent. “Of course, I knew it was and I asked the usher why she wanted to know. She then told me some people complained and asked for refunds because there is no sound and the screen is smaller.”

After first denying that any refunds were handed out, an Odeon Liverpool One representative confirmed that some guests received their money back after being dissatisfied with the film.

This isn’t the first time a critically acclaimed 2011 film has come under fire from ticket buyers. A Connecticut movie theater refused refunds over the summer when patrons walked out of Terrence Malick’s polarizing film, “The Tree of Life.”

“We encourage patrons to read up on the film before choosing to see it,” read a sign posted at the Avon Theater in Stamford, Conn. It later added, “We hope you expand your horizons with us.”

Starring Golden Globe-winning actor Jean Dujardin, Berenice Bejo and Uggie the dog, “The Artist” is a silent film about a silent film star faced with dwindling job opportunities following the invention of talkies. It’s expected to be a major player at the Academy Awards next month, and could earn up to up to ten nominations; on Tuesday, the film earned 12 BAFTA nominations.

Worldwide, “The Artist” has grossed $27 million since its release; here in the U.S., it is creeping up to $10 million, a number that should expand fairly significantly once the Oscar nominations are announced.

[via Telegraph]

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Source: http://www.rottentomatoes.com/m/1924333/news/1924333/

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Tags: berenice bejo, film, jean dujardin

Tim Burton Had To ‘Find The Tone’ For ‘Dark Shadows’

[ at 2012-1-13 in: lions share]

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Director talks to MTV News about time travel, 3-D and skipping his homework to watch the melodramatic vampire soap.
By John Mitchell

Johnny Depp and Michelle Pfeiffer in “Dark Shadows”
Photo: Warner Bros.

Director Tim Burton has kept such a tight lid on his forthcoming big-screen adaptation of the late-’60s soap opera “Dark Shadows” that last week we were forced to imagine things we’d want to see in a trailer for the film because one hasn’t even dropped yet.

News on the film has been scarce — until now! Last week, MTV’s resident movie guru Josh Horowitz talked to Burton about his busy 2012, and the director was forced to dish on his biggest project of the year. Burton told MTV News he was busy “editing and doing effects” for the film now. Though the film will not be “an effects-heavy picture, it’s still got stuff in there,” he said.

At the BAFTA Britannia Awards late last year, MTV News talked to Burton’s partner Helena Bonham Carter, who appears frequently in his films, including “Alice in Wonderland,” “Sweeney Todd” and “Charlie and the Chocolate Factory,” and she told us that “Shadows” was a childhood obsession of Burton’s. “This was a thing that he raced home to see when he was about age 10,” she said. “So it was returning to his childhood roots of what he loved watching.”

Burton echoed her comments, telling MTV, “People like Michelle [Pfeiffer] grew up watching it. Some of the cast knew about it, some didn’t, but they were all game for it — getting into the weird spirit of what ‘Dark Shadows’ was. There was a generation of us who would run home from school to watch it. That’s probably why we were such bad students. We should have been doing homework; we were watching ‘Dark Shadows’ instead.”

“Shadows” bested “Spider-Man” to make the Elite Eight and is up against “The Dark Knight Rises” in round two of the MTV Movie Brawl 2012 — vote here!

For the director, the most difficult thing in bringing “Shadows” to the big screen has been mastering the tone of the melodramatic soap. “It was hard to put into words the tone it was. It had a weird seriousness, but it was funny in a way that wasn’t really funny. We just had to feel our way through it to find the tone,” Burton said. “We didn’t do any real rehearsals, because the cast all came in at different times. But there was an old photo of the [original] cast which I always remembered, so a couple days before shooting, we got the whole cast together to take a similar shot so everyone could see each other and get that vibe from doing a group photo. That helped set the tone more than anything.”

Burton didn’t reveal much about the vampire flick’s plot but did (somewhat) resolve a few lingering questions we’ve had about the film. Asked if the film’s story — like that of the show — would include time travel, the director admitted that, while audiences will get to see the Collins family in the late-1700s, most of the film is set “in 1972, which to the era of ‘Dark Shadows’ is the modern era.”

Elaborating further on time travel, Burton added, “For me, that’s when the show kind of made me want to do homework. I was like, ‘Wait a minute!’ That came near the end of the trail of the series.”

So it seems unlikely that the main story line resurrected for the early ’90s remake of the series, which had Victoria Winters traveling through time to Collinwood circa Barnabas’ (Johnny Depp) transformation into a vampire, will be incorporated here. Perhaps the trip back Burton refers to here is instead a flashback to show audiences how Angelique (Eva Green) used her evil magic to turn Barnabas into a creature of the night?

Burton also confirmed that the film will not be released in 3-D, as his version of “Alice” was. “No. It’s the ’70s, man. Only ‘Frankenstein’s Bloody Terror’ was in 3-D,” the director tells MTV News. “That’s the only one I remember from that time.”

Knowing that we won’t have to wear a pair of funny glasses to get the full effect of “Dark Shadows” makes us even more excited for the May 11 release!

Are you excited that Burton and company are keeping the time-travel plot out of “Dark Shadows”? Sound off in the comments below and tweet me @JohnMitchell83 with your thoughts and suggestions for future columns!

Check out everything we’ve got on “Dark Shadows.”

For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com.

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Source: http://www.mtv.com/news/articles/1677285/dark-shadows-tim-burton-tone.jhtml

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Tags: director tim burton, film, helena bonham carter

Report card 2011: Sony bats for solid average (Reuters)

[ at 2011-12-16 in: lions share]

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LOS ANGELES (TheWrap.com) ? This is the third in TheWrap’s series of Studio Report Cards.

SONY

Grade: B

Sony fielded a string moderately budgeted hits from the likes of Cameron Diaz and Adam Sandler, while launching a new family franchise with “The Smurfs.” Not every gamble paid off, with moviegoers giving a cold shoulder to “Anonymous,” but by and large the formula worked.

Sony left most of the major tentpole films to competitors such as Warner Bros. and Paramount, but what the studio did particularly well was hit for average.

From “Bad Teacher” to “Just Go With It,” Sony peppered the box office with a profitable string of doubles and singles.

By and large, the formula worked, with Sony on pace to lap the $3 billion mark worldwide. It’s only the third time that the studio has reached that pinnacle.

Sony is currently in third place behind Paramount and Warner Bros. in terms of domestic theatrical market share, with just over $1.2 billion in receipts to date.

“We didn’t really have any sequels or established franchises, but we had some big wins and some really fresh pictures that exceeded our expectations,” Jeff Blake, Sony’s chairman of worldwide marketing and distribution, told TheWrap.

The year also saw the introduction of a new family franchise for the studio. Produced for $110 million, “The Smurfs” racked up $561 million worldwide, doing particularly well in foreign markets. A sequel is already in the works.

Made for a cost of just $20 million, the raunchy “Bad Teacher” cast Cameron Diaz as a money-grubbing, pot-smoking middle school teacher and rewarded the studio with a $216 million worldwide gross. Though slightly less successful, the sex and romance romp “Friends With Benefits” continued the string of low-cost hits, grossing $150 million worldwide on a $35 million budget.

Matthew Harrigan, an analyst at Wunderlich Securities, says making films for underserved audiences, such as older moviegoers or women, is central to Sony’s approach.

“They are one of the studios that takes a very interesting approach on the counter-programming side,” Harrigan said. “Obviously the big bright point in 2011 was ‘The Smurfs’ given the disproportionate international performance.”

Picking up international rights to Steven Spielberg’s “The Adventures of Tintin” is proving to be a coup for the studio. The adaptation of Herg?’s comic strips has racked up $233.7 million worldwide so far, even though it has yet to debut stateside.

Still on the docket and tracking strongly is “The Girl With the Dragon Tattoo,” the adaptation of Stieg Larsson’s bestselling novel, that Sony hopes will kick off a gritty R-rated franchise.

“We have very high commercial expectations for the film,” Blake said. “The book series was a phenomenon, and we think we have found the perfect director in David Fincher. We think we’ve really got something here.”

Blake thinks that with the film’s Swedish setting, international markets will be as integral to the box-office performance as the domestic marketplace.

Among its more modest hits, superhero comedy “The Green Hornet” racked up $228 million on a $120 million budget and alien invasion flick “Battle: Los Angeles” grossed $215 million on a $70 million budget, making them profitable, but far from otherworldly.

Of course, not everything that Sony rolled out connected with audiences. Adam Sandler, who has become a fixture of the studio’s slate, delivered a hit with the $215 million-grossing “Just Go With It.” However, the critically derided “Jack & Jill” left moviegoers cold. With an $80 million budget, the film has so far eked out $83.6 million worldwide — a rare whiff for Sandler.

Not even Roland Emmerich could entice audiences into “Anonymous,” a historical drama about the authorship of William Shakespeare’s plays. The $30 million film landed with a thud, grossing just $14.2 million worldwide.

Although its domestic performance has been disappointing, Sony is hopeful that “Arthur Christmas,” produced Aardman Animations, will catch fire with younger moviegoers abroad as it continues its international rollout. The animated film has grossed $91.6 million worldwide, and has performed particularly well with United Kingdom audiences.

All of this may just be a palate cleanser for 2012, when Sony rolls one of its most potent lineups in years. The studio is rebooting its wall-crawler franchise with “The Amazing Spider-Man,” returning to its alien comedy series with “Men in Black III,” and bringing back James Bond for “Skyfall.”

It also has a new “Ghost Rider” film, a reboot of “Total Recall” and fresh installments in its “Underworld” and “Resident Evil” franchises on tap.

“We’ve got our biggest franchise on display,” Blake said. “As happy as we are to go over $3 billion worldwide, I think we’ve got the ingredients to go well beyond that next year.

Source: http://us.rd.yahoo.com/dailynews/rss/enindustry/*http%3A//news.yahoo.com/s/nm/20111215/media_nm/us_sony2011

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Tags: film

94% Hugo

[ at 2011-12-14 in: lions share]

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Hugo is one of the greatest, most heartwarming, and one of the greatest works of filmmaking in a long time. The story follows Hugo Cabaret who lives in a trainstation after his father had died in a fire, but Hugo spends his days stealing food and trying to work on a mysterious machine that has the features of a man, and when he makes friends with an old man and his god daughter, he discovers a adventure that could bring him to his true home. The plot is in a way, a brilliant masterpiece, it tells us a story not about a boy, but a brave and adventurous boy who only wants to diacover what his father had left him, we grow to be in love with the characters almost completely when we discover they are all good people with their own problems, the movie also has a great deal to say about filmmaking that I think Scorsese was secretly telling us all, we learn that movies never change, its society that changes around it and that the movies are places where dreams can be made, and I was just completely surprised at how much this film taught me. The cast is an incredible bunch of actors that have shoe-ins for some big Oscar nominations I believe. Asa Butterfield is a loveable and brave protagonist that did a very great performance. Ben Kingsley is truly the actor that shined the most in the film, he was too amazing to describe and if anyone deservs and Oscar its him for this film, he was just truly perfect. Sacha Baron Cohen has proven that he can be funny and emotional too, he was not really a villain but more of a snotty guy who is just doing his job, and I actually felt a great deal of sympathy for him a lot and that was hard considering the actor. Chloe Grace Morets deserves her Oscar already, she has done a lot of great roles and she desrves at least a nomination for this, she was kind and sweet and played a great part. The specail effects though not a lot were great, the big budget were put to amazing use and it just shows that a amazing director doing something new can be a great thing, such a beautifully made film. The music of the film also deserves some credit because it was a very well done score that you can tell they put a lot of work into and were hoping to make some great music, and they succeeded. Hugo is not a regular childrens film, its a movie for all ages that shows that the world judges to harshly on old movies and this movie proved a many great things to me as a intense film watcher, but what I think what it taught me the most that everything on this earth has a purpose, and its a very sad thing if you cannot complete your purpose. I recommend this people who love film, even the average viewer could fall in love with this masterpiece of film that is one of Martin Scorsese’s best, one of the best films of the year, and if you ask me, one of the greatest films of all time, and is truly Martin Scorsese’s love letter to his lifelong love of filmmaking.

December 4, 2011

Source: http://www.rottentomatoes.com/m/hugo/

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Tags: film

Mass.: Director inflated costs for film tax credit

[ at 2011-12-12 in: lions share]

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Film director Daniel Adams waits to be arraigned in Boston Municipal Court Friday, Dec. 9, 2011, where he was charged with inflating expenses in his application for Massachusetts film tax credits, resulting in about $4.7 million in overpayments. (AP Photo/ Dominick Reuter, Pool)

Film director Daniel Adams stands during arraignment in Boston Municipal Court Friday, Dec. 9, 2011, where he was charged with inflating expenses in his application for Massachusetts film tax credits, resulting in about $4.7 million in overpayments. (AP Photo/ Dominick Reuter, Pool)

This March 26, 2007 photo shows movie director Dan Adams on a movie set with location manager David Allen, right, during filming in West Barnstable, Mass. Adams was arrested in Boston, Thursday, Dec. 8, 2011 and charged with inflating expenses in his application for Massachusetts film tax credits, resulting in about $4.7 million in overpayments. (AP Photo/Cape Cod Times, Steve Heaslip) MANDATORY CREDIT; MAGS OUT; NO SALES; TV OUT; INTERNET OUT; NO ARCHIVING WITHOUT PERMISSION

BOSTON (AP) ? A movie director has been charged with inflating expenses in his application for Massachusetts film tax credits, resulting in about $4.7 million in overpayments.

The state attorney general’s office said Daniel Adams was arrested Thursday in Boston. He pleaded not guilty at his arraignment Friday on charges of larceny and making a false claim against the commonwealth.

Adams is accused of inflating expenses for two films shot on Cape Cod, “The Golden Boys” and “The Lightkeepers.” In one instance, prosecutors allege Adams reported paying Richard Dreyfuss $2.5 million, when the actor actually was paid $400,000.

Adams, 50, was being held on $100,000 cash bail. His lawyer, Steven Topazio, says there was a rush to judgment to arrest Adams before a grand jury finished its work. Topazio said Adams had told investigators he was planning to fly to Los Angeles on a business trip.

“What’s happened here is while that (grand jury) process is going on and before it is concluded, the attorney general did not want him to fly back to LA and so they arrested him,” Topazio said. “That is an abuse of power.”

Massachusetts Attorney General Martha Coakley said the arrest would help “ensure that the film tax credit is awarded appropriately while encouraging legitimate productions to be filmed here.”

Under the Massachusetts film tax-credit program, a film production company is eligible to receive a 25 percent credit for various payroll and production expenses.

At the end of production on “The Golden Boys,” which was begun in 2006, Adams reported that its eligible costs totaled more than $6.7 million and received a tax credit payment of more than $1.6 million.

Investigators say the true eligible costs to produce the film tallied only $2.3 million, meaning Adams received an overpayment of $1.1 million.

In January 2009, Adams began work on “The Lightkeepers.” When the film was done, he reported that he had spent $17 million eligible for the tax credit and ultimately received $4.2 million in tax credits.

Investigators say that many of the expenditures were fictitious or inflated, including the Dreyfuss salary.

As a result, prosecutors allege Adams received an overpayment in tax credits of more than $3.6 million.

Adams was able to take advantage of the tax-credit program to solicit investors based on the credits the films would generate, investigators said.

Coakley’s offices said tax credit financers will often advance money to projects under an agreement to later purchase the tax credits at a discounted rate after they are issued. The credits are issued at the conclusion of a film, after expenses are submitted to the state revenue department.

A New York Times review called “The Golden Boys,” set in 1905 on Cape Cod and starring David Carradine, Rip Torn and Bruce Dern, “an object lesson in how to squander a seasoned cast, a charming premise and a breathtaking location” while the Los Angeles Times described “The Lightkeepers,” set in 1912, as “static, poorly staged and buried in thickets of flowery language.”

Massachusetts’ tax-credit program has been contentious.

Critics portray it as a tax break for a deep-pocketed industry, while supporters say tax breaks are the only way Massachusetts can lure Hollywood productions.

Supporters also say the films shot here as a result of the tax credits have created jobs and helped boost the image of the state nationally, resulting in more tourism.

An Associated Press review of the tax-credit program earlier this year found that $82 million of the $330 million in credit-eligible spending in 2009 helped filmmakers cover the paychecks of nonresident actors earning more than $1 million.

Applications for the tax credits tumbled in 2010.

According to a report released by the state revenue department last month, films produced last year in Massachusetts have applied for $14.6 million in tax credits ? a significant decline from the $83.3 million of credits in 2009.

The decline is a result of fewer feature films being made in Massachusetts in 2010, according to the report.

Associated Press

Source: http://hosted2.ap.org/APDEFAULT/4e67281c3f754d0696fbfdee0f3f1469/Article_2011-12-09-Filmmaker-Tax%20Credit/id-411da00cc4c6445dbf28ccb53821c5c3

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Tags: cape cod times, film, massachusetts film

My Week With Marilyn: movie review

[ at 2011-11-24 in: lions share]

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Michelle Williams captures Marilyn Monroe’s fragility and guile, but not her aura ? a tall order ? in ‘My Week With Marilyn.’

“My Week With Marilyn” presents Michelle Williams with a foredoomed challenge: Make us believe she really is Marilyn Monroe. Very few performances based on movie icons have been anything more than paper-thin impersonations ? one big exception: Judy Davis as Judy Garland ? so by this reckoning Williams does rather well. She captures not only Monroe’s fragility but also the guile and gumption beneath it. What she can’t capture, of course, is Monroe’s aura, and without it, the performance comes across as something more than mimicry but less than incandescence.

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