Posts tonen met het label Sylvester Stallone. Alle posts tonen
Posts tonen met het label Sylvester Stallone. Alle posts tonen
zaterdag 3 januari 2015
Today's News: 2015, first catch
Happy New Year everybody! Let's just pick off where we left off, I'd say. So here's the first few bits of news for 2015.
http://www.moviescene.nl/p/158505/blomkamp_onthult_concept_art_alien_film
This is some mouthwatering concept art. Clearly the product of someone who harbours great love for the Alien movies, especially the first (and finest) few installments. However, it's obvious this is more of a fanboy having a ball for his own pleasure than a workable first attempt at another Xenomorph infested film. It clearly has designs to directly follow Aliens, considering the presence of Michael Biehn (who ingloriously died in the first few minutes of its successor, Alien 3). The fact that the mythos has since been watered down by two more sequels, a prequel and two spin-offs, plus taking into account the age of both Biehn and Sigourney Weaver (not to mention the likely possibility both actors would not really be interested in doing another one), doesn't make for good chances of making a movie out of these doodles, no matter their fabulous look. A graphic novel of course is not an impossible option, so who knows what the future holds? Probably nothing in this regard, as Blomkamp has stated he did this mostly for fun and has since moved on working on real projects. Too bad, but maybe it's for the good. Let's face(hug) it: this imagery mostly hearkens back to the success of the first two films by applying iconic imagery and actors from those films. But applying them to what? No story is presented, nor even a medium in which it might otherwise be told. These images are completely empty of context, except for the love Blomkamp and us Alien fans bring to it ourselves. The first teaser for Star Wars: The Force Awakens comes to mind, which uses an all too similar tactic without delivering the necessary context of a narrative. At least in this Alien case, we'll never have to lament the fact that such great artistry was used for such a disappointing final product, which I continue to consider a very likely scenario for that upcoming Star Wars flick. Yet still, if there's ever gonna be another Alien movie (and I mean an Alien movie proper, not the upcoming Prometheus 2), Blomkamp would be my first choice for the directing chair.
http://www.moviescene.nl/p/158499/stallone_onthult_aankomende_films
As for directing, Sly Stallone is doing that in 2015. And acting. And writing and producing too. He sure is keeping himself busy. Too bad there's so little original projects involved, it's mostly him building on his past glories of Rocky and Rambo. At least with Creed, he's acknowledging his age by playing a mentor figure rather than an actual price fighter. Not so with the fifth Rambo movie, which is basically Stallone blowing off steam on camera and making money at the same time. To show he's keeping things up to date, this time he'll singlehandedly wipe out a whole Mexican drug cartel. If only that sort of thing would happen in the real world. The only one out of these three projects currently in the works that gets me the least bit excited is the one that seems to be most original. Then again, there's ample biopics about mobster bosses already, so it's hardly a unique concept. I doubt Scarpa could ever turn out as memorable as the likes of The Untouchables, Scarface or American Gangster. Doesn't really matter if it doesn't though. You just do your thing, Sly.
http://www.moviescene.nl/p/158507/cast_foto_serie_powers_onthuld
Also not a wholly original concept is a team of detectives investigating crimes that involve superpowered individuals. Remember The 4400 for example? Heck, even Agents of S.H.IE.L.D. often dabbles in that particular premise. Of course, the notion of setting it in a world where superhumans are a fairly everyday occurrence is more innovative, as is introducing an ex-superhuman as a cop character. That does make for some interesting novel story possibilites, and I hope Powers will utilize them to maximum effect. The cast sure helps, too. Casting Sharlto Copley is like striking gold, and I'm also happy to see Noah Taylor again. However, it's Michelle Forbes in a silly, sexy superheroine outfit that gets me most excited (in dual fashion, I must admit). The new TV division of the PlayStation Network seems to have a solid first show on their hands. Hopefully they didn't opt for this project simply because it's based on a comic book series about superpeople and those are currently hot. That sort of thinking is currently killing their mother company Sony's Spider-Man franchise, because they don't know how to proceed handling the character but because of his strong brand name they exploit him all the same. You need something more than just a popular character to win the audience over, preferably including a good story that keeps spectators hungry for more. Powers could have that in spades, and might very well deliver proof that there is still talent to be found amongst Sony's ranks where comic book adaptations and superhumans are involved. Or so we can only hope at this point.
woensdag 18 juni 2014
Today's News: scary posters and explosive trailers galore
Get ready for a nerdy newsflash:
http://www.moviescene.nl/p/156193/eerste_poster_dracula_untold
Looks atmospheric enough, particularly the international one (see above). That doesn't guarantee quality though, as plenty of B-movies know how to convey a Gothic mood without ensuring narrative fullfillment or an awarding viewing experience. Naturally this will never be even close to Universal's original horror classics of the Thirties and Fourties, but any movie at least paying hommage to those scores points with me. There's some good actors attached, while Luke 'Bard the Bowman' Evans surely isn't the worst choice for playing the notorious Vlad the Impaler. As for the 'Untold' aspect, it's basically an overt excuse to retell this tale that has been told countless times in countless shapes before. Doesn't matter really. There's certain ever fascinating fictional characters that are so firmly embedded in the human psyche they keep reappearing throughout time in hugely divergent guises to satiate the public's continuing love for them and spawn a meaningful reinterpretation that befits the current zeitgeist. Dracula is very much among those (while the likes of Tarzan, Sherlock Holmes and Godzilla are other noteworthy examples). I doubt there's very much truly novel material Dracula Untold will add to the overall history of the most beloved bloodsucker of them all. But that doesn't stop it from delivering a thrilling rollercoaster of a period horror film per se, if executed properly. And if it isn't, there's bound to be another incarnation that is in the long run, or we can revisit the classic takes on the character instead. No need to yell bloody murder if this one fails to serve us what its title implies.
http://www.moviescene.nl/p/156211/eerste_trailer_the_expendables_3
Now that's more like it. The teasers were positively teasing and hardly showed any of the signature action and witty oneliners we were hoping for. This trailer certainly remedies that previous omittance. This is one hardcore romperstomper of a preview that acknowledges the fact this will be the final Expendables flick (though when lots of cash is involved, you never know) and suggests we may at last be getting that 100 million dollar explosion or excessively epic gunfight-to-end-all-gunfights the previous two installments just didn't provide. A few more expert tough guy actors have been added to make sure stuff gets blown up even bigger and more grandiose than before. The more the merrier, but it's still the duo of Stallone & Statham we love the most, as they also insert something reminiscent of a plot line and emotional attachment into the film (honestly!). And even if that element proves forgetful, there's still plenty of action heroes, throwing knifes and blazing bullets to look forward to.
http://www.moviescene.nl/p/156212/eerste_trailer_penguins_of_madagascar
What is it with the tendency of sidekicks to be awarded their own features? Sure, they're cute and lovable, but they were always intended as characters to play off other, major characters. Plus, they tend to be overused for often cringeworthy purposes of comic relief. Occasionally they do work better by themselves - ultimate case in point: the Smurfs - but more often than not, their spin-offs prove bland fare that never stands up to the material they derived from. Who remembers the Ewoks features compared to Return of the Jedi? Nevertheless, now that most computer animation series have run their course and people start to get bored by them, studios hope to milk these properties by exploring glorified background characters. Puss in Boots is already moving on to his sequel, while next year will witness a Minions movie. And during the winter Holiday season, we'll have the Penguins of Madagascar to look forward too. I didn't think these paramilitary penguins particularly entertaining to begin with, but I was clearly in the minority there. I'm still not convinced after seeing this trailer, sorry. Maybe it also has to do with the fact I'm just fed up with animated talking animals entirely. And I've always found penguins to be overrated. They've been featured in films over the last decade so often now, they're becoming dull. Why not do a movie about Kiwis, or Cassuaries for a change? Now those are some weird birds deserving of animated acknowledgment!
Labels:
action,
animation,
dracula,
dracula untold,
expendables 3,
luke evans,
madagascar,
moviescene,
penguins of madagascar,
poster,
Sylvester Stallone,
talking animals,
trailer
zondag 12 januari 2014
Today's Mini-Review: Death Race 2000
Rating:
***/*****, or 7/10
Starring:
Sylvester Stallone, David Carradine, Simone Griffeth
Directed
by Paul Bartel
USA: New
World Pictures, 1975
Ah,
dystopian societies... If they're not engaged in brutalizing their own
population, they're exploring new avenues of keeping the crowd in
line by trite but true methods of 'panem et circenses', also guaranteeing
their own existence is kept in check by ruling through that most potent
combination of fear and wonder. Some form of gladiatorial event is
ever a popular choice, appealing to the
inhabitants of the totalitarian regime (or simply intimidating them) as well as to cinemagoers
around the globe who cannot help but be mesmerized by the ruthless
spectacle that ever delivers a paradoxical sense of blatant abjection and
undeniable attraction. While these days the rage consists of teenagers battling
each other to the death in fancy arenas, far more colourful and bizarre
forms of contest have been portrayed at the movies in earlier
decades. In 1975 Rollerball introduced spectators to the sport
of the same name, an odd combination between hockey and boxing, that
helped set new standards of onscreen violence. Capitalizing on the
advance press publicity for this film, producer Roger Corman wasn't
afraid to cannibalize the notion of 'blood sports' in order to
produce an exploitation film making use of similar themes, thereby taking advantage of the media interest
in the topic and subsequently beating Rollerball's theatrical release by a
mere two months. And so a cult hit was born with Death Race 2000.
As the
title successfully indicates, the premise of the movie revolves
around a lethal race set in the then futuristic sounding year 2000. After the merger of the
two major American political parties when the economy collapsed, a dictatorship runs the country
and the titular contest is used to keep the populace satiated, bound
to their television screens instead of giving them the opportunity to
go out and start plotting the government's downfall. Contestants
drive across the continent and win the race not only by driving
faster than their opponents but also by the number of accidental
bystanders they purposefully run down. Throwing out all morality,
killing kids and old folk scores you more points than hitting people
in their prime, as it's the utter depravity of the kill that
determines the number of points awarded. To make matters even more
interesting (and weird), each driver has a theme applied to their
car, so we witness zany cars in Roman, Western and gangster style
designs. Commentary on the race is given by the most obnoxious
sportscasters imaginable to enhance the viewer's general sense of
'what-the'f**k'. The most popular participants of the 2000 race are
Frankenstein (David Carradine, the world's most (in)famous autoerotic
asphyxiation victim) and Machine Gun Joe Viterbo (a pre-Rocky
Sylvester Stallone), both very able killer car drivers with little to
no compunctions about hitting pedestrians hard. Frankenstein however
finds himself caught in a ploy from a resistance movement to sabotage
the race and assassinate the president, but he holds his private
motives and political convictions (if any) as well. As the deplorable race progresses,
Frankenstein must both survive his race rivals and outwit political
insurgents who would abuse him as a puppet for their own shady
agenda.
As you
may have gathered, unlike Rollerball, Death Race 2000
has no pretensions of being a serious film, as it's more occupied
with satirizing the social mores and the role of the media than with
exploring the changing nature of violence in present day society; a major theme in the Seventies, as movies got increasingly
more bloody and gory and actual violent incidents were allegedly
inspired by such audiovisual fare, making society fear civilization
was rapidly spiralling out of control. Though a fair amount of blood and gore
(and nudity to top it off) is present in Death Race 2000, the
movie mostly feels like a comedy and wants to do just that, making
ample fun of people's projections of the future debasement of
political standards and the mental deterioration caused by the media
dumbing people down by pushing mindless drivel down their throats.
It's easy to read social commentary in this film, even though Corman
and the film's director Paul Bartel have no desire to come off as
overly political, instead opting only to make a simple fun and
ridiculous movie appealing to bored teenagers, appropriating themes and trends of the day just to
ensure the movie makes more money than it cost (always a specialty of
Corman's). Their intentions are adequately underscored by cheap
production design, cheesy oneliners and completely over-the-top
performances throughout the picture. With such ingredients and lack
of willful message, it's no surprise Death Race 2000 became a
smash cult hit, generating quite a profit from its obvious low budget
(only around 300,000 bucks). A remake (and two sequels to that) starring
Jason Statham would eventually follow, which traded in the good
humour for a much grittier and convincing look and cars and stuntsto match that actually delivered the spectacle dystopian society already
promised its audience three decades earlier.
zaterdag 21 december 2013
Today's Double News: to tease or not to tease
Trailer season continues, as indicated by these two news flashes I posted on MS the other day:
http://www.moviescene.nl/p/152599/nieuwe_trailer_how_to_train_your_dragon_2
http://www.moviescene.nl/p/152562/eerste_teaser_expendables_3
These two short previews differ enormously in their approach to entice their respective audiences, as illustrated by what they show, or rather, don't show. The vid for The Expendables 3 is as clearly a teaser if ever I saw one, making no use of actual material of the movie proper and telling us nothing about the film's plot. It's sole purpose is to reveal to the public that the movie for which it teases is currently underway, for those who were not aware from online or magazine sources. By now the 'Expendables' brand is itself a perfect indicator for what's in store and the main question on everyone's mind - at least, everyone that is interested in this project - is not so much what to expect but more so who to expect. The teaser acts on this anticipation by bombarding the spectator with names (last names only, since otherwise it would get a little too cramped on the screen): this information will have to suffice for now. In fact, the names are of greater importance than the men visually assembled for our entertainment, since even on the big screen it's hard to recognize them all in a window of only a few seconds. Personally I think the teaser would have benefited from the first names too, to avoid confusion as to which actor will participate in cases where that could be in doubt. For instance, the 'Gibson' here is Mel, not Tyrese. Of course Mel is more wellknown anyway, but Tyrese too has compiled a big enough resumé in action movies over recent years to warrant a place in a movie of this type (maybe for a third sequel then). Rest assured: 'Powell' is not Colin, it's Glen (whom I have never heard of before). Overall, an effective teaser with a cast of names to match. I'm looking forward to the appearance of Ford and Grammer too.
Now, How to Train Your Dragon 2 is another animal entirely. In fact, I daresay it shows too much, instead of the opposite like The Expendables 3 does. Not surprising we get to see more of the story and characters in this preview, considering this film has already passed the teaser stage (and tease it did) and the current Holiday season is perfect for getting people enthusiastic about family films due for release in the next six months. But after seeing this trailer I get the feeling there's little more to the story that what is presented here. I for one would have saved the identity of the mysterious female dragon rider, as well as half of the grandiose dragon shots, for the movie itself rather than taking away such surprises. But then, I haven't even seen the first HtTYD, so what the heck do I know... That said, this preview will certainly succeed adequately in piqueing the target audience's interests, especially since in this franchise's case too popularity has already been established. I hear the first film was quite good, even though the trailers failed to excite me. Maybe the same thing will happen here, since I'm not convinced yet, despite getting the feeling I already know what the movie is about. When a trailer gives you that feeling, you know it hasn't done its job properly, but since this film is geared mostly towards kids, that's not a total loss.
maandag 27 augustus 2012
Shooting people up, Advanced Class
The Expendables 2: ***/*****, or 7/10
Tony
Scott may have jumped off a bridge, thus leaving the movie industry
with one less capable action director, but fortunately there's still
some of those left. Simon West for example. Though generally not as
well known, nor as experienced in shooting pure action judged from
the number of action films in his repertoire, with movies like Con
Air (1997), Lara Croft: Tomb Raider (2001) and the recent
Jason Statham flick The Mechanic (2011), it's far from
unreasonable to state the guy has some knowledge of things that go
boom. So when Sylvester Stallone decided to stick to writing and
acting while letting go of the director's chair that seemed to fit
him well enough for his ultimate action movie The Expendables
two years ago, hiring West for the job wasn't the most illogical
decision. However, judging from the final product, Stallone would
have done well to encourage West to get more innovative, considering
The Expendables 2 improves little upon its predecessor: a
solid action movie is West's contribution to the franchise, but
considering the sheer number of renowned action stars participating
in Stallone's second ode to the action genre as a whole, the sequel's
approach to things feels like a routine is being established instead
of new routes being taken. That routine apparently revolves around
action stars getting together and shooting people up.
The
movie's main focus seems to be the expansion of bit parts of
characters from the first film played by screen icons Arnold
Schwarzenegger and Bruce Wilis, plus the introduction of several new
characters played by muscle movie veterans Jean-Claude Van Damme and
Chuck Norris to the already impressive line-up of (near) legendary
action stars from the first film, to further support Stallone's
hypothesis that old dogs can still pull off worthwhile tricks that
manage to draw huge audience numbers. His point was well proven by
the success of The Expendables, making The Expendables 2
feel more like an obligatory Hollywood cash-in than a sincere attempt
to outdo what was done before for the audience's entertainment.
Nevertheless, The Expendables 2 at least succeeds in
delivering ample amounts of gun fights and screen violence paired to
often successfully timed moments of humor and referencing the action
classics the movie means to pay homage to, which is what most
spectators will expect, and what they will get.
The
movie starts in medias res, as we follow Stallone's pack of
mercenaries – and it's really Stallone's, since few people will
ever remember the names of the characters after leaving their
theaters, considering they are played by so many larger-than-life
people – on a job rescuing a wealthy Chinese entrepreneur from the
clutches of nameless Nepalese thugs, in a spectacular raid on their
heavily fortified facility involving heavy machinery and man sized
artillery, opening the film with a huge bang as our heroes shoot down
and blow up endless rows of antagonists in an expected and desired
orgy of gun violence, followed by an adrenaline rushed jungle river
chase (which saw one stunt man dead and another one crippled) ending
in a decently sized explosion to round things up. If you were
wondering, the movie is rated R where the previous installment was
only PG-13, thus allowing the director more freedom to insert
appropriate levels of gore and blood into the film, all for the
better. At this point the film has only run for about 15 of its 103
minutes, so it takes a moment to re-establish the characters,
introduce some new ones and specify their upcoming mission, plus
giving the viewers a much needed moment to catch their breath.
Centerpiece
of the first half of The Expendables 2 is rookie team member
Billy the Kid (played by Liam Hemsworth: despite his role in The
Hunger Games, this is really his first action film, making him
feel as much out of place in this movie judging from his experience
as an actor as his character feels out of place on the team for his
young age), protegée to team leader Barney Ross (Stallone, mumbling
his lines as unintelligibly as usual), who despite his excellent
sniper abilities decides this is not the life for him and tells his
mentor he means to retire soon. However, when the band of extremely
broad shouldered brothers find themselves with a new assignment,
courtesy of shady CIA operative Church (Wilis), who they owe some
money after the events of the first film, to retrieve a brief case
from a downed plane in Albania, Billy's loyalty compels him to join
them. They are also accompanied by Maggie, an expert on Church's
payroll: Chinese actress Yu Nan gets the seemingly thankless job of
representing girl power amidst the humongous amounts of testosterone
going around, but manages to keep up surprisingly well, giving the
occasional witty rebuttal when confronted with near sexist remarks
from her new team members. The brief case is easily found, but soon
lost to the villain of the piece, a bad guy simply named 'Jean
Vilain', played enthusiastically by Jean-Claude Van Damme despite his
character's feeble screen name: fully in tone with Stallone's
straightforward way of thinking, why bother with intricate
designations when you can call a spade a spade? Vilain makes it clear
he's not to be messed with and lives up to his name when he takes the
team's prize and leaves Billy dead, thus setting the stage for the
veterans' quest for vengeance.
Revenge
alone is too ignoble an objective for such a notable group of
exemplary action stars, so the plot raises the stakes by revealing
the brief case contained the exact location of a former Soviet depot
in Bulgaria that houses five tons of plutonium Vilain intends to sell
despite its threat to the world's balance of power. To make him even
more of a ruthless bastard, he utilizes slave labor to dig out the
plutonium, so the Expendables' mission is to free the slaves, secure
the goods and avenge their comrade. In truth it matters little what
the exact mission is, so long as the stage is set for a large string
of overly loud gun fights, some neat display of martial arts and
general fisticuffs and a decent amount of one-liners mixed in, most of
them acknowledging the actors' former entries into the action genre
(with the most obvious and funniest remarks referring to the Die
Hard and Terminator franchises). In a moderately epic,
drawn out conflict staged at an air port the team of good guys, now
joined by Wilis, Norris and Schwarzenegger, square off against the
legion of bad guys, culminating in a vicious mano-a-mano
confrontation between Stallone and Van Damme, kicking each other's
teeth in like two Roman gladiators. Needless to say who wins the day,
since The Expendables 3 has already been widely announced.
In the
middle of all the action, the main attractions of The Expendables
2 regrettably also turn out to be its main flaws. Since the
success of the first movie was based mostly around the large number
of famous action stars getting together for a
mother-of-all-action-films flick, The Expendables 2 clearly
needed to outdo its predecessor by gathering some more noted
heavyweights to join the fun. The full line-up of action stars of the
film now consists of Stallone, Van Damme, Wilis, Schwarzenegger,
Norris, Dolph Lundgren, Jet Li, Jason Statham, Randy Couture and
Terry Crews and with so many vets gracing the screen, it'll come as
no surprise not everybody gets an equal chance to shine. Li, an
established team member in the first film, exits the movie
immediately after the opening mission has been completed, not to be
seen or even mentioned again, while Couture, Crews and Norris are
left with little to do during the whole piece, and Lundgren largely
has been reduced to comic relief (which thankfully he pulls off
well). It makes you wonder why the movie needed an action virgin like
Hemsworth at all, considering his role could have gone to one of the
older and more accomplished actors, thus offering a chance to make
the narrative feel more poignant upon the moment of his death. The
same can be said for Yu Nan's role (though it's laudable West and
Stallone provided the opportunity for her big break on the
international market), which could also have gone to one of the other
actors in favor of balancing the existing amount of characters
properly instead of relegating them to the side line in favor of even
more characters joining the stage. Wilis and Schwarzenegger are no
longer restricted to playing mere cameos as they were before but are
finally offered the chance to get their hands dirty: they do so
vigorously, but their status as (former?) A-list superstars is mostly
applied to referencing their most memorable movies more often than
feels appropriate, at times making their presence feel forced despite
generating a few more laughs. At least Van Damme gets the opportunity
to explore Vilain's savage villainy in much more detail, making his
climactic final fight with Stallone work on the intended levels. As
was the case with the predecessor, at the heart of The Expendables
2 still lies the camaraderie between Stallone and Statham, with the
pair of them exchanging both witticisms and drama, acknowledging the
fact the torch has successfully been passed from Stallone's age of
action stars to Statham's more recent generation, with relentless
love and understanding for the genre and its conventions clearly driving
the both of them. The more things change, the more they stay the same
after all, and both sides of the coin are amply represented in West's
The Expendables 2 as much as they were in Stallone's own The
Expendables.
The
Expendables 2 is a double confirmation of the age gold adage that
more of a good thing isn't necessarily better. First, it's good to
see more familiar faces from past glory again, but if the talent we
all know to be underlying said faces remains underused, little has
been accomplished. The movie is running for an entertaining 103
minutes, but could have benefited from another 15 or 20 minutes
fleshing out the likes of Norris, Couture, Crews, Li and Lundgren
some more, especially considering that, second, like the first
Expendables film, the movie still feels lacking something in
the action department, even though that sounds incredible. Fact is,
the first 15 minutes of the film basically say it all, showcasing the
Expendables' efficiency as a team to great effect – with each team
member getting the opportunity to display his fighting skills more or
less equally – in an ever expanding rollercoaster ride of an action
sequence, with a big explosion to tie it all up. The rest of the
movie simply can't live up to this opening, despite throwing in more
stars, more gags and more action, and even more plot (which makes you
consider just how much, or how little, of that is needed in a film
like this). Though it still entertains tremendously, the audience
keeps waiting for a staggeringly huge motherfucking explosion that
never comes.
Director
West can't be blamed for his film's shortcomings, which simply lie in
the movie's changing intentions as it finds itself transformed into a
franchise trilogy – which it didn't start out to be – changing
from paying homage to past glory, to a series of films revolving
around ever greater numbers of action stars joining each other in
referencing eachother's oeuvre as they dispatch large scores of bad
guys. With The Expendables 3 already in the pipe line,
Stallone would do well to take a closer look at the direction the
franchise has taken and the effect this has had on both the
audience's expectations and the overall coherence of the films
proper, before signing on more colleagues the likes of Nicolas Cage
and Steven Seagal to further relive the good ol' days. After all, the
audience is not expendable, and it's still craving that giant
stupendously big-ass explosion...
And
watch the trailer here:
donderdag 1 maart 2012
Antz
Rating
****/*****, or 8/10
Delightful
early computer animated movie about a lone ant, named Z, who lives in
a huge ant colony and tries to get out of the oppressive life style
he has endured all his life, while also falling in love with the
colony's princess (voiced by Sharon Stone) which gets him on the
radar of the society's military leader (performed by Gene Hackman)
who is working on a genocidal reform plan to overthrow the colony and
make it his. The voice role of the clumsy and neurotic but highly
individualistic Z seems tailor made for Woody Allen, who delivers his
performance with obvious pleasure. While the animation looks crude by
today's standards, it seems appropriate for the film and does in no
way detract from the film's enjoyable (though for a family oriented
film, somewhat subversive) plot and a number of very funny, witty
scenes and gags. It easily beat Pixar's insect film A Bug's Life,
suspiciously released almost at the same time, on every level.
Starring:
Woody Allen, Gene Hackman, Sharon Stone
Directed
by Eric Darnell, Tim Johnson
USA:
Dreamworks SKG, 1998
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