We meet Adam (Ashton Kutcher) and Emma (Natalie Portman) in a series of prologues - 15 years ago, 5 years ago, 1 year ago - that lay the groundwork for their friendship.
They meet at summer camp, where a young Adam (Dylan Hayes) asks young Emma (Stefanie Scott), "Can I finger you?"
It's a ribald start to a film that quickly becomes more formulaic than you expect, though in a not-entirely-unenjoyable way.
Emma is a doctor and has no time for the emotional entanglements of being boyfriend and girlfriend; Adam, who works on a High School Musical-style teen show, just wants a sympathy root since he found out his dad Alvin (Kevin Kline), a childish soap star, is schtupping his ex-girlfriend.
Thursday, February 17, 2011
Wednesday, February 16, 2011
I wasn’t exactly sure what to expect when I sat down in the theater to watch Paul Haggis’ new film THE NEXT THREE DAYS. I had seen a trailer a month or so beforehand, but couldn’t quite remember exactly how it presented the film, since nearly every trailer released lately completely misrepresents the actual tone of the movie. I was aware of the premise and everyone involved so I had a feeling that even if I wasn’t completely with the story that I would at least enjoy the performances by the two leads, which is carries most of the film. I sometimes worry about films that try to span so many different genres especially when you try to make a film that thrills you while also trying to strike an emotional balance. I am actually somewhat surprised to be able to say that THE NEXT THREE DAYS finds a way to mix each of its story elements in a
successful and compelling way, but not without a few hiccups.
Tuesday, February 15, 2011
If you’ve seen only a few survival films in your time (whether rooted in real life or the supernatural), you’ll know there’s a predictability to the narrative that is rarely effectively masked. Fortunately, director Alister Grierson is clever enough not to bother trying, foreshadowing various plot points well before they happen. Sanctum is not about surprises. Instead Grierson focuses on delivering one of the most intense, visually arresting, and dramatic survival thrillers in recent memory. Each scene and location – whether a sound stage or on location – is vividly captured and often jaw-dropping. The 3D cameras used are the same James Cameron developed for Avatar, and the difference between his technology and the generic variety employed in films such as Clash of the Titans or The Green Hornet shows. The finesse and detail of the production and its focus on the very real and terrifying dangers of cave-diving ensures Sanctum never veers off into the realm of B-grade cinema. This is edge-of-your-seat stuff.