Tag: Alfred Molina

Excelsior.

Here he comes, watch out bud. He’s got genetically engineered blood…and a frozen run of bad luck like you read about. After a series of underwhelming summer films so far, Spiderman 2 is a happy surprise, and a distinct improvement on the decent original (#6). After an up-and-down first outing, both Sam Raimi and Tobey Maguire (as well as the gaggle of writers on board, among them Michael Chabon) have clearly settled into the rhythm of Peter Parker’s struggle-filled existence, and the result is the most enjoyable and faithful comic book adaptation this side of X2.

Besides the renewed sense of confidence on display, Spidey 2 is already four tentacles up on its predecessor thanks to both Alfred Molina and the production design of Doc Ock. While Willem Defoe seemed like a great idea for the Goblin, he came off way too hammy in the final product, and that stupid mask eliminated most of his strengths as an actor anyway. Here, however, Otto Octavius is realized to perfection, and as such every fight between Ock and Spidey (particularly the sequence at the bank) carries the visceral thrill of seeing a comic book come to life. (Plus, nobody does evil demented appendages quite like Sam Raimi.) And, if that wasn’t grist enough for the fanboy mill, J.K. Simmons gets to chew the scenery unabashedly again as J. Jonah Jameson, and there’s plenty of nods to the webslinger’s considerable rogues’ gallery, including GG II, the Lizard, and — digging real deep in the well — the Man-Wolf.

Problems? Sure, there’s a few. Kirsten Dunst still screams Gwen Stacy, but makes for a rather implausible MJ. (Y’all webheads out there know what I mean.) As my brother pointed out, Spidey should be quicker with the quip…it’s half of his battle strategy and most of his charm. Most of the saving-the-train sequence, from Tobey’s uber-clenched look to the Passion of the Spider ending, was just plain goofy (and why fashion this elevated train sequence anyway? Spidey lives in NYC, not Gotham City or Metropolis, and the writers should’ve stuck to the real Big Apple.) And perhaps some of the longer heartfelt speeches (Aunt May’s in particular) were overdone. All in all, though, Spidey 2 is a rollicking success, one that gives me hope that Marvel’s movie run may not be over quite yet. Now how we’re doing with FF…?

The Passion of the Spider.

Sony releases the full trailer for Spiderman 2. The Doc Ock v. Spidey stuff looks swell (if a bit CGI-ish), but it seems we’re going to have to wade through inordinate amounts of Peter Parker angst to get to the good stuff. By the way, this trailer does seem to give away most of the plot, if that’s a problem for you.

Tentacled.

It’s a bad day for Spidey in this collection of new images from EW’s 2004 preview, which includes shots from The Aviator, Michael Mann’s Collateral, and a ridiculous-looking Halle Berry as Catwoman, the film currently competing with The Punisher to finish what The Hulk started and end the recent comic-book-movie streak in flames.

Tomorrow and Tomorrow and Tomorrow

creeps about this petty pace ’til Summer 2004, as three sci-fi/fantasy trailers are released in the wake of the King: Vin Diesel returns in The Chronicles of Riddick, aka Pitch Black 2. I enjoyed the first one decently enough, but this teaser doesn’t do anything for me. Meanwhile, Jude Law, Gwyneth Paltrow, and Angelina Jolie fight giant robots in Sky Captain and the World of Tomorrow, which looks like a great idea for a short film but may be hard to sustain for a full two hours. (And Jolie looks ridiculous.) Finally, Spiderman 2 gets the Quicktime treatment (I already commented on this one here.)

Bat (and Spider) out of Hell.

“The God that holds you over the pit of hell, much as one holds a spider or some loathsome insect over the fire, abhors you, and is dreadfully provoked.” Non-sequiturs aside, the Hellboy site goes live. I don’t know much about the comic, to be honest, but so far, this still looks intriguing. Also in comic film news, Sony releases the Spiderman 2 poster…note the mini-Alfred Molina in Spidey’s eye.

Armed and Dangerous.

Also released at Comicon this past weekend was the first look at Alfred Molina as Doc Ock in Spiderman 2. The trenchcoat’s a bit generic, perhaps, but at least they didn’t completely screw up the look as with Willem DeFoe’s Green Goblin. And I betcha Alfred Molina will be more fun than a barrel of monkeys to boot. His origin moment (previewed at Comicon) sounds like vintage Sam Raimi.

Life and How to Live It.

Since my cable connection has been spotty over the past day and a half, and as I needed a break from orals reading, I threw another catch-up movie marathon here at Casa Berkeley. Not sure what the underlying subtext of this quadruple billing is…biopics, perhaps (Schmidt, Kahlo, Crane, Wilson)? Or, rather, fanboy villains in the arthouse (Nicholson, Molina, DeFoe, Serkis)? At any rate, here’s what I thought, in the order I watched them:

About Schmidt: I dunno…I’m normally a big fan of Alexander Payne’s movies, and particularly Election, but think I saw this film on the wrong end of the hype machine. Schmidt was mildly enjoyable, but it also dragged in parts and spent too much of its time deriving humor from goofy Midwestern antics (most notably the couple in the Winnebago park and Dermot Mulroney as the son-in-law to be…pyramid schemes and Why Bad Things Happen to Good People? Come on.) While aiming to be a rumination on retirement, time wasted, and the myths surrounding a life lived well, I suppose, I thought the entire film basically revolved around stunt casting – watching Jack play the anti-Jack. Speaking of which, Nicholson was quite good as the befuddled, world-weary Schmidt, but without him playing against type, there doesn’t seem to be much here. Something of a disappointment.

Frida: Perhaps this biopic focuses too much on the Diego Rivera-Frida Kahlo romance, but I enjoyed it, and particularly the narrative lapses into Kahlo’s artistic world (for example, the Day of the Dead hospital sequence by the Brothers Quay). There’s some grotesque miscasting in here – Ashley Judd trips all over her Spanish accent, Geoffrey Rush is oddly hammy as Leon Trotsky, and Nelson Rockefeller is entirely too Nortonesque – but Salma Hayek and Alfred Molina are quite good as the emotional center of the film, and all in all this picture works. After traveling around in the winnebago with Warren Schmidt for two hours, it was nice to spend some time with people who embrace life along with their pain.

Auto Focus: Greg Kinnear is very good as Bob Crane in this Paul Schrader flick, but unfortunately Auto Focus, while very watchable, comes off as a by-the-numbers addiction movie. Between the Angelo Badalamenti score and all the retro-dressed beauties stalking Col. Hogan in various dens of iniquity, this pic seems set in Mulholland Drive Hollywood from the get-go, which ends up being one of the main problems. Other than a shrewish Rita Wilson on his back, it’s hard to understand from this picture what drives Crane into this sordid life. Perhaps it’s unfair to compare these movies to each other, but oh well – When Frida Kahlo has an affair with Josephine Baker or Diego Rivera sleeps with basically everybody in Frida, at least they look like they’re having a good time. The sex scenes in Auto Focus are all filmed like something out of a Bosch triptych – dark, muddled, and hellish. Ok, I know the film is about sex addiction, but still – better movies on addiction (such as The Basketball Diaries) at least give a sense of what the draw was in the first place. As such, Auto Focus, while easy to watch, ends up feeling cold and puritanical. Too bad, really, because the performances are all generally good.

24-Hour Party People: I get the sense this movie would be inscrutable to anyone who didn’t already know the contours of the story, and insufferable to anyone who doesn’t care about Joy Division and such, but I found 24-Hour Party People the most fun of the foursome. Shot in a cinema verite style with real concert footage thrown in [along with postmodern narrative asides by Tony Wilson (Steve Coogan)], 24HPP is an informative and irreverent trip into the history of the Manchester rave, and one that seems to capture the spirit of the post-punk era without wallowing in Studio 24-type nostalgia. If I had my druthers, I would have spent more time on the rise of New Order (or for that matter, the Smiths and Stone Roses) and much less on the Happy Mondays, but oh well. As I said, I’d think this film might be immensely confusing – or just plain boring – if you don’t already know who Ian Curtis, Bernard Sumner, Peter Hook, and the Buzzcocks are, but if you do, Party People is rollicking good fun, a movie that manages to take its subject seriously by not taking it seriously, if you know what I mean.

So that’s that, then. I still have Human Nature and The Grey Zone to watch, which should make for one bizarre double feature.

Bespectacled Freak!

The casting powers-that-be over at Sony officially announce Alfred Molina as Dr. Octopus in The Amazing Spiderman. This isn’t bad casting at all, although I still think Stellan Skarsgaard or Phillip Seymour Hoffman (if he could be induced not to go too far over the top) would have been great fun. Also, the new, Michael Chabon-penned script is rumored to only feature Doc Ock here as the main villain – they have wisely decided to forego the Batman route and instead will use one Spidey arch-nemesis at a time. Update: In a similar long-rumored casting call, WB announces that Michael Gambon will play Dumbledore in the next Harry Potter film. With Gary Oldman, Timothy Spall, and most importantly Alfonso Cuaron, this one could be a definite improvement over the first two.