'Anchorman 2: The Legend Continues' stars Amy Poehler and Tina Fey are snapped on the red carpet at the New York premiere held at the Beacon Theatre. The comediennes are new additions to the cast which also sees the return of the old news team led by Will Ferrell.
Sandra Bullock talks about researching her role as a cop in Boston in a brief interview on the red carpet at the New York premiere for 'The Heat' held at the Ziegfeld Theater. 'White Chicks' star Marlon Wayans and 'The Blue Lagoon' actress Brooke Shields with her husband Chris Henchy are also snapped at the event.
Made in Germany, this raucous adventure merrily refuses to follow the usual Hollywood route of blanding-down a fairy tale for the lowest common denominator (see both Snow White movies last year). It's still pretty stupid, but it's so unapologetically over-the-top that we're consistently entertained. And it helps that the filmmakers are clearly aware of how ridiculous the plot is, so they push it even further.
The film opens with a horror-style version of the Grimm Brothers' fable, then jumps years ahead as Hansel and Gretel (Renner and Arterton) achieve notoriety as bounty hunters specialising in tracking down and dispatching witches. When they arrive in a small village, they rescue innocent young Mina (Viitala) from the bloodthirsty mayor (Stormare), then vow instead to capture the area's real wicked witch Muriel (Janssen). The sheriff is sure they're con artists, so forms his own posse. Meanwhile, Hansel tentatively falls for Mina, and the duo also meet their teen super-fan Ben (Mann), who joins them as they head into the woods.
Norwegian writer-director Wirkola has created a gonzo action-horror movie out of the familiar bedtime story, complete with wildly outrageous creatures, fiery battles and almost as many explosions as a Michael Bay Transformers movie. Meanwhile, Renner and Arterton strut through medieval Europe like 21st century action heroes, wearing skin-tight leather, head-butting their foes, swearing like sailors and shooting massive guns at anything that moves. In other words, Wirkola's approach is essentially satirical, which allows him to indulge in astounding levels of grisly violence without it ever getting too nasty.
Continue reading: Hansel & Gretel: Witch Hunters Review
Will Ferrell's funniest movie in years, this is a silly comedy with a terrible sentimental streak, but the political satire running through it is dead on. In fact, the film's opening act is razor-sharp as it lampoons election campaigning with knowing jabs at corporate sponsorship, incumbent laziness and the difficulty of being an honest candidate. So it's disappointing when the film becomes soppy and stupid.
Ferrell creates a memorable comical character in Cam Brady, a five-term North Carolina congressman up for re-election. He's sure he will coast his way back into office, and is only mildly worried when naive local goofball Marty Huggins (Galifianakis) runs against him. Marty certainly isn't ready for the slick attacks orchestrated by Cam's campaign manager (Sudeikis). But two wealthy brothers (the underused Lithgow and Aykroyd) are bankrolling Marty's campaign in the hopes of turning the district into a Chinese sweatshop, so they hire a ruthless press officer (McDermott) to whip Marty into shape. And the game is on.
Even though the characters are cartoonish, what they do is eerily authentic. Cam is a smooth operator with strong hair and a womanising streak. He also believes he can do whatever he wants as long as he mentions "America, Jesus and freedom" in every speech. By contrast, Marty is camp and silly, with a plump wife (Baker) and kids, plus a pair of pet pugs that Cam instantly labels as "Communist Chinese dogs!" Their clashes are a riot of parody and slapstick, some of which is sharply pointed (neither says anything substantial) and some is just ridiculous (including a hilarious cameo from Uggy, the dog from The Artist).
Continue reading: The Campaign Review
New York cops Gamble and Hoitz (Ferrell and Wahlberg) have been relegated to unimportant positions by two teams of flashier detectives (Jackson/Johnson and Wayans/Riggle). But when Gamble arrests a millionaire investor (Coogan) for a minor infraction, he and Hoitz are plunged into a murky case involving a ruthless Aussie goon (Stevenson) and bribed city officials. Even their captain (Keaton) tells them to leave it alone, but Gamble can't let go and Hoitz sees this as a chance to stop being the "other guys".
Continue reading: The Other Guys Review
This parallel world has no internal logic, but neither does any single scene.
We don't really expect logic in a goofy movie like this, but is it too much to ask why Holly speaks fluent monkey-language only some of the time? And while there are plenty of amusing moments (the vampire mosquito, the T-rex pole vault), there's not a single big laugh. Or any real reason for this film to have been made, for that matter.
Those are but two of the many strange (and yes, strangely funny) things Will Ferrell does in Brad Silberling's Land of the Lost, an acid-trip take on Sid and Marty Krofft's already kitschy television series that aired on NBC in the mid-'70s. Ferrell tones down his trademark immaturity but ramps up the crippling ego to play Dr. Rick Marshall, a scientist focused on unraveling time travel who's discredited after a televised spat with Today show host Matt Lauer (convincing as himself).
Continue reading: Land of the Lost Review