The comedy from the director of “Ghost Town” is based on Kyril Bonfiglioli novels about a Clouseau-esque upper crust twit/con-man, etc. Daffy looking. February.
The comedy from the director of “Ghost Town” is based on Kyril Bonfiglioli novels about a Clouseau-esque upper crust twit/con-man, etc. Daffy looking. February.
Every so often, a movie comes along and reminds us of the primacy of the pretty picture, the importance of the image in telling a motion picture story.
“Island of Lemurs: Madagascar” is so gorgeously photographed that it’s very much like visiting that exotic island off the coast of Southern Africa. Slow, swooping drone-shots sweep over splintered rocky peaks, hang over forests that climb above the fog and get up close — VERY close — with Madagascar’s most famous residents — lemurs.
In 39 short, lovely minutes, we learn how ancient lemurs are — predating every other surviving primate species on Earth — how they got to Madagascar, how varied they are in appearance and what the only threat to their future is.
“Madagascar is Treasure Island,” Morgan Freeman narrates, as we visit the only forests in the world where lemurs are found. The film then follows lemur expert Patricia Wright as she travels the country, checking in on the Greater Bamboo Lemurs, which she proved hadn’t gone extinct, and tiny-feisty Mouse Lemurs, the singing Indri Lemurs and others.
It’s easy to see the origins of that famous cartoon film franchise’s fascination with Madagascar — the flora, baobab trees, octopus trees and bamboo are lush, a full rainbow in shades of green. And the fauna, wild-eyed, exotically colored, cute and vocal, don’t just run or skip across open ground. They dance.
We see the careless slash-and-burn farming practices that threatens Madagascar’s remaining forests, a nation plainly in need of more firefighters. And we check in on lemurs who have adapted, moving out of the threatened land and up into the rocky mountains, short but breathtakingly steep.
“Island of Lemurs” is close to the perfect nature documentary — a visually striking use of IMAX 3D that is picturesque and wonderfully informative about its adorable subject.
MPAA Rating: G
Cast: Narrated by Morgan Freeman, with primatologist Patricia Wright
Credits: Directed by David Douglas, written by Drew Fellman. A Warner Brothers release.
Running time: :39
Summer’s spent, cinematically. So it’s time to tally up the take, pat a few folks on the back and pass the buck of blame around Hollywood for the cinema season that was
The sequels showed up in droves, and some — from “Spider-Man: Less Amazing Than Ever” to “X-Men: How MANY of These Xes Can we Stuff Into One Movie?” — were hits, others, not so much. Every week had a potential blockbuster, many weeks, those films fell short.
But an August box office rally lessened the pain of a season that lagged 20% behind last summer’s epic numbers.
Some films are remembered, many will be forgotten. And since the Academy of Motion Arts and Sciences is loathe to recognize or even remember summer films come Oscar time, let’s hand out another summer’s load of Summer Oscars, “Sumoscars,” naming names and spreading the love as we do.
Best popcorn picture — The jokey-retro-cool “Guardians of the Galaxy,” because “Dawn of the Planet of the Apes” was all about the animated apes as humans sat around waiting for better characters and dialogue. “X-Men Whatever” was the only other popcorn pic that came close.

Best Food Film — “Chef.” Jon Favreau’s scruffy food truck road-trip comedy trumped the bloated Oprah-Spielberg backed “The Hundred-Foot Journey.” French cuisine and Helen Mirren bested by Cubanos and a Leguizamo.
Biggest Laughs — “22 Jump Street” mocked its very existence and got away with it — hilariously.
Loudest — “Teenage Mutant Ninja Turtles,” a Michael Bay production, got a Michael Bay soundtrack.
Most Likely to Succeed as a New Disney Princess — “Maleficent.” Bad girls need a tiara, too.
Most In Need of a Fresh Gag — Melissa McCarthy, “Tammy.” Watch “The Fluffy Movie,” dear, if you want to know how short the shelf life on fat jokes is.
Best Movies You Missed — “Filth,” with James McAvoy as a twisted, tormented Scottish cop, “Belle” with rising star Gugu Mbatha-Raw as the daughter of a slave, raised among aristocrats, and “Begin Again,” a tuneful, wistful New York romance where the love is all about the music.
Worst Served Genre — Animation. A tired and joke-starved “How to Train Your Dragon 2,” and an improved-but-still DOA “Planes: Fire & Rescue.” Kids deserve better.
Best Curtain Call — Philip Seymour Hoffman, “A Most Wanted Man.” It’s a pity he has to turn up in tiny doses in future “Hunger Games.” This Le Carre adaptation was a fitting exit.
Worst Curtain Calls — Woody Allen’s tin-eared “Magic in the Moonlight,” Clint Eastwood’s tone-deaf “Jersey Boys.” Does either still have the patience for rewriting jokes or retakes of flatly played scenes?
Best Hate Mail — “Jersey Boys.” Who knew senior citizens could be such potty mouths? Fuggedaboutit.
Best Career Move — Dying on screen. Tom Cruise did it scores of times, to the delight of fans and especially haters, in “Edge of Tomorrow.”
Best sequel — “The Trip to Italy,” in which all these years of comical bickering, and now two road-trip movies further into their collaboration, Rob Brydon finally gets Steve Coogan to crack up with laughter.
Most Bored Star — Dwayne “Hercules” Johnson. Those Seven Labors tuckered the old wrassler out.
Worst sequel — “Transformers: Age of Extinction,” because “Planes 2” at least tried harder.
Worst Acting — The cast of “Into the Storm,” for which director Steven Quale should take the credit.
Biggest Marketing Fail — “Get on Up.” A stunning star turn by Chadwick Boseman could have been an Oscar contender, but Universal rolled the film out to the sounds of silence in early August. The Weinstein Company’s abandonment of “Snowpiercer” comes in a close second.
Most Prescient — “Let’s Play Cops,” about two goofs who dress up as police to get girls and find purpose and machismo. It comes out just as a Ferguson-sensitized America is debating real-life cops who all want to play dress up in macho SWAT gear.
Biggest Suckers — Ticket-buyers to “America,” a documentary-length whine by convicted liar Dinesh D’Souza proclaiming himself a martyr for being caught lying and facing jail time for it.
Real Oscar nominees — “Boyhood,” a possible best director, best screenplay and/or best picture contender. And “Life Itself,” the warm and engaging Roger Ebert documentary becomes the Academy documentary branch’s next chance to screw up, big time.
A PG-13 rated “Expendables” sequel featuring a high body count and a fun turn by Puss-N-Boots Banderas is limping into the $16 million range, the worst opening weekend by far for this aged action hero franchise. They’re done, unless there’s some epic overseas opening that justifies their return. Don’t see it.
And “The Giver,” whatever its merits, cannot overcome all the other film versions of this YA sci-fi plotline that came before it, managing only $12-13 million, according to Deadline.com estimates based on Friday.
“Let’s Be Cops” gained awful reviews, once Fox let critics see it. Hiding it didn’t hurt, though, as it looks to be reaching a $14 million+ weekend, almost $24 since it opened Wed. From the looks of it and gauging the price tags of the cast, they’re already in profit.
“Teenage Mutant Ninja Turtles” is falling off steeply, but not so steeply it can’t hold on to the top spot, low to mid $20s. “Guardians” is right behind it, low $20s.
“Boyhood” expanded, maybe its last big bump in screens, and still will have only reached $13-14 by weekend’s end. Woody Allen’s critically panned “Magic in the Moonlight” also opened wider. Why?
“Dawn of the Planet of the Apes” will clear $200 million by late Sat.
You knew the third time would reveal “The Expendables” had passed their expiration date. So did Stallone, who brings in a lot of fresh meat to go with his geezers. Banderas steals a rather weak actioner. Poor reviews for “Expendables 3.”
“The Giver” took Jeff Bridges 18 years to get on the screen. If it had come out ten years ago, he’d have beaten all the Teens-Save-the-Future Films that preceded it (“Hunger Games,””Ender’s Game,””Divergent” et al) and maybe had something here. Lovely looking, smart, well directed and acted. But blah. Been there, seen that. The reviews reflect that.
“Life After Beth” is a zombie film that didn’t have to be.
“The Trip to Italy” is a comic improvisational delight. Coogan and Brydon reverse the order of things a bit in this one. Coogan is more relaxed and amusing, Brydon the needier one. Funny.
“Frank” is enjoying all the hype, with a band, Michael Fassbender in a gigantic head and Maggie Gyllenhaal at her most brittle. Dark and fun.
“Dinosaur 13” is a reminder that being Native American does not confer righteousness, especially when it comes to handshake deals over dino bones found on property one has a claim to. A bit one-sided (the dino hunters are mercenaries, too), but an interesting documentary.
A couple of knowing chuckles, and two laugh-out-loud moments are in the trailer to this coming-of-age-late comedy about a women rebelling against adulthood (Keira Knightly) who falls in with a teen (Chloe Grace Moretz), which doesn’t please the teen’s dad (Sam Rockwell).
The great Irish actor Brendan Gleeson is having a good laugh remembering the
opening scene from the new movie “Frank.” A musically-inept young man is humming
and thinking up lyrics — BAD lyrics — as he walks home from work.
“That is one of the funniest things I’ve ever seen,” says Gleeson, who was
Mad-Eye Moody in the Harry Potter pictures and star of “In Bruges” and “The
Grand Seduction,” a man who knows funny. “That lad, he made me laugh and
laugh.”
“That lad” is somebody Brendan Gleeson is unusually proud of. He’s not just a
redheaded Irish actor, like himself. That’s Domhnall Gleeson, 31, son of
Brendan. “Frank,” which stars Michael Fassbender as a quirky artist who fronts a
band — Soronprfbs — while wearing a gigantic fake head that he never, ever
takes off, allowed Domhnall to expand his musical horizons.
“The very first line of that song, ‘The endless, rolling waves carry me to
you…’,” Gleeson-the-Younger explains, “that was in the script. But the lyrics
and the pain of coming up with them, not realizing how bad they are, I came up
with sitting with (music director) Stephen Rennicks up in his apartment, playing
at the keyboards. I wanted to write the worst possible song, the most boring
personal theme song for this fellow. Everybody thinks, ‘Oh, I could write a
song.’ So few of us can.”
“Frank,” a darkly quirky comedy about an uncompromising artist and the
oddballs (Maggie Gyllenhaal also stars, and plays theremin in Soronprfbs) is
opening to some of the most generous reviews of the summer. “Weird and
wonderful,” Variety said. And Variety isn’t alone.
Domhnall Gleeson is the audience’s alter ego in the film, the outsider
reluctantly “welcomed” into the band, the guy who learns about Frank directly
from the big-headed weirdo’s mouth. But acting opposite a famous film star
wearing an enormous head — “That’s really him in every scene. You can tell from
the simple physicality of his performance.” — wasn’t the biggest challenge.
Everybody in the film has to play an instrument, something they demonstrated
when Fassbender, Gleeson, Gyllenhaal and the others performed on Stephen
Colbert’s “The Colbert Report.”
“We play the music live, in the film, so playing ‘Colbert’ was just like that
— not dubbed, not touched up or anything like that,” Gleeson, who learned to
play keyboards, says. “People might not believe us, so even though we hadn’t
played together in a year and a half, since making the film, we got back
together, rehearsed for a day, and did it. Not bad.”
“Frank” isn’t the only film this rising star has out at the moment. His
father plays a priest in John Michael McDonagh’s dark allegory, “Calvary,” and
Domhnall read dad’s copy of the script and knew he wanted a piece of that. He
won over an admittedly-reluctant writer-director and ended up dyeing his hair to
play a convicted murderer, a former altar boy that Father James visits in
prison.
“We fought really hard in that scene, battled each other fiercely,” Domhnall
says.
“We were like two sparring partners, buddies, forced to get into the ring and
throw punches for real,” his father, Brendan, recalls. “Go back to your corner
in between takes and do what you’ve got to do.”
Brendan says that got to the point where they couldn’t discuss the scene or
the characters any more and had to back away from each other. Domhnall confirms
this, but relished the chance “to see my father in all his glory, taking his
blows and hitting back at him. There’s danger in the air with him.”
Brendan just laughs and says “It was nice to have him back, at the end of the
day.”
While it’s hard to see much of the gruff and garrulous father in the son’s
performances, Domhnall is quick to reflect his father’s pride in his burgeoning
career back at the Old Man, “who is so generous that he makes every day on the
set a blast.” And Brendan?
“I’m fascinated by what Domhnall’s going to get up to next, which is a lovely
place for a young actor to be.”
If there’s one short-coming in Dad’s raising of star-in-the-making, it reared
its head when Domhnall heard about J.J. Abrams and Disney re-visiting “a long
time ago, in a galaxy far, far away.”
“I had not seen ‘Star Wars,’ as a boy,” Domhnall chuckles. That could have
made it hard to land a role in the new “Star Wars” film. It didn’t. “Had to go
out and watch those earlier films before I met J.J., just to be safe. So if I
hadn’t gotten the part, we’d be blaming Dad for that!”
Zach Galifianakis — talk show co-host (with a fern), hairy hedonist, and in out of Vegas, comic and sage.
Which one will show up when we chat today?
He’s played the madman man-child more times than one can count, but his turn in the Matthew Weiner screen comedy “Are You Here” (Aug. 22) is a nice twist on that type casting. No driving Robert Downey Jr., Ed Helms, Bradley Cooper or anybody else to distraction. He’s a guy who inspires loyalty, compassion, envy and deep thoughts.
In the movie, at least.
Questions for Zach? I’m looking for help. Post them as comments below. Thanks.

Antonio Banderas pretty much steals “The Expendables 3.” But at this stage in that winded franchise, that amounts to petty theft.
Adding the chatty, animated and action-friendly Banderas and Wesley Snipes as new “Expendables” and Mel Gibson as an arms-dealing villain amounts to a significant trade-up from the likes of Bruce Willis and Chuck Norris, mercifully missing in action.
Banderas is hilarious, mainly in the third act, and Snipes is welcomed with a decent action opening. He plays a guy they break out of some former Soviet prison. His offense?
“Tax evasion!”
And Harrison Ford lets only a hint of embarrassment sneak into his turn as the new guy who gives the team of C.I.A.-hired mercenaries their missions.
But it’s when the film deviates from the “bunch-a has-beens trying to be hard” formula that “Expendables” is most disposable.
After one of their number takes a bullet, Barney (Sylvester Stallone) lays them off and rounds up younger recruits — played by Kellan Lutz, MMA star Ronda Rousey, Victor Ortiz and Glen Powell — to go catch the murderous arms dealer (Gibson) that Barney thought he’d killed years ago.
The recruiting the new team bit is dull and jokey, as Barney rides around the country with some “finder” played by Kelsey Grammer. And the new kids’ trial by fire is strictly routine.
But Banderas, as a Spanish chatterbox named Galgo, is the wild card, a man hungry for a mission. He’s like the Toshiro Mifune character from “Seven Samurai,” the comical self-inflated warrior that nobody wants. Galgo is also too old for this sort of work.
“Ees like I dee-SCOVER the FOUN-tain of youth!” he exults. Every scene, every “Puss-n-Boots” line, the guy kills. Even when he’s killing, and there’s a lot of that, because this movie has the highest body count this side of “World War Z.”
Gibson, tanned and twisted, dives into the bad guy trash talk.
“I’ll open up your meat-shirt” and do something “with your heart,” he hisses. We buy it.
But we also buy what Trench, the Arnold Schwarzenegger middle-man character says, midway through the picture.
“Hurry up. It’s boring.”
Traipsing from former Soviet republics — yes, the Putin-esque still make the best villains — to Mogadishu and Bucharest, there’s too much talk, too many lapses in logic in between the three epic firefights, the last of which is just laughable.
It’s obvious that the stunt men are doing most of the heavy lifting here. The one person truly at home in her fights is Rousey, and she’s too green to be anything other than a stiff as an actress.
Running gags about who is best with a knife, Christmas (Jason Statham) or Doc (Snipes), or Drummer (Ford) griping that he can’t understand the Brit Christmas’s accent, Dolph Lundgren moments, Terry Crews gags, Jet Li jokes — none of it adds up to much.

Until Banderas pops back up — fighter, parkour stunt jumper, flirt — he has the best lines and he makes the most of them.
“I am the BRIDEgroom…of DEATH!”
But it’s not really scene-stealing when everybody else just shrugs and takes their label, “expendable” so literally.
MPAA Rating: PG-13 for violence including intense sustained gun battles and fight scenes, and for language
Cast: Sylvester Stallone, Antonio Banderas, Mel Gibson, Wesley Snipes, Ronda Rousey, Jason Statham, Arnold Schwarzenegger
Credits: Directed by Patrick Hughes, screenplay by Sylvester Stallone, Creighton Rothenberger and Katrin Benedikt. A Lionsgate/Millennium release.
Running
The film version of “The Giver” is briskly directed in bright, confident strokes, scripted to emphasize its thought-provoking qualities and acted by players, young and old, who are “all in” on the future they’re portraying.
As adaptations of Young Adult sci-fi go, it holds its own against the many successes of this Teens Save the Future genre.
But coming after “Divergent,” “The Hunger Games,” “Ender’s Game” and “The Host,” it underlines the paucity of original ideas in this genre. Seriously, if Hollywood serves up one more spotless jump-suited crypto-fascist future where only a “Chosen One” can make us remember the humanity we have lost, I’m screaming “Logan’s RUN” and fleeing the theater.
Lois Lowry’s novel is about Jonas, played by Aussie actor Brenton Thwaites (“Maleficent”), a teen who, with his “best friends forever” (Odeya Rush, Cameron Monaghan) is about to graduate from childhood. They’re to be told what they’ll spend their lives doing, what they’re suitable for — everything from “Drone Pilot” to “Nurturer” (childcare specialist).
The Chief Elder (Meryl Streep) thanks each “for your childhood” in a big ceremony, and since they’re all medicated at the start of every day, nobody questions this. Everyone sees the world monochromatically — literally. “Sameness” rules their rules.
“I don’t want to be different. Who would?”
But Jonas is different. He’s got the mark on his wrist, and he’s to be a “Receiver.” In a world without strife, struggle, rudeness or even bad grammar — “PRECISE language!” — Jonas will be given that gift that few share — memory. He has to be strong enough to handle this collective history of the World before The Ruin.
It was a time, the sage “Giver” (Jeff Bridges) intones, “when things were different. When there was more.” More, we learn, can mean everything from races and religions to emotions and sensations (love, pain, music, dance) and even real estate. These perfect planned “communities” on the top of this cloud-shrouded plateau are the only world any of these people know. The Giver is the keeper of memories he passes on because his class is responsible for advising the elders on matters that keep this politically correct/strife-free Utopia Utopian.
Jonas absorbs the history and starts seeing the world in color, as it truly is. He gains a whole new appreciation for his “friend” Fiona (Rush). And he starts to develop morality, independent thinking and rebellious thoughts.
Streep plays the villain of this world, intent on preserving the order of things, the “Sameness.” She reminds us that the best villains don’t see themselves that way. Her Chief Elder is assisted by, among others, her Chief of Security, Jonas’s mother (Katie Holmes). No, she didn’t give birth to him. She and Father (Alexander Skarsgard) just raised him. Maybe that’s why she has no trouble ratting out her kid’s increasingly human tendencies. Doctor Dad, however, has flashes of humanity.
I love the literalness of it all, the Orwellian euphemisms Lowry cooked up for death (“elsewhere”) and the once-playful plush toys that quiet noisy babies (“comfort object”).
Bridges gives his voice age by making The Giver jowly-growly. But he’s never a cute old coot. He is a haunted man with an official mission, and a secret one — to make Jonas see beyond this world and what it lacks.
Philip Noyce (“Salt”, “Patriot Games”) reminds us of what hiring an accomplished director brings to one of these cookie-cutter movies, creating vivid flashbacks of memory — sledding from when there was snow, sailing from when they knew the ocean, the horrors of combat when the world was at war.
But all that said, this 96 minute long, self-contained drama is flatly undramatic. Lowry’s dystopia — she did four books set in this future — is richly allegorical (she won the Newbery Medal for this) but derivative, much imitated but imitative.
Everything from the costumes to the circumscribed PC speech (“I apologize.” “I accept your apology.”) feels over-familiar, and the quest summons up sci-fi deja vu.
So while “The Giver” scores points for being smarter and deeper than “The Hunger Games” or its inferior photo-copy (“Divergent”), coming after all those other versions of this plot does neither it, nor us, any favors. “The Giver” has nothing new to offer.
MPAA Rating: PG-13 for a mature thematic image and some sci-fi action/violence
Cast: Brenton Thwaites, Jeff Bridges, Odeya Rush, Meryl Streep, Katie Holmes, Taylor Swift, Alexander Skarsgard.
Credits: Directed by Philip Noyce, based on the Michael Mitnick and Robert B. Weide. Based on the Lois Lowry novel. A Weinstein Co. release.
Running time: 1:34