The cast of “Glee” is going on the road with a concert tour, and Fox has announced that a 3D film of the tour will be in movie theaters late this summer. Cast members Lea Michele (Rachel), Cory Monteith (Finn), Amber Riley (Mercedes), Chris Colfer (Kurt), Kevin McHale (Artie), Jenna Ushkowitz (Tina), Mark Salling (Puck), Dianna Agron (Quinn), Naya Rivera (Santana), Heather Morris (Brittany), Harry Shum Jr. (Mike), Chord Overstreet (Sam), Darren Criss (Blaine), and Ashley Fink (Lauren) will perform, and cameras will record on- and off-stage moments for the theatrical release. Stay tuned for further details!
“‘Fast Five’ is a great example of Hollywood getting it right,” Craig Detweiler, professor of film history at Pepperdine University, told TheWrap. “Its multi-racial cast matches the multi-racial audience. The Rock and Vin Diesel reflect the browning of America, that there is more blurring across races and cultures than ever before. The box office take reflects that.”
But after that auspicious start, the summer derails quicker than one of Diesel’s sports cars. A quick scan of the major films hitting theaters over the next few months shows that Hollywood is about to flood the marketplace — again! — with four-quadrant fare almost exclusively by and starring the ever-shrinking white plurality.
I was pleased to see one of my favorite actors, Idris Elba of “The Wire” and “Daddy’s Little Girls,” in “Thor” (playing a character who is white in the comic books). But The Wrap has it right:
Don’t look for anybody ethnic to save the world or make it safe for democracy in “The Green Lantern” or “Cowboys and Aliens.” For that matter, “X-Men: First Class” may preach inclusion, but its cast isn’t exactly a rainbow coalition.
The original Hammer is here. Thor, Norse god of thunder and lightning (and the source of the word “Thursday”), star of Marvel comics written by Stan Lee and his brother Larry Lieber and memorably illustrated by Jack Kirby, now joins his fellow Marvel superheros with his own movie franchise. Marvel pretty much has the big budget franchise assembly line working smoothly. While it does not hit the spot the way “Iron Man” did, it delivers on what it sets out to do, pleasing newcomers and fanboys as well. To say that the post-credit sequence glimpse of things to come is the best part of the film is just to say that this film meets its number one goal — to increase anticipation for next summer’s Avengers movie, where we will see the superhero all-stars working together.
Thor (Australian hunk Chris Hemsworth) is the son of Odin, King of the Gods (Anthony Hopkins in magisterial mode). In myth, Odin traded his eye for wisdom. In comic books, he lost it in battle with the Frost Giants, with whom they now have an uneasy truce. Thor has a brother named Loki. They are close, but competitive, and true to his stormy nature, Thor is impetuous and arrogant. A small incursion by the Frost Giants is squelched. Odin wants to leave it at that. Thor disobeys and takes the warriors from Asgard through a portal to fight the Frost Giants. They fight bravely, but they are overmatched, and barely rescued by Odin. Furious, Odin banishes Thor to earth, stripping him of his powers — and his mighty hammer. “That is pride and vanity talking,” he tells his son, “not leadership.”
A physicist named Jane Foster (Natalie Portman) as pretty as her name is plain, finds him as she is investigating some cosmic phenomena. As the government steps in to take over the investigation (“We’re the good guys.” “So are we.”) she begins to realize that he is more than human. And he begins to realize that the battles he left behind are following him to earth. “These are someone else’s constellations,” Jane says as she looks up at the sky.
This has all the ingredients for a superhero movie — director Kenneth Branagh (yes, that Kenneth Branagh) ably mixes the action and drama. He takes it seriously enough to satisfy the fanboys and slyly but respectfully tantalizes them with touches only they will understand — look for Jeremy Renner as Hawkeye alter ego Clint Barton and a shout-out to Tony Stark. But he makes it accessible to newcomers and adds in some humor, much of it provided by the refreshing Kat Dennings. Hemsworth has all the charm and brawn anyone could wish, and Tom Hiddleston as Loki is one of the best super-villains to hurtle through a vortex to take control of the universe. And the hammer really is extremely cool.
Stay to the very end of the credits for a glimpse of “The Avengers.” If it makes this movie feel like nothing more than a long coming attraction, it makes me glad that “Captain America” will be out soon.
Sabrina (Paula Patton) is from a wealthy, upper-class family with a mansion on Martha’s Vineyard. Jason (Laz Alonso) is from a blue-collar family in Brooklyn. They fall in love, he proposes, and there’s just one obstacle to their happily ever after ending — bringing those two families together for the wedding. When Shakespeare said that the course of true love never did run smooth, it might very well have been the culture clash that accompanies any joining of two families he was thinking of.
We meet Sabrina as she realizes she is about to take the walk of shame. It is the morning after what she thought of as a promising relationship but he thought of as a one-night stand. She decides to make a major change. If God will send her a true love, she will honor herself and that relationship by not having sex until they are married. And then she literally runs into Jason. They have to make a decision about their future together very quickly when she is transferred to China. He proposes, she accepts, and their perfect little bubble of love is intruded on by just about everyone. It’s hard to say which is worse, the family members who are trying to hide their feelings or the ones who are over-sharing.
Sabrina’s parents (Angela Bassett and Broadway star Brian Stokes Mitchell) are barely speaking to each other. She thinks he is having an affair and is hurt and angry. Jason’s mother (Loretta Devine) feels neglected and intimidated. As often happens at weddings, the happy couple reflects the strains of their family conflicts and has some of their own, as the “ever after” part of the deal sparks some panic. And, as often happens at weddings, a lot of the attendees are looking for love or a reasonable facsimile thereof.
Patton and Alonso are in every way the heart of the film. Patton is as effervescent and refreshing as a chilled glass of champagne and Alonso is endearingly open-hearted and gallant. While the script requires them to behave so inconsistently and immaturely at times that even by wedding craziness standards it is hard to reconcile, they are performers of such immeasurable grace and charm that we keep rooting for them. The script also throws a seasons worth of soapy complications their way, but director Salim Akil is skillful in balancing the drama and melodrama along with some romance and comedy as well. The situations and dialogue may be overdone but the characters always feel real, their poor behavior coming believably from fear and pain and not just the need for another confrontation. He stays well on the safe side of caricature but is not afraid to weigh into tough questions of race, class, faith, money, and identity — and to allow every side some dignity and grace.