James Cameron’s Avatar has been unleashed upon this world. We’ve run reviews from half of the /Film staff: David Chen, Brendon Connelly, Russ Fischer, and Hunter Stephenson. You might have even added your own mini-review. But you might be wondering, with all the talk of game-changing advances in the tech side of filmmaking, what do the writers and directors in Hollywood think of Avatar? Here is a round-up of quotes:
Zombieland director Ruben Fleischer: “Went to a special screening of Avatar last night where James Cameron did a Q&A after the film. I can’t tell you how much I loved the movie, or how clearly Cameron cemented himself as the world’s greatest living filmmaker. This is an incredible movie. I recommend seeing it in IMAX. So next level. So awesome. Avatar is a game changer. James Cameron wins.”
Back to the Future, Indiana Jones and Bourne series Producer Frank Marshall: “Wow!!! AVATAR is audacious and awe inspiring. It’s truly extraordinary and I would really need a blog to talk about it…”
Donnie Darko/The Box director Richard Kelly: “AVATAR was amazing. Lived up to all the hype - now must see in IMAX…”
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Metacritic has released their list of the best and worst reviewed films of the decade. Guillermo del Toro’s Pan’s Labyrinth sits in the #1 spot. I’ve included the top 10 after the jump, as well as a list I’ve compiled of the top 20 best reviewed films of the decade from Rotten Tomatoes. Man On Wire ranks in at #1, the only film with over 100 reviews to have 100% fresh rating.
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The first reviews for Guy Ritchie’s Sherlock Holmes have begun to hit the interwebs, so I thought we’d do a round up of the early buzz. So far the response is kinda mixed. Some critics loved the film, while others hated it. Although it should be noted that the film currently has an 87% on Rotten Tomatoes. Here is a look at some of the review quotes:
The Guardian: “Sherlock Holmes is high-end hack work. It could have been made by anyone. There’s the odd Ritchie-ism, like crunchy slo-mo in the fight scenes, but he was, presumably, brought on board for reasons not wholly to do with his cinematic style.” … “Sherlock Holmes isn’t even a magnificent mistake. It’s just a film that makes you hanker after Ritchie’s back catalogue. Snatch included.”
Box Office Magazine: “Easily one of the most enjoyable action pictures in recent memory, this alternately brisk and brainy reworking of the legendary detective’s mythos makes the delightful Robert Downey Jr. into a rumpled, complicated and alternately swashbuckling and pratfalling Holmes for our time.” … “under Ritchie’s expert guidance, Downey has at last found a big, iconic mainstream movie character that draws on the full range of his limitless acting capacity, not just his brash narcissism, the way Iron Man’s Tony Stark does.”
More after the jump.
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I’ve not yet recovered from Butt-num-a-thon, Ain’t It Cool News founder Harry Knowles’ annual birthday bash / 24 hour film marathon in Austin Texas. Every year the line-up remains a surprise mix of old vintage films you’ve probably never seen before (and possibly never heard of) and surprise premieres from some of the most anticipated movies of the next six months. This year was my first time attending the fest, after reading about the event for nearly a decade — and it lived up to expectations.
Among this year’s premieres was the new Martin Scorsese film Shutter Island. I’ve enjoyed all of the Dennis Lehane film adaptations thus far (and not just because I grew up in the Boston area, where most of Lehane’s novels are set). But this latest film had me a bit worried. Sure, Martin Scorsese was at the helm, and I should trust that the master filmmaker knows how to craft a great film at this point. But the trailers show a film very unlike Scorsese’s usual (despite the fact that Scorsese regular Leonardo DiCaprio is again at the forefront).
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Amir Bednarsh was given the opportunity to see an early screening of MacGruber, and posted an early test screening review on The Vertex. It should be noted that this is not a review of the final film, but thoughts on an early cut of the movie (sans final effects, edits, music…etc). Basically, everything could change.
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In October, Juno/Up in the Air director Jason Reitman tweeted a mini-review of an early cut of Edgar Wright’s Scott Pilgrim vs. The World, which he called “a game changer for Edgar and the genre” and “the first all encompassing film of the joystick generation.” Now Adventureland/Superbad director Greg Mottola has also seen the film, and has posted a mini-review on Twitter.
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The first press screenings of James Cameron’s Avatar take place on Thursday, December 10th, so we won’t hear any reactions until then. But reviews for the Avatar Video Game have begun to be published, and it’s not good. The game currently has a 64% positive rating on metacritic, which equates to “mixed or average reviews”. It should be noted that while the video game takes place in the world of Pandora, and features creatures and technology seen in the movie, the storyline is different — something created just for the game. Below you can find a few review excerpts:
1UP: “Avatar’s not a bad-looking or playing game — it’s just very average. You may have the whole planet to explore, but your primary objectives boil down to “go to a point, push a button and or kill some guys, then go back to the start.” The framework’s in place — a wide array of weapons, big enemies to take down — but Avatar just doesn’t put them in an interesting setting.”
Official Xbox Magazine: “Nitpicks are plenty, but so are the surprisingly fun aspects — whichever side of planetary strip-mining you fall on.”
More after the jump.
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The first reviews of Clint Eastwood’s new film Invictus have begun to appear online. The story tells the “inspiring true story” of how the newly elected President Nelson Mandela (Morgan Freeman) joined forces with the captain of South Africa’s underdog rugby team, Francois Pienaar (Matt Damon), as they make an unlikely run to the 1995 World Cup Championship match, to help unite their country. But will Invictus be in the running come awards season? Lets take a look at some quotes from the first reviews.
The Hollywood Reporter: “A temperate, evenhanded perhaps overly timid film about an intemperate time in South Africa.” … “for those who do buy tickets, it will be a pleasure for them to encounter a movie that’s actually about something.” … “It’s a film about a nation’s psyche, not its individuals. Where you would love a vigorous portrayal of two larger-than-life personalities, the film tiptoes through polite scenes where everyone speaks and acts with political correctness.” … “The game scenes are skillfully done — the sound of the body hits lets you know why rugby is an orthopedist’s delight. CGI shots and other effects seamlessly fill the stands with thousands and convert contemporary South African locations back 14 years.”
More after the jump.
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Disney’s 2D animated film The Princess and The Frog won’t hit theaters nationwide until December 11th, but right now the film is playing in limited release in New York and Los Angeles. So what is the early buzz? Lets take a look at some of the early reviews.
The Hollywood Reporter: “So Princess and the Frog really marks Disney’s rediscovery of a strong narrative loaded with vibrant characters and mind-bending, hilarious situations.” … “This is the best Disney animated film in years. Audiences — who don’t care whether it’s cel animation, CGI, stop motion, claymation or motion capture as long as it’s a good story — will respond in large numbers. A joyous holiday season is about to begin for Disney.” .. “Princess and the Frog” reawakens your appreciation of the timeless beauty of the classic style while evoking a fantastic world with such warmth, vigor and confidence that you surrender to its happy lunacy.”
Variety: “Disney goes back to the drawing board with results more diverting than captivating” … “this cheeky update of a classic fairy tale boasts almost as many talking points as merchandising opportunities” … “this long-anticipated throwback to a venerable house style never comes within kissing distance of the studio’s former glory.” … “That derivative quality pervades the entire production, as directors John Musker and Ron Clements — who collaborated on such Disney new-wave masterpieces as “The Little Mermaid” and “Aladdin,” but also 2002’s poorly received “Treasure Planet” — seem content to sample the company’s back catalog and riff on classic conventions rather than forge an actual classic.”
More after the jump.
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Paramount Pictures has begun to screen Peter Jackson’s adaptation of The Lovely Bones, and reviews have begun to appear online. Lets take a look at some quotes from the early reviews:
Todd McCarthy at Variety: “Peter Jackson’s infatuation with fancy visual effects mortally wounds The Lovely Bones.” …. “Jackson undermines solid work from a good cast with show-offy celestial evocations that severely disrupt the emotional connections with the characters.” … “As the story progresses — in a way that points to resolution in one sense and a simple petering out in another — it becomes clear that the actors are being deprived of any meaty, well-developed scenes to play; we learn more about them early on than toward the end, making this a film of slowly diminishing returns.”
Kirk Honeycutt at The Hollywood Reporter: “Peter Jackson transforms Alice Sebold’s startling, unique novel about the aftermath of a terrible murder into a story more focused on crime and punishment.” … “[Jackson] has changed the focus and characters to such a significant degree that his film might resonate more with those who have not read the book.” … “The film certainly plays well enough as a melodrama-cum-revenge thriller. ” … “it’s also a simpler, more button-pushing tale that misses the joy and heartbreak of the original. ”
More after the jump.
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