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“Tell everyone to get ready.  Jimmy is coming.” 

If someone were to tell me while walking out of Schindler’s List that 20 years later Liam Neeson would be an action star, I would have thought they were out of their mind.  Between the trio of Taken films and numerous films that seem to be cut from the same ilk, Liam Neeson seems to be walking in the same footsteps as Charles Bronson and Clint Eastwood as being the go-to everyman who just so happens to be a badass with or without a gun.  It’s that odd bit of typecasting that in many ways hurts Run All Night; after all, the trailers give us the vibe that this is nothing more than am action film where yet again his family is in peril, when really it has so much more going for it.

“That’s what you get when you hire a con man.”

As much fun as it is to watch clever, cagey characters try to outsmart one another on screen, the real appeal of movies about con artists is watching filmmakers try to pull the wool over the audience’s eye. It’s an especially tricky proposition when you consider that — thanks to the Internet — moviegoers might be more sophisticated than ever in terms of knowing how movies are supposed to work. (Or at least *thinking* they know how movies are supposed to work.)

"Antarctica, an inhospitable wasteland, but even here, on the Earth's frozen bottom, we find life. And not just any life: penguins. Joyous, frolicking, waddling, cute and cuddly life. Look at them, tumbling onto their chubby bum bums. Who could take these frisky snow-clowns... seriously?"

This one has been a long time coming. I like the Madagascar movies and have been fairly positive about them in these pages. Each time I pointed out that the highlight of these films were the antics of those military-minded penguins and their grand schemes. The film's powers that be have also noticed this, as the penguin characters have been trending with more screen time as the franchise went along. Now those flightless maniacs have finally gotten a film of their own, and dare I say it, The Penguins Of Madagascar are flying higher than the source films with this frosty little tale.

"Will you follow me, one last time?"

It's time to say goodbye to Middle Earth, at least from a cinematic perspective. The Hobbit: The Battle Of The Five Armies marks the last time we shall see Peter Jackson's version of Middle Earth. Sure, Ian McKellen has told us he wouldn't be surprised to see some kind of a return. I would. There is certainly enough work from Tolkien to support future adventures, but the rights to anything beyond these books belongs to the Tolkien estate. To say they are not very fond of Jackson, New Line, Warner, or the six films themselves would be an understatement. There is great animosity there, and no amount of money is going to change that.

When it comes to the modern epic, director Ridley Scott is the go-to guy to pull off the sprawling and mega-budget storylines.  From Gladiator to Kingdom of Heaven, Scott has constantly proven himself behind the camera in executing tales with lavish sets and battles involving hundreds to even thousands of extras.  With the release of Exodus: Gods and Kings, a retelling of the Bible story where Moses frees the slaves of Egypt, Ridley Scott would seem the perfect choice for this film.  Unfortunately, this is a Bible story that is sure to anger religious scholars and put some general audiences to sleep.

Let me jump ahead and say I’m an unapologetic fan of Ridley Scott; this is my favorite working director.  From his early work like Alien, Blade Runner and Legend on into his later films like Gladiator, Matchstick Men, Black Hawk Down and Prometheus, he has entertained me for years.  But lately I feel he’s been swinging for hits but missing more than he has delivered.  Last year’s release of The Counselor was a misstep that should have been a knockout hit but instead just was a disappointment in many ways, which brings us to Exodus: Gods and Kings and its frustrating retelling.

Athena here. That’s right, I’m the Siberian Husky that kind of runs things here at Gino’s house. Since I did such a great job doing the review on Snow Dogs, I decided to step in when I saw Gino watching yet another dog film. This time it was Walt Disney’s classic 101 Dalmatians. Naturally the film would have been better if it had been called 101 Siberian Huskies, but unfortunately the film was based on a popular children’s book by Dodie Smith who happened to have Dalmatians herself, so let’s not blame her; she didn’t know any better. Walt Disney himself discovered the story and took a personal interest in having it made into an animated film. 

I’ve gotten to see a lot of these Disney classics, and the first thing that I noticed is the film was made in a dramatically different style than the previous Disney projects. The studio decided to abandon its smooth animation with fluid motion in exchange for a far more art-deco look. I don’t know about you humans, but this movie was a little harder on this doggie’s eyeballs. Lines jitter and move in such a way that there is always movement even if everything is standing still. You have to understand that this was not a studio getting cheap or failing in its own quality control. The animation style was a conscious choice by production head Bill Peet. Walt himself was publicly dissatisfied with the style. He was far more attached to the very fluid style his studio had become known for. The look had much to do with a new Xerox process that allowed the original artist drawings to, for the first time, be transferred directly to the transparent cel. This, of course, put a lot of artists out of work who used to do those transfers. The cruder character design was offset by a far more detailed background design. Using actual photographic plates of London locations, the animators created visually detailed backgrounds for the film. The movie is front-loaded with the credits in some clever dog-spot animation. It takes nearly four minutes to get to the story. Your human puppies might get a little impatient. By the way, look for Dodie Smith’s small credit size. It was the only thing she complained about in the film of her book.

Flying into home entertainment, the animated comedy adventure Planes: Fire & Rescue delivers a fun film for the whole family.  The film features some of the characters from the original and a whole lot of new ones.  Brightly animated, having fine direction and with a new storyline, the film has several good values including heroism and friendship. In this episode we find Dusty Crophopper returning from his around-the-world racing tour and about to participate in annual Corn Festival.  During a practice run with his flight instructor Skipper, the gearbox in Dusty’s airplane gets damaged.  Not having another gearbox because the model is out of production, Dusty finds himself having to slow down.  Following a fire he caused, Dusty volunteers as a firefighter.

The film continues showing his training and later his heroism during a huge forest fire that threatens a vacation lodge. Director Roberts Gannaway keeps his film exciting and interesting showing how the different planes and ground firefighters work together to fight fires.  Introducing many new characters including Dipper, an airplane that drops water from the air onto fires, Blade, a helicopter that guides the aircrafts to the fire, Windlifter, who carries the ground crew, and the Jumpers, a group of vehicles that clear trees to stop the fires from spreading.   The film shows the heroism of the characters, their self-sacrifice and the importance of training to do the job right in order to save lives.

"There are dark spirits, old and full of hate...The world is in great danger."

A trilogy is a hard animal to pull off. Even when you have a popular franchise, it is extremely difficult. All of the pieces have to work just right, or you could have a disaster on your hands. It is even harder when you've already beaten the odds once and delivered a trilogy that is both loved and a huge box office success. You run into an almost insurmountable mountain of expectations. Your pieces must somehow fit together so that they can be viewed as one whole product. They also need to match the world and production style of the previous trilogy even though technology has changed quite a bit in the decade that separates the two. Lightning doesn't often strike the same place twice, unless you happen to live in Florida, or, apparently, New Zealand, where Peter Jackson has managed to do the impossible...so far.

"Let us tell an old story anew, and we will see how well you know it."

If Christopher Nolan’s take on The Joker isn’t the very best example of modern cinematic villainy, then it’s near the top of the list. Obviously, a tremendous amount of credit goes to Heath Ledger’s Oscar-winning performance in The Dark Knight, but I’d argue the real thrill comes from the character’s arbitrary, inexplicable approach to evil. By having its Joker invent tragic (fake) backstories on the spot, the film made a mockery out of the notion of having to explain a movie monster’s past. Disney’s Maleficent, on the other hand, is the latest misguided attempt to redeem a character who was better off being unredeemable.

By John Delia

Most every child knows the story of Disney’s Sleeping Beauty from early video, books and DVD.  Unless you went to see the movie at a theater back in the 1959, however, you probably saw a version that was not crisp and colorful. Finally, after what seems forever, the family animated fantasy has been Blu-ray remastered and digitally restored in super widescreen. The Blu-ray, DVD and Digital HD have new bonus features and include the DVD release’s special extras as well.