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It looked like Disney Animation was dead in the water for a while there. Sure, Pixar has had the company’s back for almost two decades now. In terms of movies that were solely produced by Walt Disney Animation Studios, though, it was a bit of a downhill spiral from “Pocahontas” in 1995 to “Chicken Little” in 2005. While there were some under appreciated gems in the mix like “The Hunchback of Notre Dame,” nothing took audiences by storm like “Beauty and the Beast” or “The Lion King” did.
The focus of the Mountain Pointe passing game has definitely changed since last year.
Learning a second language can be a beneficial trait for any individual who’s interested in finding appreciation from different cultures.
It has gotten to the point where Desert Vista is daring someone else to doubt them.
After the first trailer premiered several months ago, “Pacific Rim” quickly became one of the most anticipated movies of the summer season. The advertisements haven’t divulged much about the film’s plot or characters. For the most part, they’ve only shown big monsters fighting big robots and Idris Elba giving a heated speech to his troops. That’s still more than enough to make any fan boy swoon like a teenage girl watching “Twilight.”
It would be dishonest to call “Grown Ups 2” the most repellent high-profile comedy in recent memory. But that’s largely because few moviegoers have memories kind enough to have already erased 2010’s “Grown Ups” — which offered almost every loathsome quality of this installment, plus Rob Schneider.
Mountain Pointe is expected to have one of the best offenses in the state this football season so it wasn’t all that surprising the Pride won the Northern Arizona 7-on-7 passing tournament.
Humanity's home planet hardly merits the name-check in "After Earth," M. Night Shyamalan's sci-fi survival tale whose shipwreck action could (with the exception of a scene where our hero scrawls a crude map over Lascaux-like cave paintings) take place on any old life-supporting globe in the cosmos. The disappointingly generic film, which strands a father and son (Will and Jaden Smith) on Earth a thousand years after a planet-wide evacuation, will leave genre audiences pining for the more Terra-centric conceits of "Oblivion," not to mention countless other future-set films that find novelty in making familiar surroundings threatening. Will Smith's presence, not just as co-star but as originator of the story, seems likely to carry box office receipts beyond the benchmark of Shyamalan's previous picture, the wretched "The Last Airbender," but those hoping for a franchise should navigate elsewhere.
With a reputation for being innovative and versatile, Dante Ariola made a name for himself directing commercials for the likes of Coca Cola, Nike and Lexus. What began as a substantial career in graphic design morphed into a myriad of film work, including music videos for bands like Cake and Cypress Hill, and a documentary short about wildlife conservationist Dr. Alan Rabinowitz, entitled “Man & Beast.”
It may be a “tale as old as time,” but "Disney’s Beauty and the Beast” will never feel old hat to generations of new children or eternal fans of romance and fairytales.
Victor Buono is the owner of Nicantoni’s New York Style Pizza, 1430 W. Warner Road, Gilbert
Darick Pead and Hilary Maiberger
Jim Heath doesn't worry that his style of music will go out of style.
From “Snow White and the Huntsmen,” to “Mirror Mirror,” to “Hansel and Gretle: Witch Hunters,” to “Red Riding Hood,” the film industry has really been banking on adult-oriented fairytales as of late. Television has additionally gotten in on this fairytale fad with ABC’s “Once Upon a Time,” NBC’s “Grimm,” and, to a lesser extent, the CW’s “Beauty and Beast.” So what’s been causing this recent outbreak of fairytale reinterpretations aimed at grown-up audiences? Perhaps it can be attributed to the concept of nostalgia. Since fairytales are typically the first stories ever introduced to us, everybody identifies with them. By giving these timeless tales a PG-13 spin, they can appeal to our inner child while also satisfying our desire for something more mature. “Jack the Giant Slayer” comes close to working as a fun fantasy adventure for childish adults and sophisticated kids. If only the familiar story had more of a twist to it.
If you had told me a month ago that my Oscar predictions would look anything like this, I probably would have advised you to go do a little more research. “Argo” poised for the Best Picture win sans a Best Director nod? Unthinkable. Emmanuelle Riva and Naomi Watts as viable Best Actress contenders against youthful powerhouses like Jennifer Lawrence and Jessica Chastain? You’re pulling my leg.
Zombies are terrible characters. That’s not to say there haven’t been plenty of good movies featuring zombies like “28 Days Later,” “Shaun of the Dead,” “Zombieland,” and the George A. Romero classics. In those films, however, it was the human characters and their pursuit to endure the zombie apocalypse that kept the audience invested. Unlike vampires or werewolves, zombies have never been blessed with interesting back-stories, individuality, or moral dilemmas. Last summer’s “Chernobyl Diaries” left me asking why couldn’t there be a movie about a mutant/zombie who’s intelligent with character traits and motivation. Jonathan Levine, who previously made the wonderful “50/50,” responds to my question in “Warm Bodies.”
Unless you’re a movie critic or a die-hard aficionado, you probably haven’t seen all 9 of this year’s Oscar nominees for Best Picture. The good news is you still have time before the winners are announced, thanks to AMC Theatre’s Best Picture Showcase on Feb. 16 and 23.
Love movies? You might want to check out the ASU School of Theatre and Film’s screening series, “Hollywood Invades Tempe.”
Zombies are terrible characters. That’s not to say there haven’t been plenty of good movies featuring zombies like “28 Days Later,” “Shaun of the Dead,” “Zombieland,” and the George A. Romero classics.
A playful, elegantly made little horror film, “Mama” teasingly sustains a game of hide-and-seek as it tantalizes the audience with fleeting apparitions of the title character while maintaining interest in two deeply disturbed little orphan girls. Being sold primarily on the name of its godfather, Guillermo del Toro, this Canadian-Spanish co-production from Universal is refreshingly mindful of the less-is-more horror guidelines employed by 1940s master Val Lewton, not to mention Japanese ghost stories, but the PG-13 rating might prove too restrictive for the gory tastes of male core genre fans. Still, less bloodthirsty female teens could make up the difference at the box office, as the film provokes enough tension and gasps to keep susceptible viewers grabbing their armrests or the arms of those next to them.
The Oscar season is customarily kicked off by the Academy president and a random star solemnly announcing the nominees in a drab ceremony. The Academy decided to shake up tradition this year, however, in one of the most cheerful Oscar mornings we’ve ever had. Seth MacFarlane, director of “Ted” and this year’s Oscar host, announced the nominees Thursday morning alongside the invaluable Emma Stone, who had the funniest bit at last year’s Oscar ceremony. MacFarlane and Stone made for an outstanding duo, engaging in playful banter about each of the categories. Even when one of their jokes didn’t quite hit the mark, MacFarlane and Stone still looked like they were having a genuine ball on stage. That’s more than can be said about Anne Hathaway and James Franco when they hosted the Oscars two years ago.
In the eight years I’ve taken on the regular duty of reviewing movies, 2012 just might have been the best. It wasn’t easy compiling a top 30 list for a 12-month period of so many diverse, outstanding films. I found myself having to make some absolutely painful snubs, including “Flight,” “The Sessions,” “The Hobbit: An Expected Journey,” and a little cinematic masterpiece by the name of “21 Jump Street.” In the end though, I managed to narrow the list down to the 20 titles that best encompass 2012 in all its glory. If you’re still behind on the movies of yesteryear, consider this your ultimate movie guide to 2012.
“That movie would have been infinitely better if it had been shown in 3-D.” I cannot speak for the rest of the movie going population, but this is one sentence I will never utter walking out of a cineplex. That is not to say 3-D technology is completely expendable. With the right movie, 3-D can be effectively exploited and have an enriching impact on a cinematic experience. In a majority of cases though, 3-D merely acts as a shameful method for the studio to increase the ticket price. Some people buy into the assumption that 3-D makes a movie appear more realistic and integrates the audience into the action. When not properly executed, however, 3-D can have dark, dreary and distracting consequences on a film originally shot in 2-D. In that sense, 3-D not only robs the audience of an extra $3, but also takes them out of the motion picture.
“Here Comes the Boom,” with Kevin James as a tubby high school science teacher who becomes a mixed martial-arts sensation, is every bit as ridiculous as it looks.