Will Smith is Nicky Barnes in The Council

Will Smith, hot off his success with this year’s Aladdin with Gemini Man garnering high praise in its early reactions, has joined the upcoming Netflix film The Council, which will see Smith re-teaming with his Concussion director Peter Landesman. Landesman, who also wrote the screenplay for the film, will focus on the crime syndicate which controlled Harlem in the 70s and 80s. Smith will play crime boss Nicky Barnes.

This is just another solid add for Smith, who will also be seen soon in the animated film Spies in Disguise as well as the anticipated sequel Bad Boys For Life early next year.

Not having seen Concussion, I can’t speak much for the upcoming re-team, but I like the idea of Will Smith taking equal measure fun popcorn movies and serious artful films, and I think especially coming off the zaniness that will likely flourish from Bad Boys For Life, this is a solid move, and one that he’s smart to take. Reviews for generally good from Concussion, and if he enjoyed the work, then all the better.

The question that now gets raised is who else will fill the roles of The Council? There were several members at the top of the organization, and it’ll be interesting to see who joins the project next.

So what do you think? Are you excited by the idea of The Council and is Will Smith the right choice for Nicky Barnes?

 

-Kyle A. Goethe

Aladdin (2019)

Director: Guy Ritchie

Cast: Will Smith, Mena Massoud, Naomi Scott, Marwan Kanzari, Navid Negahban, Nasim Pedrad, Billy Magnusson

Screenplay: John August, Guy Ritchie

128 mins. Rated PG for some action/peril.

 

I don’t think anyone needs a live-action version of our favorite Disney characters, but they’re just going to do it anyway, it might as well be good.

In this live-action retelling of the 90s Disney classic, Aladdin (Mena Massoud, Ordinary Days, Let’s Rap) is a street rat living in Agrabah who is rather effective at stealing and pick-pocketing as a means of survival. When he comes across Princess Jasmine (Naomi Scott, Power Rangers, The 33), masquerading as a royal handmaiden, on the streets of the city and in trouble in the marketplace, he helps her, and in the process becomes quite smitten. There’s a problem, though, because she can only marry a prince, and Aladdin is far from that life. Aladdin soon finds himself befriending a Genie (Will Smith, Bad Boys II, TV’s The Fresh Prince of Bel-Air) who can make his dreams come true and make him someone worthy of marrying the princess, but he must ensure that all these outer changes don’t change the person he is on the inside.

We all know the story of Aladdin, right? Well, there’s nothing major that’s structurally changed in this version, but what is changed is rather cool to see. The most drastic change is how the Genie is portrayed, and it’s done so in a manner which shows love to the late great Robin Williams without caricaturing him. Will Smith brings something wholly unique to his portrayal, which works very well in this interpretation. Much like Williams referencing his own work and getting meta, there’s a 90s Fresh Prince vibe to a lot of the humor that Smith brings to his version of the Genie. The toughest thing is to separate the two incarnations, and that’s where Smith is the most successful. I wasn’t comparing these Genies at all while watching because I was so invested in his interpretation. It’s a good thing that Smith did not take the role of Holt Farrier in the new Dumbo film, a role filled by the more-fitting Colin Farrell, because the Genie suits him so well.

Mena Massoud is not a household name, but he was a perfect choice for Aladdin, one of the reasons being because he isn’t a household name yet. He had that Aladdin charm and comedy, but he was able to play to the character’s emotional arc quite well. It’s funny, because I was wondering how some of these live-action interpretations could get over the idea of falling in love with someone you just met a day earlier, but Massoud’s emotions are on his face the whole time, and his chemistry with Naomi Scott is solid.

There’s a few new layers in the film for the character of Jasmine. It’s a more feminist look at the beloved character, and in the past few years, as Disney has been refocusing their princesses away from the idea that they need a prince or love or a man to make them happy, it works quite well. I’m not sure of its historical accuracy, but there’s a talking magic genie, so there you have it. I really like the new character arc for Jasmine, but I wasn’t a big fan of the new song, Speechless. The song itself is fine, but it doesn’t sound like the rest of the music in the film, and it’s obvious that it was written by other artists. It’s a good song, but it doesn’t mesh with the film, and it doesn’t really fit.

Director Guy Ritchie (Sherlock Holmes, King Arthur: Legend of the Sword) seemed on the surface like an odd choice for Aladdin, but I read something he had said about Aladdin being the character he identified with most at a younger age. Ritchie is known for his fringe heroes, the ones who do not so great things but do them for the right reasons. The pick-pocketing street hustler character of Aladdin does fit him rather well, and this film is a good melding of his style with the Disney-branded wide appeal. There are times we see the Guy Ritchie slow-motion shot and the times we do work really well. The movie feels very collaborative in the best of ways.

Ritchie’s style fits with this new version of Jafar, played in the film by Marwan Kanzari (What Happened to Monday, The Angel). Dubbed Hot Jafar, Kanzari’s version of Jafar works right into Ritchie’s vision. He’s less a menacing, beard-twiddling evil and more of simpler, tighter version of a character, boiled down to his essence, a con man. He’s manipulating the system in order to become the Sultan. His menace lies both on the surface and under layers of cunning. His staff is a tool but he is nearly as good as changing people’s minds as the staff.

Navid Negahban (12 Strong, American Assassin) plays the Sultan, and this is another change that works better for the medium of live-action. The bumbling almost comic-relief Sultan of the animated film works very well for that version, but Negahban is a Sultan concerned with changing the laws of his land, and he is conflicted by his love for his daughter and his duty to tradition. A problem with eliminating his silliness is that it was given to another character in the film, Prince Anders (Billy Magnusson, Into the Woods, Velvet Buzzsaw), a worthless added fool that does little to add anything of substance to the narrative. Negahban’s character works, Magnusson’s flat-out does not.

Aladdin feels at times, especially early in the film, that it’s going too fast. There’s a jumbling to the early parts of the story that makes everything feel so rushed, but once the Genie is introduced, the film slows down significantly, and that’s where the story really opens up and breathes.

Aladdin is imperfect, but it is fun. It’s an enjoyably nostalgic ride through the Disney classic that isn’t overly-beholden to it. That’s when it works. Disney has ridden this line of how much they want their live-action retellings to carbon copy the animated film and how much they want to strike a new path. Aladdin isn’t always as successful as, say, a Cinderella or The Jungle Book, but it cannot be faulted for its lovely color-palette and visually striking storytelling or its fast-paced and fun action set pieces. I had a lot of fun with the flawed Aladdin. I think you will too.

 

3.5/5

-Kyle A. Goethe

[Box Office Report] Aladdin Grants a Memorial Day Wish for Earnings

Memorial Day weekend just ended here in the United States, and the four-day box office earnings have come out, and it looks like Disney’s newest live-action redo Aladdin has unsurprisingly taken the top spot with $112.7 million, but what is surprising is how much it made this weekend, even with trailer criticism and rumors of problems on set surfaced for months leading up to its release. The film initially garnered good reviews from critics which have somewhat middled-out since its premiere. The $112.7 was not enough to unseat Disney’s own Memorial Day weekend record of $139 million with Pirates of the Caribbean: At World’s End. It looks like people are willing to give Disney a chance on Aladdin. I personally thought the trailers looked fun, and I wasn’t going to give into trolls and critics on Will Smith’s take on the Genie because it is unfair to compare him to the late great Robin Williams and his classic vocal performance.

John Wick: Chapter 3 – Parabellum held onto #2 this weekend with $31 million. The dropoff wasn’t terrible for the Keanu Reeves action film which is celebrating its best box office run in the series still. John Wick 4 has already been officially greenlit and will open in theaters in 2021, so don’t be too concerned for the John Wick franchise. This newest installment boasts some of the most intense and gripping action ever put to film, even if the story isn’t as strong as the original’s.

Avengers: Endgame took third place this weekend with $22.3 million. The long-awaited end to the Infinity Saga edges ever closer to Avatar’s worldwide record gross, but I doubt it will have the legs to make it past the James Cameron-directed sci-fi epic. The only factor still at play for the MCU’s latest is a possible bump when Spider-Man: Far From Home drops, but will it be enough?

In fourth this weekend is Pokemon: Detective Pikachu with $17 million. I was still hoping that the first live-action Pokemon film would have performed better, but give the hesitancy to see video game movies and the juggernaut of Endgame, I think the studio should still be proud of Detective Pikachu’s run. You also have to remember that Detective Pikachu was a popular game in Japan, but I’m pretty sure it didn’t even hit stateside until 2018.

The horror-film take on the superhero myth, Brightburn, opened in fifth place this weekend with $9.5 million, below forecast. Both this film and Booksmart took in less-than-stellar hauls, but I think timing on release was a problematic factor. There’s just too much out there right now and people made decisions with their dollars.

This weekend, I didn’t get a chance to nab any of the new releases mentioned here. I was only able to catch the somewhat wider release for the Ralph Fiennes-directed The White Crow. What did you see this weekend? Did you pick with your dollars? Let me know/Drop a comment below!

 

-Kyle A. Goethe

The Suicide Squad Losing Will Smith?

The DCEU has been having a rough go of keeping their stars. Now with confirmation of Ben Affleck’s official exit as Batman and Henry Cavill in an on-again-off-again return status as the Man of Steel, Variety is reporting that Will Smith, who played Deadshot in Suicide Squad back in 2016, may not be returning as the infamous DC assassin and villain.

It should be noted that this has not been confirmed, so we will judge this as a rumor for now, but their sources say that the split was amicable.

It’s been discussed quite extensively that James Gunn, recently fired by Marvel/Disney only to be taken on for the new installment, is planning on shaking up the team and rebooting this portion of the DC Universe with the new film, so it was a bit up in the air who, if anyone, would be returning to the franchise this next time around.

If this is indeed true, I will be saddened but hopeful that we will see Smith return in some form in the future. Smith and Margot Robbie were the two best characters in Suicide Squad, so losing him is tough. That being said, in James Gunn I trust, at least as far as making kick-ass movies goes.

The DCEU is gaining steam following the success of Wonder Woman and Aquaman, and the future is looking brighter as long as they can keep some stars attached.

So what do you think? Are you sad to lose Will Smith or are you thinking Good Riddance? Let me know/Drop a comment below!

 

-Kyle A. Goethe

Suicide Squad (2016)

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Director: David Ayer

Cast: Will Smith, Jared Leto, Margot Robbie, Joel Kinnaman, Viola Davis, Jai Courtney, Jay Hernandez, Adewale Akinnuoye-Agbaje, Ike Barinholtz, Scott Eastwood, Cara Delevigne

Screenplay: David Ayer

123 mins. Rated PG-13 for sequences of violence and action throughout, disturbing behavior, suggestive content and language.

 

I’m not the first person to say that the DCEU has had a rough time of it trying to build a shared universe of films. After Green Lantern failed to ignite the franchise, Man of Steel hit with mixed reviews, and Batman v Superman: Dawn of Justice got destroyed by fans and critics alike. Then, Suicide Squad was released to…drumroll, please…negative reviews. It hasn’t been easy for DC. Now, it took me some time to get to Suicide Squad just out of pure frustration with the film but I had some interesting views on it.

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After the death of Superman, Amanda Waller (Viola Davis, TV’s How to Get Away With Murder, The Help), an intelligence operative, puts forth a plan to assemble a team, Task Force X, led by Rick Flag (Joel Kinnaman, TV’s The Killing, Child 44). When Flag’s girlfriend June Moone (Cara Delevigne, Paper Towns, Pan) is overtaken by a supernatural evil entity called The Enchantress who wishes to unleash a hellish future upon the Earth, Task Force X is called to action to stop her. The team, consisting of Deadshot (Will Smith, Men in Black, Concussion), Harley Quinn (Margot Robbie, The Wolf of Wall Street, The Legend of Tarzan), and other criminals imprisoned at Belle Reve Prison, assemble to save the day…and plan their escape.

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I was extremely hesitant to the idea that Will Smith was the central focus of all the members of the Suicide Squad. I didn’t like the idea of the entire movie forming around Smith, who hasn’t been able to carry an action film in some time. After seeing the performance, I take it back. Will Smith’s Deadshot is the most accessible character, a man doing bad things for the best intentions. His arc is one of the more interesting and successfully engaging in the film.

As for Harley Quinn, Margot Robbie owns the scenes that feature her. Robbie’s was one of the more anticipated for the film and another extremely workable and engaging performance. As for her relationship with The Joker (Jared Leto, Requiem for a Dream, Dallas Buyers Club), it isn’t one that people should pine for. Everyone seems to think that Harley Quinn is a strong empowered woman when really, she is the furthest from, at least in this film. Harley Quinn is broken, insisting that she belongs to The Joker, her Puddin’, and that she would do anything for him. The Joker’s master manipulation is what turned her into what she is: an obedient, sexually exploited, pet. Now, an interesting character indeed, but nothing that women should look to for empowerment.

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Let’s talk about The Joker while we are here, and one of the major problems of the film. Now, I must say that Jared Leto is absolutely amazing in the film, and for the time we see him, I left wanting more, and there’s a reason for that. Leto’s performance takes mere hints from Heath Ledger’s The Dark Knight portrayal and Jack Nicholson’s Batman incarnation, as well as Cesar Romero’s Batman: The Movie from the 1960s. But Leto took a step further, going full method. Stories from the set of dead pigs being shipped as gifts are only scraping the surface of where he takes the character. So what’s not to like? The major problem with The Joker in the movie? He isn’t in it. He barely appears, which would be fine, but the fact that he was cut mostly from the film is a slap in the face to the great work Leto provides. Jared Leto created enemies on set with his batshit work, and there’s nothing to show for it. And it isn’t just him. The entire film suffers in the same way that Batman v Superman does. It feels like a collection of great scenes that don’t fit together. You get the sense that Suicide Squad was gutted even before hearing it confirmed.

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The rest of Task Force X? There is some pretty solid work from Jai Courtney (Divergent, Terminator Genisys) as Captain Boomerang and Adelwale Akinnuoye-Agbaje (G.I. Joe: The Rise of Cobra, Trumbo) as Killer Croc (another horribly slashed character who just isn’t given enough to do). Jay Hernandez (Hostel, Bad Moms) does the best he can, but his character just isn’t that well written.

Lastly, we touch on The Enchantress. Cara Delevigne does the best she can, but her villain has no motivation. I spent half the movie just trying to figure out what damn machine she is building, what she is trying to accomplish, and exactly what her minions were. They kind of looked like poop demons covered in hot tar and became mindless drones.

Something very fascinating that the DCEU is attempting to do with this shared universe is how connected it is. Batman v Superman is a direct sequel to Man of Steel, and Suicide Squad inciting incident revolves around a key moment from BvS. I enjoy that each film heavily influences the others.

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The tone of Suicide Squad isn’t perfect, but the film is a lot of fun to watch, which makes up for a lot of the shortcomings around it. I enjoyed it for the most part, but I cannot deny the glaring issues in pacing, editing, and writing that stared me in the face the entire time. For me, however, at least the DCEU is going in the right direction. I found myself liking BvS more than Man of Steel, and Suicide Squad was an increase in quality as well. Issues, yes, there are plenty, but Wonder Woman looks poised to take the quality a further notch up the scale, so overall, at least Suicide Squad was fun. Right?

 

2.5/5

-Kyle A. Goethe

 

 

#SpoilerAlert: did anyone else see Harley Quinn’s rap sheet at the beginning says she assisted in the death of Robin? What was that all about?

 

 

For my review of Zack Snyder’s Man of Steel, click here.

For my review of Zack Snyder’s Batman v Superman: Dawn of Justice, click here.

Focus (2015)

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Director: Glenn Ficarra, John Requa

Cast: Will Smith, Margot Robbie

Screenplay: Glenn Ficarra, John Requa

104 mins. Rated R for language, some sexual content and brief violence.

 

I’m kind of done with Will Smith (Men in Black, Winter’s Tale). In recent years, he hasn’t given me much to cling to in terms of exciting projects. Granted, I’m very excited for his upcoming role in Suicide Squad, but to be honest, there haven’t been many great new projects for the actor, though he still ranks much higher than his son. As far as Focus went, I saw some initial possibilities for greatness, especially pairing Smith with Margot Robbie (The Wolf of Wall Street, Z for Zachariah), who will also be joining Smith in Suicide Squad. Well, that excitement lulled rather quickly after the film started.

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Focus is the story of Nicky (Smith), an incredibly fast-footed con man, and his mentorship and relationship with Jess (Robbie), a fledging con artist in the making. As he teaches Jess, he becomes more and more involved with her until the lines between the con and the attraction blur too much for comfort and Nicky must decide what he wants more.

Focus comes from writer/directors Glenn Ficarra and John Requa (I Love You, Phillip Morris), but the film is nothing like what I expected. First of all, if this plot was cheese, it would be Swiss with all the holes I found. The story breaks its own rules almost from the moment the story begins. Nicky breaks his own code so easily that it made me wonder what caused him to create it in the first place.

But none of the plot holes would have even matter if the film wasn’t so damn boring. Seriously, I couldn’t keep my eyes open for this terribly disappointing slow moving dredge of a story. I couldn’t have cared less for the characters who made decisions willy-nilly because they weren’t even interesting characters.

And then there’s the ending. No spoilers here, but seriously, that ending is one of the dumbest I have ever witnessed. I kept thinking it was going somewhere and then it didn’t. It was so sad an attempt to cash in on shock value that it pulled me right out of the film.

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Focus lost me very early on. I couldn’t decide what was worse: the plot or the pace at which it sauntered along. Keep your money for better choices. Focus is nothing but a con trying to take your cash.

 

1.5/5

-Kyle A. Goethe

 

 

So what did you think of Focus? Did you get the mark or were you conned? Let me know!

Suicide Squad has an On-Set Therapist and apparently really good marketing!

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In Suicide Squad, the third film of the DC Cinematic Universe, director David Ayer is focused on dark realism, but has he gone too far, or is this a great marketing tool?

According to an article by E! Online, actor Adam Beach was asked about how dark the film would be and he answered that a friend of Ayer’s, a sort-of life coach, is on set to ensure that these performers, some of whom are known for going method, do not take their work home.

There is a story about actor Jared Leto sending a rat to Margot Robbie, bullets to Will Smith, and a hog to the rest of the cast, informing them that he was going deep into his role as the Joker. I’m thinking this may be involved in the reasoning to choose a life coach to spend time with the cast.

On the other side of this conversation is my belief that this is just more viral marketing for this film. I don’t believe for a second that Warner Bros. would let Ayer get his cast that deep and I also don’t think that the DC Cinematic Universe is going to head that dark. I remember hearing that the rules of the DC films are more action, more serious (why so serious?), and no jokes, but this is getting ridiculous.

My train of thought furthers itself to the belief that this story could blow up in their faces. We live in a day where everyone gets offended about everything. What happens when fans realize that this is somehow linked to Heath Ledger’s performance as the Joker in The Dark Knight? And then what happens if they realize that the story is bullshit fabricated to sell tickets? I don’t think this story has a good ending for the marketing team.

What do you think? Do you believe this story? Do you think it is a good idea to have an on-set therapist? Do you think the film should go that dark? Let me know.

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Suicide Squad opens August 5th, 2016.

 

-Kyle A. Goethe

 

[Happy 20th Birthday!] Bad Boys (1995)

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Director: Michael Bay

Cast: Martin Lawrence, Will Smith, Tea Leoni, Tcheky Karyo, Theresa Randle, Joe Pantoliano

Screenplay: Michael Barrie, Jim Mulholland, Doug Richardson

118 mins. Rated R for intense violent action and pervasive strong language.

 

I just watched Bad Boys for the second time. The first viewing I had was sometime after the sequel, Bad Boys II, was released. I was upset I hadn’t seen the original film and therefore could not witness the explosive spectacle of a film, so I changed that. I watched it. I somehow remember the film being…how do I put it, less terrible?

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Bad Boys is a buddy cop film about partners Marcus Burnett (Martin Lawrence, TV’s Partners, Big Momma’s House) and Mike Lowry (Will Smith, Men in Black, Focus). Burnett is a married man with a couple kids who dreams of less complicated days. Lowry is a newly rich single man who likes to get down and dirty with the ladies. When one of Lowry’s special ones is shot down in a hail of gunfire, her friend Julie (Tea Leoni, TV’s Madam Secretary, Deep Impact) goes to Lowry for help. She ends up believing that Burnett is Lowry and seeking out protection from him. As the two cops play some stupid version of Trading Places, there is also a bad guy doing…something. This is Bad Boys.

Bad Boys is the feature film debut of director Michael Bay (Transformers, Pain & Gain), and it also gives some of his less-awful work, though he still valued explosions over character development (what develops a character more than almost dying constantly, right?).

The two leads have enough chemistry to really build a franchise akin to Lethal Weapon and Beverly Hills Cop, but the script merely bastardizes the two series by ripping them off too much instead of forging a new path for itself, and the mistaken identity Freaky Friday conceit that envelops the film falls flat almost instantly and is drug along for the entire film’s runtime instead of abandoned early on like it should have been.

The villain Fouchet (Tcheky Karyo, TV’s The Missing, The Patriot) is a cardboard cutout with little memorable features. I just watched it and I can’t even really recall his purpose. He is neither fleshed out enough to feel real of sinister enough to be terrifying.

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Michael Bay’s Bad Boys is a bad film. I feel like Lawrence and Smith could play with their buddy cop relationship well if only the script was serviceable enough to give them room to play. For the most part, their talent is completely wasted and overshadowed by the “Things Blowing Up” route Bay’s directing takes them.

 

1.5/5

-Kyle A. Goethe

 

For my review of Michael Bay’s Transformers, click here.

For my review of Michael Bay’s Transformers: Revenge of the Fallen, click here.

For my review of Michael Bay’s Transformers: Dark of the Moon, click here.

For my review of Michael Bay’s Transformers: Age of Extinction, click here.

Independence Day (1996)

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Director: Roland Emmerich

Cast: Will Smith, Bill Pullman, Jeff Goldblum, Mary McDonnell, Judd Hirsch, Maragert Colin, Randy Quaid, Robert Loggia, James Rebhorn, Harvey Fierstein

Screenplay: Dean Devlin, Roland Emmerich

145 mins. Rated PG-13 for sci-fi destruction and violence.

  • Academy Award Winner: Best Effects, Visual Effects
  • Academy Award Nominee: Best Sound

In the annals of film history, it would be a tough time attempting to find a movie that depicts the destruction of all mankind better than Independence Day from director Roland Emmerich (The Day After Tomorrow, White House Down).

On July 2nd, the world discovers that we are not alone in the universe as massive spaceships make their way to every major city. Captain Steven Hiller (Will Smith, Men in Black, Focus) has to cancel his 4th of July plans and head back to base. President Thomas Whitmore (Bill Pullman, Lost Highway, The Equalizer) has to deal with the floods of looting and scared citizens while also trying to reunite with the First Lady (Mary McDonnell, TV’s Major Crimes, Donnie Darko). David (Jeff Goldblum, Jurassic Park, Mortdecai) has figured out a pattern in the signals of the alien ships, and thinks he is seeing a countdown to something big. As the world is cripple in fear of the alien menace, mankind is about to re-earn their independence.

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Independence Day is one of those movies that seems perfect when at first glance, but after multiple viewings, the plot-holes become more apparent. There are severe issues with this plot, but the film is still a culty pleasure (see what I did there?).

The performances from our stars (Smith, Pullman, Goldblum) are all serviceable to keep the hype up throughout the action set pieces. The only issue with the characters portrayed is that they aren’t written to experience catharsis. Their “catharsis” is only due to the impending death of the human race. Goldblum’s David is my personal favorite as the man who has tremendous potential but chooses to waste it. His character represents an interesting dilemma: should a man use his full potential even if he likes things the way they are? Hmmm. James Rebhorn (Scent of a Woman, The Game) also turns in some fine work as Albert Nimzki, who has specific thoughts and secrets which make President Whitmore’s decisions all the more difficult.

The cinematography focuses a lot on spectacle. It is meant to show us just how screwed we are, and it works well enough.

The score is another important piece of this puzzle, something haunting and rhythmic while empowering the American ideals of freedom and military superiority.

There are some great uses of miniature work in Independence Day. Some of the explosions do seem extremely dated, but the grandiose visual effects were well worth the Oscar win.

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Independence Day is returning to the big screens soon with a sequel (perhaps two). As far as the first film goes, Independence Day is a lot of fun. Not a particularly great film, but a classic nonetheless.

4/5

-Kyle A. Goethe

For my review of Roland Emmerich’s 2012, click here.

Liam Hemsworth is the New Will Smith in Independence Day Sequel?!?

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So the news has been circling that Liam Hemsworth, known for The Hunger Games and The Expendables 2 as well as being brother to Thor, has been offered a leading role in the sequel to Independence Day, tentatively titled ID Forever. The film, also featuring Jeff Goldblum and Bill Pullman returning for the sequel, would feature Hemsworth in the role originally created for Will Smith, who has since discussed no interest in returning. I personally don’t mind Smith not returning, but I hate it when a character just gets turned into another by slapping a new name and rewriting a backstory. The idea of Liam Hemsworth playing Will Smith but not playing Will Smith disturbs me.

So what do you think? Should Liam Hemsworth be the new Will Smith? Should the film be made at all? Let me know.

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