It’s time for the year end accolades. Check out EW’s awards for the best in movies below!
Scariest Pregnancy Since Rosemary’s Baby
Noomi Rapace in Prometheus
The Amazing Spider-Man 2 has its Harry Osborn.
Director Marc Webb, who is putting together plans for the follow-up to this summer’s web-slinging reboot, just announced via Twitter that he has chosen Dane DeHaan — best known as the power-mad teenager in Chronicle — as Peter Parker’s pal (and the son of Green Goblin) Harry Osborn.
We’re officially halfway through 2012, and if you’re an obsessive box-office junkie like me, that means it’s time to reflect back on the past six months at the movies and give credit to some of the best box-office performances. (Theoretically, it’s also time to think back to box-office disasters like Battleship, John Carter, and That’s My Boy, but we’ll save that for another time…)
There have been loads of strong performers with sensible budgets, so it was difficult to whittle down the slate (sorry, Safe House and Contraband, you were thisclose to making the cut!), but whittle I did. Thus, here is my totally-up-for-debate list of the 15 Most Impressive* Box Office Performances of 2012… so far. READ FULL STORY
According to the Hollywood calendar, the summer blockbuster season never really ends. Instead, one derivation of summer fades into another one, with a neverending string of action movies starring sad-eyed meatheads and 3-D cartoons featuring characters who will someday star in a nostalgia-baiting Super Bowl commercial.
Fortunately, we’re moving out of Bargain Summer — when franchise dreck like Underworld and Journey 2: The Myst2rious Isl2nd own theaters — into the season which you could call Junior Varsity Summer, when Hollywood releases films that aren’t quite big enough for summer, but by gum, they’ll try their best. Most of these movies are bad, but who says bad movies can’t be interesting? That’s why the most important movie to see in theaters this weekend is: READ FULL STORY
A couple of years ago, I was asked, for a feature page in EW, to list my choice for the five most influential movies of the last 20 years. A few of them were no-brainers — you could write a book on the revolution set off by Pulp Fiction — but I spent some time pondering whether I wanted to include The Blair Witch Project. That it was a famously innovative and impactful movie no one could argue; overnight, it had invented the “found footage” genre and made it iconic. A number of films had been influenced by it — most obviously, the Paranormal Activity movies, which proved that the mega-success of Blair Witch was no fluke. With that in mind, I decided to add The Blair Witch Project to the list, but I confess I was flying on a whim of intuition. My choice, in this case, was highly speculative. I even said that the full impact of Blair Witch on film history had yet to be felt. For the truth was that even though the found-footage genre still had some obvious life to it (more Paranormal Activity sequels! More scuzzy Exorcist knockoffs!), you could make a good case that its heyday was behind it, that it was now running on fumes. Because, really, how much more juice could be squeezed out of this gimmick? I hailed Blair Witch as “influential,” but my secret suspicion was that its influence had already peaked. READ FULL STORY
In Chronicle, the low-budget sci-fi sleeper hit about three high school dudes who suddenly find themselves blessed (or is it cursed?) with telekinetic powers, Andrew (Dane DeHaan), the most troubled and supernaturally gifted of the three, waves his hand, and a line of police cars shoot backwards as if hit by a tsunami. A baseball hovers in the air, human bodies fly up into the clouds, and a shopping cart rolls through a convenience store as if it had a mind of its own. Pringles potato chips and playing cards go flying. If any, or all, of these events strike you as the sort of routine cinematic wonders that you could easily behold in just about any fantasy film, from X-Men VIII: Superfreaks and Geeks to one made 30 or 40 years ago…well, you’d be right. Yet every time something out of the ordinary happens in Chronicle, it feels freshly minted and kind of awesome. For once (or, at least, for the first time in a long while), a movie’s special effects truly are…special. READ FULL STORY
Chronicle, an audacious “found footage” thriller about three teenage boys who obtain super powers, hits theaters on Friday, and the high-flying film is already generating a whole lot of buzz. The cinematic adventure is supposedly shot by the main characters, primarily the dejected outcast Andrew, played by Dane DeHaan. Because the three guys are all proficient in telekinesis (the ability to move objects with your mind), though, they can simply make the camera “float” alongside them. Thus, Chronicle isn’t filled with shaky handheld camera work, but sweeping, steady overhead shots that capture all the action. It’s all very fascinating at first — whoa, a hovering camera is just following them around! — and then you sort of just forget you’re even watching a “found footage” movie at all.
Actually, the experience of watching Chronicle was somewhat similar to the experience of watching ABC’s Modern Family — although, obviously, not in tone. But the question remains: If the footage was supposedly “found,” then why was it being filmed in the first place? READ FULL STORY