“I’ll leave you alone forever now”
Fans getting a look at the awkward fun of Scott Pilgrim (Michael Cera) and Ramona Flowers (Mary Elizabeth Winstead)
Santa Ana’s Frida Cinema hosted a full house this weekend for the modern cult classic, Scott Pilgrim vs. the World. Directed by Baby Driver filmmaker, Edgar Wright, the film stands the test of time and is still as popular today as ever.
This is the fifth screening event for Scott Pilgrim vs the World at the Frida Cinema.
Both showings sold out, prompting the venue to add an additional late show on the roster to handle the increasing demand from the film’s fan base. Their fourth year hosting the event, local group CinemAttack thrilled the audience with a fully interactive version of the film that included a cosplay contest, sing-alongs, free garlic bread, fog, and a laser show.
Fans get a chance to shout out their favorite lines from the movie, including the sad realization that bread makes you fat.Plenty of music and sing a long lyrics provide a fun way to be a part of the movie.Fans gather for a fun cosplay contest that featured prizes and bragging rights.
If that isn’t enough for you, the nostalgia factor kicks it into high gear with vintage music videos, Nintendo Entertainment System ads, and other hand picked trailers that make you feel like you’re back in the golden era of Duck Hunt and Super Mario.
It’s quickly becoming a SoCal tradition that continues to sale out time and again.
The group also hosts other throwback screenings and film tributes that include Wayne’s World, The Teenage Mutant Ninja Turtles Movie, and Edward Scissorhands. Each event is treated with a level of care and flair that leaves you coming back for more.
Even if Scott Pilgrim and TMNT is not your thing, the Frida hosts their own classic films and events throughout the year. This includes a diverse roster like Batman Returns, The Treasure of the Sierra Madre, and the Rocky Horror Picture Show. The Bad Batch is currently playing, with the critically acclaimed Seven Samurai to follow on July 22nd. Tickets are available on their website for only $7. The movie house is a non-profit and focuses on a huge array of wonderful films for all ages. The venue also promotes house rentals, which makes fun events like Scott Pilgrim possible.
The Friday has a vast array of film offerings from vintage to modern day cult classics.
If you’d like to have some fun with fellow nerds and hardcore moviegoers, keep an eye out for more from CinemAttack and the Frida Cinema. They are bound to bring out some exciting surprises in the future. Just make sure to power up and grab your Coke Zero. They will have the garlic bread waiting for you!
Bullets. Blood. Crime. Car Chases. Romance. Music. Those are the things that really drive Edgar Wright’s newest film, Baby Driver, a magnificent punk rock musical fantasy set in the seedy underbelly of Atlanta, Georgia. A throwback to cinema’s older crime thrillers, Edgar Wright has crafted a film that quite unlike anything you’ve ever seen, while still feeling familiar. But as one can expect from an Edgar Wright film, nothing is quite as it seems, making the film unpredictable, exciting, fresh, and fun.
Ansel Elgort plays Baby, a getaway driver with a particular set of driving skills that makes him the best at what he does. Working for a Kingpin only known as Doc (Kevin Spacey), Baby drives whenever Doc asks, but the life of crime is starting to wear down on him. When Baby meets the girl of his dreams, Debora (Lily James), he sees it as a chance to turn his back on his life of crime, go straight, and drive off into the sunset with her. The only question is, will his life of crime let him go without a fight, or is Baby in too deep? With a heart of gold and nothing to lose, Baby sets out to break free of Doc and his gang, but nothing is ever as easy as it seems, and the past is never as easy to turn your back on as one might hope.
While crime films are dime a dozen, Edgar Wright made sure that Baby Driver is distinguishable from the pack in just about every way. The film is more of a fairy tale/fantasy tale set in the underworld of Atlanta, giving it an almost otherworldly vibe. It looks like our world, but it doesn’t quite feel like our world, which gives the movie credence in many of its most outlandish moments. That heightened reality gives the world its own rules, so as over the top or exaggerated as something may seem, it works here. That also makes the way that music is woven into the film that much more incredible, as many of the scenes are set to the music that Baby is listening to. So every beat is a gun shot, an edit, or an action of some sort that inline with the music. It’s one of the most musically inclined films ever made, with every scene hinging on how it works with the song at hand, making it as much a musical as it is a crime drama.
The above plays into the fairy tale aspect of the film as well, which faces its hero at improbable odds, only for the hope of a happy ending. Baby is the prince, Deborah his princess, with Doc as the all-knowing Wizard who may not be all he seems, and Doc’s crew members are the goblins that Baby must face. It’s almost incredibly how tightly woven this story is into the fantasy genre, making it all the more impressive that Wright was able to pull it off with such precision. This fantasy world is Wright’s to play in, and he’s clearly having a blast creating this heightened version of our every day world, and opening it up in the way he has. This is a fantasy/adventure/musical like you’ve never seen before, and Wright knows that, and he’s intent on delivering in spades.
It also helps that Baby Driver has what may be one of the most likable casts in any film in some time. Ansel Elgort absolutely crushes his role of Baby, proving that he’s leading man material, and a great actor to boot. While many will recognize him from The Fault in Our Stars, where he was quite good, this film really pushes him in a new way, giving him the chance to really shine. He’s a man of few words, making him a bit more Clint Eastwood than the John Wayne, but rightfully so. It gives Elgort the chance to really show how he can act with little dialogue, using his body language and facial ticks to really make us get behind Baby, and proving to the audience he’s got a heart of gold. His relationship with Debora, played wonderfully by Lily James, feels natural, playful, and sweet. You’re rooting for these two to get together, with Baby saving Debora from the clutches of her diner life, and Debora freeing Baby from his life as the driver. The two just have a very real, natural chemistry, and they’re a big key to this film’s success.
Kevin Spacey is, unsurprisingly, a scene stealer throughout as Doc, the no-nonsense Kingpin who controls Baby, and all aspects of his operation. It’s a really great performance, and you can’t help but like Doc, even though he’s trapped Baby in this world. But the cast of characters around Doc are really something special as well. Jon Hamm, Eiza González, Jamie Foxx, Jon Bernthal, and Flea all play some crazy, over the top, sleazy villains who all have their own motives throughout, making each a wildcard. Foxx and Hamm especially get a lot of time to shine, with their characters of Bats and Buddy being the two who push Baby the most in the film. Once upon a time, Hamm would have been a leading man, but honestly, it’s almost better that he’s fallen into the world of the character actor. It’s given him a chance to really stand out and steal the films he’s in, and Wright gives him a lot to work with here, giving him one of the most memorable characters in the film.
Every bit of Baby Driver feels fresh and new, and that even comes down to the action. As mentioned before, the film is driven by its soundtrack, which gives the action scenes a whole different feel than anything you’ve quite seen before. The way the music is intercut with the action beats is just incredible, and Wright has crafted some truly fun and inventive set pieces to really let this film soar to new heights. Each frame feels like a shot out of a musical, and the scenes are perfectly timed and choreographed, giving the audience something unique every time. The music also really shapes the scenes in the way that the tension builds, with a song called “Intermission”, by Blur, being one of the most exciting uses of music in the entire film. The way it’s used to escalate the scene is absolutely enthralling, making the audience feel anxious, unsettled, but excited all at once. It’s quite the hat trick, but Wright pulls it off without a hitch.
Baby Driver is, by no exaggeration, unlike like anything you’ve seen before, and that’s what makes it such an incredible experience. Packed with action, suspense, a magnificent cast, and a helluva soundtrack, Baby Driver is truly fantastic. In a year full of disappointing films, Edgar Wright has delivered not only one of the best films, but he’s given audiences one of the most original and enduring as well. Movies like this remind moviegoers of the magic and power of cinema, sweeping them away into a fantasy world full of heroes and villains, taking them on an adventure they won’t forget. There’s no doubt that Baby Driver will be one of the most talked about films by the year’s end, and rightfully so. This is a one of a kind film that will stay with you long after you’ve walked out of the theater.
One of the most anticipated projects in recent Los Angeles history is finally complete. Last week, the new $1.2 billion Wilshire Grand Center mixed-use development opened for business and I can’t wait to explore the property and stay at the hotel portion.
Located on the former site of the historic Wilshire Grand hotel, which closed in 2011, the new 73-story tower stands 1,100 ft-tall, making it the new tallest structure in Downtown LA and west of the Mississippi River. It is about 82 ft taller than its neighbor and former tallest building in LA, the US Bank Tower. This height difference comes mainly from an iconic steel spire that sits atop the Wilshire Grand and stands 294-ft, 9-inches.
Destined to become a top entertainment / hospitality destination for the city, the new development includes a 900-room, luxury hotel that sits above 400,000 sq-ft of office space and more than 45,000 sq ft of retail.
The Wilshire Grand Center is LA’s new tallest building (photo courtesy of Wilshire Grand Center)
Other amenities include restaurants and bars, ballrooms, retail shops, and a 70th floor sky lobby. There is also below grade parking for 1,250 cars, along with stunning views from an observatory deck and a sky pool deck.
Vistas from hotel rooms and offices promise to be spectacular both day and night, with floor-to-ceiling glass, allowing the spaces to be filled with natural light. Project officials say this is the first significant building in Los Angeles to have this feature. From an external point of view, this plays well as the Wilshire Grand is literally surrounded by existing buildings that are composed of granite with inset windows. “This more glassy expression will portray the building as being “of our time,” a unique contrast to its neighbors,” say officials.
The hotel inside the Wilshire Grand tower is The InterContinental Los Angeles Downtown. It occupies floors 31 through 68, boasts 889 guest rooms, and is scheduled to open July 2.
The 73-story project, which has created an estimated 122,000 new jobs across the city, was Developed by Korean Air Lines Co., and built by Turner Construction Company, with Brandow & Johnston serving as the Structural Engineer of Record. A.C. Martin was in charge of the design.
Another interesting tidbit about this project is that Architect Chris Martin’s grandfather was the designer on another iconic LA structure – the 1928 City Hall building on Spring Street. I spoke to Martin a while back about the new building’s distinctive spire and he told me that the project is a “big deal because my grandfather did L.A. City Hall in the 1920s, and that is the only other building in the city that really has an architectural top. All the buildings in L.A. have flat, truncated tops, so this is going to stand out—and we want it to.”
Martin, whose cousin David Martin is the lead designer on the new hotel, says the spire and the entire exterior skin of the tower will be filled with programmable LED lighting, which will be seen throughout the city, and used to “artistically to give character to the building in light.”
The project team showcased this LED light system at the grand opening celebration on Friday, June 23, as they illuminated the entire building and much of Downtown Los Angeles with a dazzling array of lights accompanied by music.
The Wilshire Grand Center is located at 900 Wilshire Blvd, Los Angeles, CA 90017. For more information, visit: www.wilshiregrandcenter.com.
The Minions return in "Despicable Me 3." Illumination, who brought moviegoers "Despicable Me" and the biggest animated hits of 2013 and 2015, "Despicable Me 2" and "Minions," continues the story of Gru, Lucy, their adorable daughtersMargo, Edith and Agnesand the Minions as one former super-villain rediscovers just how good it feels to be bad.
There comes a point in time in every long-standing family franchise where those behind the scenes decide if they simply want to cash in on the property, or if they’re going to give it their all with a story worth telling. Unfortunately, many times these franchises end up feeling worn out early on, and the quality declines rapidly in favor or cheap laughs over story. Illumination Entertainment’s newest film, Despicable Me 3, the fourth film in the Despicable Me franchise, is the newest poster child for the trend mentioned above. The spark of imagination, character moments, and charm is all gone in this newest entry, instead becoming an overly vapid affair that’s more interested in cheap jokes over story, while also promoting the Illumination brand in many not so subtle ways.
Despicable Me 3 finds Gru (Steve Carrell), with his new wife Lucy (Kristen Wiig), working at the Anti-Villain League, trying to stop the world’s most villains. With Gru having turned a new leaf and taking care of a family, everything seems right with the world. But fate has other plans, and when a former child star turned villain, Balthazar Bratt (Trey Parker), emerges from the shadows, Gru’s world is turned upside down. Gru loses his job, only to discover that he has a long-lost twin brother, Dru (Steve Carrell in a dual role), who wants Gru to join the family business: villainy! Will Dru convince Gru to give up his life of family and love for a return to villainy? Will the Minions make it out of prison? Honestly, does anyone really care anymore?
That last part may sound a bit catty, but it’s an unfortunate question that must be asked concerning the matter at hand. While the first Despicable Me film offered great family entertainment and fun, Despicable Me 3 feels like a cheap imitation. There’s a lot of issues with the film, but one of the biggest is that the film seems to be overstuffed with storylines just for the sake of jokes, not an actual progression of character or story. From the minions going on strike, only to end up in prison, to Gru finding out about his long-lost brother, with Lucy trying to be a good mother, Agnes searching for a real a unicorn, and Margot getting engaged to some boy, there’s just no time for it all to work. Everything feels half-baked, giving the movie a strangely unfocused feel, as it meanders from scene to scene. There’s just very little connective tissue holding the film together because the movie is more interested in trying to make the audience laugh. The only problem is, if the audience isn’t invested, they won’t want to laugh, and instead they’ll be bored by the antics at hand.
Not only is the film overstuffed, but it’s also a film with an identity crisis. It’s hard to imagine a film like this being so scattershot in who it’s trying to entertain, that it rarely lands with any of the targeted demographics. But the reality is exactly that in this situation. The film’s main villain, Balthazar Bratt is a child star of the 1980s, whose show was cancelled, and now he wants to destroy Hollywood for it. His character has never left the 1980s, and so most of his gags center around things that this film’s target audience, children, won’t understand. It’s a weird choice that doesn’t make sense, which makes it all the more baffling that the film is so childish at times, it’ll leave adults groaning. There’s no real balance in the humor, so it’s wildly throwing things at the wall, hoping it’ll stick, which makes the experience feel overwhelming and frustrating.
It’s unfortunate that Despicable Me 3 goes for such cheap thrills instead of focusing on being a better film. But that’s not the film’s worst offense. Honestly, the worst thing in the film may be Illumination Entertainment’s blatant promotion of their own films within. A joke early on in the film has the Minions in a Sing competition show, a call back to their previous film, Sing!. The scene is fine, but it’s honestly so in your face, it’s hard to get past it. Not only that though, Margot spends most of the film wearing a Grinch t-shirt, which is Illumination blatantly promoting their next film, The Grinch, before it hits theaters next year. Easter eggs in films are one thing, it’s something Pixar does frequently in their films, but it’s another when the studio crosses the line into blatant self-advertisement. It may have been less obvious had the movie been better, but because it’s not, the bigger issues like this become increasingly apparent.
Despicable Me 3 is not a good movie. Not only is it not good, it feels like a boring retread of much better films. Family films do not need to be overly simplified cartoons that are made just to pass the time and free up parents from watching their kids for a few hours, but it honestly doesn’t feel like Illumination Entertainment has figured that out yet. There’s something to be said about a family films made for the whole family, and how increasingly rare they’ve become. It’s unfortunate that the Despicable Me franchise has wandered straight into throwing things at the wall just for cheap laughs, jettisoning story and character for the next joke that may not land. It would be great if one of these animated franchises could work hard to stay high quality, but when these movies make the amount of money they continue to do, it’s unfortunate that the lesson learned is do more of the same, not push to do new things. This is a truly disappointing turn of events for this series, and families deserve much better entertainment than this film is offering them.
Disney Parks announced that it will be replacing and updating the ‘Take a Wench for a Bride’ scene in its Pirates of the Caribbean rides. While the original concept of this scene is to be changed completely, the famous Red Head will be re-purposed as a pirate running an auction of looted goods.
This new scene will appear first at Disneyland Paris on July 24th with the reopening of the ride after its refurbishment. Disneyland and Magic Kingdoms adaptations will come following their routine refurbishment schedules in 2018.
Captain Barbossa, from the blockbuster films, will appear in the attraction for the first time, joining a skeletal crew in a scene unique to Disneyland Paris.
Disneyland Paris guests will also discover that the Blue Lagoon Restaurant has been taken over by pirates and will be called Captain Jack’s. It seems that Captain Jack won the restaurant in a wager and is now welcoming pirates of all ages to relax over a drink and hot meal. The interior of the restaurant has been re-themed and the establishment has been staffed with a fun-loving band of pirates.
How do you feel about these changes to a classic attraction in Disney Parks around the world?
Following the events of Captain America: Civil War, everyone’s favorite wall crawler is back, and he’s better than he’s been in a long time, in Spider-Man: Homecoming, Spider-Man’s first solo adventure in the Marvel Cinematic Universe. After an unprecedented deal between Sony Pictures and Marvel Studios, Spider-Man’s sixth solo film is a breath of fresh air not only for the MCU, but for the character as well. Spider-Man: Homecoming is the John Hughes high school film you didn’t know you needed in the superhero genre, and offers a street level side of the Marvel universe that’s usually left for the Netflix shows. Gone is the typical “end of the world” trope that’s become associated with much of the genre; Instead we’re treated to a movie about a teenager who tries to balance his life as a superhero with the every day battle of growing up in high school.
Tom Holland returns as Peter Parker in Spider-Man: Homecoming, after stealing much of Captain America: Civil War from the other heroes. After aiding in the airport battle in Germany, Peter is now back in New York City, feeling aimless, and wanting nothing more than to be an Avenger. But Tony Stark (Robert Downey, Jr.) wants Peter to keep his feet on the ground, and focus on trying to help the everyday people of New York City, not super villains. Intent on proving he’s a hero, Peter begins trying to bring down a ring of criminals, led by Adrian Toomes (Michael Keaton), who are selling weapons made of alien tech across New York City. Peter quickly learns that balancing the life of a superhero with his every day life isn’t easy, and being an Avenger is even harder, especially when you have a Spanish test in the morning.
The idea of a sixth Spider-Man film was always a gamble, especially a second rebooted take on the character in less than ten years. So everyone involved needed to make sure that whatever film they decided to make, it had to be special, and it needed to be different. Thankfully, Spider-Man:
Homecoming is a completely different take on the character. We’ve seen flashes of Peter’s time in high school in previous films, but director Jon Watts wisely decided that not only should the new film be set in high school, but it should become a primary focus of the film. By setting it within the confines of Peter’s sophomore year, we’re given a film that is part superhero film, and part John Hughes coming of age comedy. Thankfully, instead of feeling forced or disjointed, the two genres actually end up merging together very well, creating something fresh and exciting. While we’re used to seeing older superheroes, there’s something fun about seeing a teenager who wants to fight crime, but also needs to make sure he’s ready for his Spanish test in the morning. This offers viewers a new vantage point that we’ve yet to get in a superhero film, and it’s a very welcome change.
Many may be wondering if this is another retread of the Spider-Man origin, and thankfully, it’s not. How Peter became the hero known as Spider-Man is mentioned in passing a few times, but never focused on. The film assumes audiences already know Peter’s past, and wisely chooses to skip over that, and jump straight into a new adventure with the character. Holland is so incredibly charming and goofy as Peter Parker, really bringing the character to life in a way we haven’t seen on film. This truly feels like the most accurate representation of the character on the big screen, and Holland just owns every scene he’s in. His relationship with Aunt May, now played by Marisa Tomei, is once again a focal point, but they two share a really wonderful chemistry. The truth is, Holland is surrounded by a really talented cast that elevates his performance even more. In particular, it’s Jacob Batalon’s Ned who really steals the show throughout. Batalon is wonderfully geeky and a perfect right hand man for Holland’s Peter Parker. Ned is the audience’s eyes and ears into Peter’s world, which makes his fanboy reactions throughout about Spider-Man hugely entertaining.
But, this is a superhero film after all, which means it has to have action. Thankfully, it does, and many of the set pieces end up being an awful lot of fun. As mentioned before, it’s clear the team behind Spider-Man: Homecoming did something different with the film, and the action is no different. The battles are often fun, intense, and features quite a bit of, a staple of Spider-Man’s character. There are certainly nods to some of the previous films, but Watts was smart to try to move away from as many familiar elements as possible to avoid too much comparison. It’s really the film’s Washington, D.C., set piece that is the film’s true standout, and shows Peter in a heroic light without having to fight anyone or anything. This scene just oozes the kind of fun and charm that you expect from the character, while also offering something new in the way of set pieces for the MCU, as well as the character.
Unfortunately, Spider-Man: Homecoming does have a few hiccups along the way that stop it from really being a perfect film. As mentioned previous, Michael Keaton’s Vulture isn’t a terrible strong villain, but he does his job well enough in the film. It just would have been nice if he had gotten a bit more to do, because Keaton is so good, and I would have liked to see him get to do a bit more in the film. There’s also a few times in the film where it’s a bit hard to make out exactly what’s happening in the action sequences, but it never ruins the film. Still, the movie, even with these small problems, still ends up being so much fun, that you can forgive it for these minor quibbles. Also, for those worried that this film is essentially Iron Man 4, since Downey, Jr. returns as Iron Man, fear not, because that’s simply not the case. Stark’s inclusion in this film is actually incredibly well handled, and ends up being one of the film’s biggest bright spots. He never overshadows Peter, and instead enhances the overall story.
Spider-Man: Homecoming is an absolutely joy from beginning to end. Tom Holland leads the film with so much warmth and fun, you can’t help but get sucked in to the film. From the snappy dialogue, the action, or just the MCU easter eggs throughout, there’s something for everyone who watches the film. Packed with a great ensemble cast that really stands their own ground, it’s hard not to just grin from ear to ear throughout. Honestly, it’s great to have a truly fantastic Spider-Man film again. Welcome to the Marvel Cinematic Universe, Spider-Man, this is where you belong.
A record 32 musical acts will rev up the Eat to the Beat concert series during the 22nd Epcot International Food & Wine Festival Aug. 31-Nov. 13, 2017. Eleven new-to-the-festival bands, including Kenny G., Squeeze and 10,000 Maniacs, join 21fan-favorite musical acts for a diverse lineup of pop hit makers to rock America Gardens Theatre stage throughout the festival’s 75-day run. Other new acts to appear are: The Hooters, Baha Men, Lauren Alaina, Mark Wills, American Authors, Devon Allman, Postmodern Jukebox and Blue October. Guests also can tune into their favorite returning bands that will include festival opening act Delta Rae. Concerts take place at 5:30, 6:45 and 8 p.m. daily. The lineup (subject to change and included in Epcot admission) includes:
Aug. 31-Sept. 1 Delta Rae “Bottom of the River” Sept. 2-3 The Hooters NEW! “And We Danced” Sept. 4-5 Baha Men NEW! “Who Let the Dogs Out” Sept. 6-7 Fuel “Shimmer” Sept. 8-10 STARSHIP starring Mickey Thomas “We Built This City” Sept. 11-12 Lauren Alaina NEW! “Road Less Traveled” Sept. 13-15 Plain White T’s “Hey There Delilah” Sept. 16-17 Sister Hazel “All For You” Sept. 18-20 Air Supply “All Out of Love” Sept. 21-22 David Cook “Light On” Sept. 23-24 Everclear “Santa Monica” Sept. 25-27 Sugar Ray “Every Morning” Sept. 28-29 38 Special “Hold On Loosely” Sept. 30-Oct. 1 Mark Wills NEW! “19 Somethin’” Oct. 2-3 American Authors NEW! “Best Day of My Life” Oct. 4-5 Christopher Cross “Sailing” Oct. 6-8 Devon Allman NEW! “Ragged and Dirty” Oct. 9-11 Dennis DeYoung: The Music of STYX “Come Sail Away” Oct. 12-13 Taylor Dayne “Tell It to My Heart” Oct. 14-15 Jeffrey Osborne “On the Wings of Love” Oct. 16-17 Postmodern Jukebox NEW! Various Hits Oct. 18-20 10,000 Maniacs NEW! “Because the Night” Oct. 21-22 Toad The Wet Sprocket “Walk on the Ocean” Oct. 23-24 Kenny G NEW! “Songbird” Oct. 25-26 Billy Ocean “Get Outta My Dreams” Oct. 27-29 Tiffany “I Think We’re Alone Now” Oct. 30-Nov. 1 Hanson “MMMBop” Nov. 2-3 Blue October NEW! “Into the Ocean” Nov. 4-5 Living Colour “Cult of Personality” Nov. 6-8 Boyz II Men “End of the Road” Nov. 9-11 Big Bad Voodoo Daddy “Go Daddy-O” Nov. 12-13 Squeeze NEW! “Black Coffee in Bed” (Songs listed are for artist recognition only and may not be included in the concert play list) Festival-goers can book Eat to the Beat Dining Packages at 15 popular Epcot restaurants, guaranteeing a breakfast, lunch or dinner reservation and confirmed seating at a same-day Eat to the Beat concert. Who are you excited to see from this list?
Guests visiting Disney’s Hollywood Studios this summer have a front-row seat for movie classics in the all-new entertainment experience “Disney Movie Magic.” The nightly 10-minute performance bathes the park’s iconic Chinese Theater in breathtaking projection-mapping technology that brings to life the scores and scenes of classic and new moments alike from the Disney family of film studios.
Chimney sweeps from “Mary Poppins” “step in time” over the rooftops of London. A playful Captain Jack swash-buckles his way across the high seas of “Pirates of the Caribbean.” “Tron: Legacy” Lightcycles speed through The Grid. And Lumiere from “Beauty and the Beast” invites you to be his guest. These and other cinematic gems that have lit up silver screens around the world play across the facade of the theater in the fast-paced “Disney Movie Magic” – from Disney classics like “Mary Poppins” to contemporary blockbusters such as “Pirates of the Caribbean” and this summer’s “Guardians of the Galaxy Vol. 2.”
Set to searchlights painting the skies and a musical score composed and arranged by Michael Patti whos work can also be heard in Star Wars: A Galactic Spectacular and StarBright Holidays. “Disney Movie Magic” puts guests right in the middle of beloved Disney films. All genres are represented including musicals, romance, comedy, classics, fantasy, sci-fi, animation and adventure. “For generations these films have touched our lives,” said Michael Roddy, Show Director, Disney Parks Live Entertainment. “They represent our childhood, our dreams, our fantasies and our mythology. We have laughed and cried, loved and been thrilled. ‘Disney Movie Magic’ celebrates those films and the films to come.” “Disney Movie Magic” begins, fittingly, with Walt Disney himself. The red-carpet footage featuring Walt is from the 1964 premiere of “Mary Poppins,” which took place at Grauman’s Chinese Theatre in Hollywood. What unspools from there is pure movie magic – from “The Jungle Book” to “Beauty and the Beast,” from “20,000 Leagues Under the Sea” to “Cinderella,” from “Swiss Family Robinson” to “The Love Bug.” With the front of the theater a dramatic canvas, decades of movie moments play out across the ten-minute run time of “Disney Movie Magic.”
“Disney Movie Magic” is presented nightly this summer at Disney’s Hollywood Studios, in addition to regular performances of “Star Wars: A Galactic Spectacular.” We think this show adds a lot to Hollywood Studios, Especially while this park is riddles with construction and closures.
We’ve seen the rise of the apes, and the dawn of a new ape world. But nothing compares to Matt Reeves’ closing chapter in the origin trilogy for the Planet of the Apes franchise, War for the Planet of the Apes. Reeves has crafted a riveting, emotionally complex, and wholly satisfying closing chapter in the story of Caesar (Andy Serkis), the ape leader who was thrust into power without asking for it. Not only is War for the Planet of the Apes one of the best films of the year, but its a crown jewel for the decades long series, placing it well within the top three entries in the franchise.
Picking up two years after the end of Dawn of the Planet of the Apes, Caesar and his apes are hiding away from the world, trying to avoid an inevitable war with the humans that Koba begun. But a crazed human leader, known as the Colonel (Woody Harrelson), is tracking Caesar and his apes for one mission: annihilation. Under the impression that if he wipes out the apes, humanity has a chance at survival, the Colonel will stop at nothing to destroy every last damn dirty ape in existence, even if it means going to war with his own kind in the process.
For a big summer blockbuster film, War for the Planet of the Apes is a gamble in a lot of ways. While the franchise is known, this isn’t a big, fun, action packed spectacle that many have come to associate with this time of year, and thank goodness for that. Instead, Matt Reeves has crafted a film that is veiled as a blockbuster, but in actuality is classic war film, with shades of prison break out films, going directly against the grain of the summer mold. War for the Planet of the Apes is such a big breath of fresh air in a summer that’s been more than a little disappointing, joining the ranks of some of the best films of the year by subverting expectations, and rewarding its viewers with complex character arcs, and a story that feels honest, earned, and real.
It’s amazing how quickly Matt Reeves, along with Rise of the Planet of the Apes director Rupert Wyatt, were able to take a franchise that was nearly on the brink of obscurity for the modern audience, and breathe new life into it. Even more impressive, however, is that they’ve also created a trilogy of films that could arguably be in the conversation of all time great trilogies. That all comes down to the story of Caesar, brought to life, once again, by Andy Serkis. His character’s journey truly comes full circle in this film, and it’s great to have a story that feels complete. There’s just something so satisfying about getting to watch Caesar, now in the twilight of his life, taking a stand for the apes, in one final battle with the humans. He may not have caused the war, but he loves his troop, and he’ll do anything to protect them. Of course, he’s a much more hardened, weary version of the character we love, but Serkis brings him to life in what may be his strongest performance as Caesar. He can do so much beneath the motion capture, really giving this character life, proving he’s truly the master of the craft.
Reeves has made sure that this film feels like a satisfying closing chapter for Caesar’s character, which is truly to be applauded. In a world where every film seems to set up the next, there’s something really gratifying about getting to the end of a story, knowing this is where the journey ends. But in order to have a proper conclusion, you need to make sure the characters get proper resolution, and that’s something War for the Planet of the Apes does very well. The biggest conflict is the war left by Koba, and how it’s impacted Caesar. Woody Harrelson’s Colonel, in many ways, is a human version of Koba, and his war isn’t just with Caesar, but with anyone who stands in the way of his goals. This is a great way to play off how Caesar sees a bit of Koba in himself, and really makes an interesting dichotomy between he and the Colonel. Also, while Dawn of the Planet of the Apes never truly draws a line in the sand on which side’s a villain and which side’s not, War does. In a war film like this, it’s only natural to have good vs. evil, and while Caesar walks somewhere in that middle gray area, having those two sides for him to weave in and out of is important for his character’s growth.
Of course, this is a war film, so there’s got to be some action, and Reeves delivers on that in many ways. But what he’s done so brilliantly is that all the action is character based, as well as story based, and not just action for the sake of action. That gives each set piece a distinctive energy, leaving the audience on the edge of their seats, because you’re never sure exactly where Reeves will take it. He’s mastered the ways of faking out the audience, subverting their expectations. It’s smart, and keeps the audience on their toes. In particular, there’s a prison break sequence that is a lot of fun, as well as character heavy. One thing I like is that the prison scenes are an interesting nod to the future of the series, or the past depending on how one wants to look at it, with some callbacks to the 1968 film. In fact, not only is there some subtle nods to the classic series, but there’s one character in particular who has a role in this movie, and that’s Nova. Though this time, Nova is young girl, and is actually helping the apes in their journey. Amiah Miller is a fantastic addition to the series, giving a truly wonderful performance in the role, thankfully, instead of feeling like a throwaway character.
Make no mistake about it, War for the Planet of the Apes is a fantastic film that will grab the audience from beginning to end. This is a big crowd pleasing film in a way that one may not expect, and that’s a huge compliment. Matt Reeves has crafted a truly wonderful trilogy capper that is emotional, fun, harrowing, and complex, but best of all, it’s fulfilling. Andy Serkis gives his strongest performance as Caesar, and it’ll be a shame if he’s overlooked at the Academy Awards once again next year for his work here. This is the kind of film that will stay with the audience until long after the lights come up, making them want to revisit it again and again. It’s so great to have the Planet of the Apes series back in such a big way over the last few years, and deservedly so. This will not only go down as one of the best films in the franchise, but it’s hard to believe that this film won’t be in the conversation at the end of the year as one of best films of 2017.
Disney style Dooney and Bourke items are a must have for every item whether you are a frequent visitor, or just looking for that perfect stylish souvenir.
One of the most popular Dooney & Bourke collections has received a colorful and creative update. This update comes from Paola Gutierrez, Senior Graphic Design with Disney Consumer Products and Interactive Media Creative Group. She said, “We wanted to update the ‘Disney Sketch’ collection, which was originally introduced more than eight years ago,” explained Paola. “The new collection called ‘A Walk in the Park’ was drawn in a coloring book style, and has a nice nods to memories from Disney Parks. Guests will still find beloved Disney characters like Mickey Mouse and Donald Duck. They will also find characters and icons from Disney Parks such as Big Al’s guitar from the Country Bear Jamboree or a Hitchhiking Ghost from the Haunted Mansion.” This collection is available as a Tote, a Zip Satchel, and a Crossbody Wallet.
The “Walk in the Park” design can also be found on a limited release MagicBand. The MagicBand comes in an equally decorated box. The magic band has all the designs and features of the MagicBand 2 and can be used wil park admissions, room access, PhotoPass and other amenities offered with any MagicBand.
Several new silhouettes are also being offered at Disney Parks this year. Some of these silhouettes were included with the Pirates of the Caribbean attraction collection such as the Crossbody Bag with oversized leather tassel.
Two new collections are also being released in July. These handbags will be released on July 22 at the Marketplace Co-Op in Disney Springs. Guests attending this launch party will also have the opportunity to meet Ian Ray, Creative Director for Dooney & Bourke from 10:30 a.m. to 12:00 p.m. These collections will also be released at Disneyland Resort on the same day.
The first is a continuation of the “Dream Big, Princess” collection with handbags inspired by Disney’s “The Princess and the Frog.” The handbag shown above contains a features an image of Princess Tiana, and will include a specially designed leather hangtag. The second handbag will be part of a Madame Leota-themed collection inspired by the Haunted Mansion attraction. Which designs will you be carrying on your next trip to Disney?
If you are looking for the ultimate firework spectacular this 4th of July holiday, then Walt Disney World is the place to be. Both Magic Kingdom and Epcot will be offering patriotic shows for the 4th of July. Magic Kingdom will also be offering its holiday themed show on July 3rd, giving you the opportunity to check out both shows if you are in the area. But be prepared to get there early, both parks tend to reach maximum capacity early in the day.
The Magic Kingdom will be featuring its commemorative fireworks choreographed to patriotic music in a fourth of July themed Concert in the Sky. The red, white and blue extravaganza will bathe the sky at 9 p.m. on both days.
Epcot will be adding a patriotic twist to its traditional Illuminations- Reflections of Earth show this holiday. This show will be at 9 p.m. on the 4th only.
If you are looking to get your fireworks fix in a different way, Then check out Star Wars: A Galactic Spectacular at Disney’s Hollywood Studios. This galactic show takes place at 9:30 p.m. nightly including the 4th of July.
Thirty years after the events of the first film, a new blade runner, LAPD Officer K (Ryan Gosling), unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade runner who has been missing for 30 years.
BLADE RUNNER 2049
In 3D and 2D in select theaters and IMAX on October 6th
(Alcon Entertainment)
Director: Denis Villeneuve Writer: Screenplay by Hampton Fancher and Michael Green, Story by Hampton Fancher,
based on characters from the novel Do Androids Dream of Electric Sheep? by Philip K. Dick, Producers: Andrew A. Kosove, Broderick Johnson, Bud Yorkin, Cynthia Yorkin Executive Producers: Ridley Scott, Tim Gamble, Frank Giustra, Yale Badick, Val Hill, Bill Carraro Cast: Ryan Gosling, Harrison Ford, Ana de Armas, Sylvia Hoeks, Robin Wright, Mackenzie Davis, Carla Juri, Lennie James, with Dave Bautista and Jared Leto
Disney Legend, author and Cal State Fullerton alumna Martha Blanding will speak at a CSUF commencement ceremony for the College of Humanities and Social...
