There’s a peculiar kind of pleasure to be found in watching Channing Tatum and Jonah Hill, in 21 Jump Street, horsing around and generally acting like doofuses for our amusement. As rookie cops assigned to patrol — by bicycle — a city park, they’re more than ready to prove their tough-guy status: When they spot a bunch of biker guys experiencing the joys of cannabis beneath a tree, they strut toward the gang in their shorts and bike helmets, but not before flipping their kickstands down with a mighty thwack. Later, Hill says a fervent prayer in the Catholic church that serves as headquarters for the undercover unit to which the duo has been assigned, its sign outside reading, in mistranslated Korean, “Aroma of Christ Church.” Hill kneels in front of the crucifix, beginning his urgent plea with the words, “Hey, Korean Jesus…” That irreverent riff captures the tone of the whole picture — it’s a ramshackle thing, a goof on the idea that anyone might actually care about a movie based on an old TV show, or that anyone might actually care about a movie at all.
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When the Academy announced its nominations last month for Best Animated Feature, two waves of surprise washed over Oscar watchers: Not only was Pixar left out in the cold for the first time in its history, but also two lesser-known films from abroad made the cut in the category: the noir-y French entry A Cat in Paris and the Spanish-language jazz-romance Chico and Rita. The directors of those films, along with Kung Fu Panda 2 helmer Jennifer Yuh Nelson, one of few female directors nominated this year, spoke with Movieline about the recognition from the Academy, technologies such as 3-D and motion capture, and their Oscar night excitement.
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Look, I don't know about you but I've often wondered what Phil Lord and Chris Miller's excellent animated tale Cloudy with a Chance of Meatballs would look like as live-action film. I mean come on, an ice cream snow day? How can we make this happen, world?! Well, one enterprising filmmaker went ahead and actually managed to recreate Cloudy using live actors and some fantastic CG work, nailing details like spray on shoes and the Jell-O mansion with impressive panache. (One glaring exception: Where is Steve??) Watch the short, created by Megasteakman for Virgin Radio's 2012 Fake Film Contest, and throw 'em a vote for making the streets rain with ginormous, terrifying, and deliciously realistic-looking donuts.
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How's this for under-the-radar weekend news: Warner Bros. is moving ahead with its live-action/animation hybrid LEGO movie, which should hit screens in 2014. According to Variety, the pic will be comprised of 80 percent animation, to be handled by Animal Logic, the Aussie-based vfx house behind Happy Feet and Legend of the Guardians: The Owls of Ga'Hoole, which could mean gorgeously rendered and lifelike... LEGO blocks come to life?
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After the Shrek series used up its charm on rote third and fourth installments that nevertheless raked in giant piles of box office bullion, the prospect of a spin-off prequel focusing on Antonio Banderas' swashbuckling, footwear-sporting feline seemed as inevitable as it was unpromising. But Puss in Boots, directed by Chris Miller (who also helmed Shrek the Third) is a legitimately entertaining prequel that encapsulates what the franchise does best: Breezy action, clever twists on classic figures from fables and grown-up gags tucked in amidst the kid-friendly developments. ("You got any idea what they do to eggs in prison? I'll tell you this -- it ain't over easy!" the Zach Galifianakis-voiced Humpty Dumpty quavers at one point, in the first prison rape joke I can think of to not only be slipped into a kiddie flick but also highlighted in the trailer.)
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Whilst watching the Shrek franchise, you may have wondered: How does Puss, the swashbuckling cat voiced by Antonio Banderas, justify donning footwear but not clothes? A new video for his upcoming spin-off movie, Puss in Boots, has your answer. This movie star endorses a freer, more versatile lifestyle choice: No-pants pants!
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