The second season of Hulu’s The Path finds Eddie (Aaron Paul) in a support group for former cult members – and that appears to be about the only reasonably normal thing about the trailer for season two of Hulu’s critically acclaimed series The Path.
Season two of The Path returns with a two-hour premiere on January 25th. The new trailer follows the jump.
As someone who got really good at Galaga in the eighties – and had found Adam Sandler virtually intolerable in everything he did after Funny People – I was pleasantly surprised by how often I laughed at Pixels.
Even the premise – aliens misinterpret a message of simple greetings that included samples of arcade games as a declaration of war and sent real-life versions to conquer/destroy the Earth – had the cool feel of a vintage video game. Also, it was based on a terrific short film you can check out on YouTube.
Somehow, aliens misinterpreted an attempt at communication that depicted, among other things, several video games, as a declaration of war. They created Godzilla-sized versions of those videogames and sent them off to destroy the Earth.
On July 24th, the fate of the Earth will be in the hands of a group of ’80s videogame champions. Check out the new trailer for Pixels after the jump.
The Earth is being invaded – by actual space Invaders. Also Donkey Kong, Pac-Man and more – so the US President (Kevin James) drafts his old buddy, master video game player Sam Brenner (Adam Sandler), to help save the world.
Pixels is directed by Chris Columbus, so it shouldn’t be the usual Adam Sandler goof. It opens on July 24th. Check out the new trailer following the jump.
Told from the point of view of a screenwriter (Chris Evans) who doesn’t believe in love anymore, Playing It Cool wants to be both hip and a screwball romantic comedy and never quite succeeds at being either – though it’s fun watching it try.
Suppose you could stop a nuclear attack on a major American city – but only by reliving the last eight minutes of someone else’s life and with no idea of where you were when you were not in that other, soon-to-end life. That’s the situation in which Jake Gyllenhaal’s Captain Colter Stevens finds himself in, in Duncan Jones’ Source Code.
Diane Ford [Michelle Monaghan] is a truck driver, who has a reputation for always delivering early. She’s just paid off her big rig when she gets what seems to be a nasty surprise: her ex-husband’s current flame drops of her eleven-year old son. Neither Diane nor Peter [Jimmy Bennett] is particularly thrilled by this. What is originally intended to be three week thing becomes more when Peter’s dad’s cancer worsens and the two face the prospect of being stuck with each other permanently.
Eagle Eye marks the fourth time Shia LeBeouf has worked on a Steven Spielberg production, and the second time that he’s worked with both Spielberg and director D.J. Caruso – and the triple team may well be turning into one of modern cinema’s most potent.
Eagle Eye is a techno-thriller that comes across as a twisted tale that might make Tom Clancy duck for cover. It opens with a missile launch intended to take out a major terrorist – a launch that is undertaken with only a 51% chance of the target being correctly identified. From there we move into the life of Jerry Shaw [LaBeouf], who seems to be a typical, ambition-free slacker, watching him at work as a “copy associate” for Kinko’s-like copy shop; fleecing a few friends in a poker game, and attending the funeral of his identical twin brother.
The next part of the film is pretty much what we got in the trailer: Jerry finding a lot of money in his account and a lot of weapons components in his living room: the warning call and his being taken in by the FBI – introducing us to Special Agent Thomas Morgan [Billy Bob Thornton] – and his escape by incredible means and ultimately, his teaming up with Rachel Holliman [Monaghan], whose participation in what follows is coerced by threats to her son. From there, we do, eventually, learn the identity of the mysterious female voice that can call them even from pay phones, or a cell phone belonging to the napping guy across from Shaw on a train.
Part of the reason that Eagle Eye works is that a lot of it [but not all, as you’ll see when you learn the identity of the mystery woman] is technically feasible right now. The film hooks us with what’s possible then draws into the realms of the definitely not yet real. The transition is smooth and the shocking reveal of the source of the voice, and the over-the-top plot that follows, zip by quickly enough that we buy them in the context of the film. The way all the various parts of the film connect may be a bit of a stretch, but the sheer fun of the film supersedes that.
LaBeouf does a good job as slacker Jerry; Thornton keeps Agent Morgan from being just another federal grunt, and Rosario Dawson simmers as an Air force investigator looking into the death of Jerry’s brother – though Monaghan is barely adequate as Rachel.
Michael Chiklis gets the role of the Secretary of Defence Callister – a role that leads everyone to the key plot point of the film: the identity of the mysterious female voice that hounds Jerry and Rachel – and the voice’s grandiose plans.
The special effects are very good and the CGI have enough weight that we buy them even if they are used to create something that is way over the edge of the possible. There may be a nod to societal commentary in the way that various devices [security cameras, traffic cameras and cell phones among them] are used to shred the duo’s privacy, but it’s a surface thing that comes as the by-product of a thriller that aims more toward entertaining than saying stuff.