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The Top 10 Science Fiction Movie Remakes Of All Time

The Colin Farrell-starring sci-fi remake Total Recall is readying for release this weekend ( read Movieline’s review here ) and while Len Wiseman’s adaptation of the 1990 Paul Verhoeven film that mixes up bullets, muscles and abstract notions of Cartesian dualism and the specious present isn’t the worst thing in the world, it is hardly memorable. (A bit of an unfortunate situation, as the whole thing is about memory.) Still, it’s important that we don’t present ourselves as the type of dweebs who get all hung up over sci-fi remakes. Sometimes, they’re damn good, as this list of ten shall prove. 10) War of the Worlds , Steven Spielberg, 2005 No masterpiece, but a thrilling piece of work with some genuinely shocking imagery. Despite the four year gap, this was the first major mainstream film that was able to take 9/11 imagery and have it make sense in an entertainment context. It lacks the cheeseball zip of the 1953 version, but it certainly works on a visceral level. (It is not my top adaption of the H.G. Wells story, however. That will forever go to Jeff Wayne and his 1978 prog rock opera. The dorks in the back know what I’m talkin’ about.) 9) The Omega Man , Boris Sagal, 1971 Charlton Heston is so secure in his house he’s not going to pay those cloaked mutant zombies no never mind! A quick shot of a vaccine prior to the deployment of biological weapons in a Russian-Chinese war keeps Heston alive, but his wits keep him safe. When he discovers he’s not the last person alive, he takes the fight direct to the horrible clan of beasts. The Omega Man is a remake of The Last Man on Earth , but also based on the novel I Am Legend . This was, of course, remade again into a film starring Will Smith which will not be seen anywhere on this list. The Omega Man is also notable for featuring an interracial love story back in 1971. Who said Heston’s politics were wholly predictable? 8) The Wiz , Sidney Lumet, 1978 No one said you’d be able to ease on down this list without some challenges. Look, The Wiz is a cool flick. Michael Jackson, Nipsey Russell, Richard Pryor and music by Ashford and Simpson. Maybe Diana Ross doesn’t have the same je ne sais quoi as Judy Garland, but I’ve found that most friends of Dorothy are friends of the Supremes, too. And, yes, it’s sci-fi. The wizard’s practically steampunk. 7) Solaris , Steven Soderbergh, 2002 While Andrei Tarkovski’s version from 1972 is certainly the heavier of the two, Soderbergh’s streamlined and very slick production is a fascinating tone poem on loss, regret and memory. Those looking for action will find the film almost lifeless, but if you get on its wavelength you may find it quite rewarding. It ranks as one of the best gifts one filmmaker ever gave to another, as James Cameron used his considerable clout as producer to secure a budget that everyone had to know would never be recouped. 6) 1984 , Michael Radford, 1984 The 1954 version with Edmond O’Brien is a good enough adaptation, but this gem of new wave cinema really captured the essence of Orwell’s dystopian universe. This movie tends to get forgotten, overshadowed by Terry Gilliam’s Brazil , with which it shares many story and formal similarities. Nevertheless, John Hurt’s sympathetic portrayal of Winston Smith is one of his great performances, and the heavily washed out cinematography from Roger Deakins is quite extraordinary. The Eurythmics’ soundtrack album did a number on me as a kid, as well. 5) Invasion of the Body Snatchers , Phillip Kaufman, 1978 Leonard Nimoy as a sexed-up pop psychologist in ’70s San Francisco. I think it’s a given this should be on ALL the top ten lists. Loaded with lots of gratuitous nudity and plenty of icky gore, you’ll be shocked when you discover this one was actually rated PG. 1978! It’s got Jeff Goldblum and Veronica Cartwright owning a groovy mudbath parlor and that iconic last shot of the very hirsute Donald Sutherland pointing at the camera, making THAT SOUND. Dammit, I’m gonna go on a limb and say this is a remake that’s better than the original. 4)  12 Monkeys , Terry Gilliam, 1995 A riff on Chris Marker’s miraculous short film of still images, La Jetee , this fatalistic time-travel tale is bursting with visual creativity but stays on course as a gripping, propulsive doomsday race. Bruce Willis lets his tough guy guard down a bit and no matter how many times I see this it, the ending always gets to me. By Gilliam standards, it’s his least weird movie; by Hollywood standards, a real standout. 3) Battlestar Galactica , Michael Rymer, 2003 Wait, who said anything about including TV? Well, when the material is this good you make special considerations. Besides, the 1978 BSG did have a theatrical release, and the miniseries that aired on 2003 ranked with the best entertainment that came out that year. (The fact that the original played in theaters then went to TV, as opposed to a TV show that went to the movies, is the reason that Star Trek isn’t on this list. In my mind, it makes sense.) This whacked-out Mormon parable (some say) was the perfect science fiction treatment for the onset of Bush’s War on Terror. There has probably never been a more paranoid show on television and its interplanetary setting oftentimes led to a more constructive forum in which to discuss the issues of the day. Our heroes’ attitudes swung left and right, but loyalty never wavered. I swear to you I’d still take a bullet for Edward James Olmos if the old man needed me. If you’ve been putting it off (or were scared away by some naysayers who didn’t like the conclusion), check out the 2003 miniseries. Then take the week off as you blaze through the rest of the seasons. 2. The Thing , John Carpenter, 1982 I’ve seen The Thing at least ten times. And every time, during the blood testing sequence, I jump. If John Carpenter bills himself as The Horror Master, I think we can safely call this his masterpiece. Some forget it is a remake of Howard Hawks’ The Thing From Another World , a fine film, but Carpenter’s version is a bubbling cauldron of great tough guy characters and outstanding set pieces that’ll have you cheering and puking at the same time. 1. The Fly , David Cronenberg, 1986 It was close, but this one squeezes ahead just a little bit. It’s Goldblum that makes it, really – the way he calmly remarks “That’s disgusting” as he discovers his new way of eating sugar. (If you haven’t seen it, words won’t do justice.) And the fact that he can sell lines like “Drink deep, or taste not, the plasma spring!” Apart from its nifty high concept and groundbreaking special effects, The Fly is a true transcendent work in the way it treats its characters. Who’d have ever expected you’d be crying at the end of what looked like just another gross-out? Certainly no one who’d only seen the ’58 version with Vincent Price. — So there are our ten. If we’ve done our job, we’ve pissed you off. Feel free to let us have it in the space below. Just go easy on The Wiz , is all I ask. Follow Jordan Hoffman on Twitter . Follow Movieline on Twitter .

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The Top 10 Science Fiction Movie Remakes Of All Time

Brie Larson’s Criterion List Is Pretty Fantastic

Actress/musician Brie Larson — AKA Scott Pilgrim ‘s Envy Adams, of 21 Jump Street and United States of Tara fame — is also a Criterion Collection fangirl, and given her terrific recent round of the cineaste label’s Top 10, she’s probably got a better-stocked DVD catalogue than you. Consider Red Desert : “Antonioni’s first color film. I felt like I was opening my eyes for the first time. An incredible palette and commitment to tone. He actually painted trees whites and grays! I have always wanted to talk technicalities with someone about this film. The fog? How did he do the fog?!” And, on Bergman’s Scenes from a Marriage : “This was the most invested in any relationship I had ever been — including my own.” Read Larson’s full Top 10 and share in my newfound nerdy girlcrush. [ Criterion ]

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Brie Larson’s Criterion List Is Pretty Fantastic

Watch Your Back, Dame Judi Dench: Boyle Says Queen Elizabeth Is A Good Actor – She and James Bond ‘Got Along Very Well’

If Queen Elizabeth ever tires of the throne, she has a future in acting. Filmmaker Danny Boyle, who directed an inspired and beautifully surreal opening ceremony for the XXX Olympiad in London, told NBC’s Meredith Vieira that the Royal was “a good actor” for her pre-recorded segment with current James Bond Daniel Craig . “She was very gracious in giving us access,” Boyle told Vieira when she asked him how he managed to get the Queen to participate in what is proving to be the most talked-about portion of his Isles of Wonder production. “She’s very sharp,” Boyle told Vieira. “You didn’t have to tell her anything twice.” Boyle also noted that “Her and James Bond got along very well” and that Craig — who collected the queen for a helicopter ride that resulted in the duo’s stunt doubles parachuting into Olympic Stadium — gave an extremely nuanced glance as Elizabeth passed him in one scene that registered the momentous melding of fact and fiction. “Sleight, surreal, eccentricity. That’s what we’re good at, really,” Boyle told Vieira of his movie-making imprint on the London games. We have to agree. Follow Frank DiGiacomo on Twitter . Follow Movieline on

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Watch Your Back, Dame Judi Dench: Boyle Says Queen Elizabeth Is A Good Actor – She and James Bond ‘Got Along Very Well’

Royals, Presidents & Celebs Head to Olympics; Ryan Seacrest’s Food Fight: Biz Break

Also in Friday afternoon’s round-up of news briefs, Israel’s celebrated doc The Flat is headed to the U.S. as is Sundance doc A Place at the Table . Oscar-winning writer Dustin Lance Black gets a new gig writing a disaster movie for Universal and R.I.P. Lupe Ontiveros. Israel’s The Flat Headed to the U.S. A winner at the Jerusalem and Tribeca film festivals, Arnon Goldfinger’s doc The Flat will head to North America via Sundance Selects which picked up the title. The film centers on the director’s experience clearing out his deceased grandmother’s apartment in Tel Aviv, a home she shared with her husband for decades since immigrating from Nazi Germany. Sifting through her belongings, he discovers a treasure-trove of photos, letters, files and objects that reflect three generations of Germans both Jewish and non-Jewish. Sundance Selects will reelase the film October 19th. Doc A Place at the Table Heads Stateside Magnolia Pictures picked up the documentary from Participant Media, the folks behind An Inconvenient Truth and Food, Inc (the latter which Magnolia released). The Sundance debut featuring Jeff Bridges and Tom Colicchio (then called Finding North ) takes on the food issue from a new angle, shining a light on the 30% of American families—more than 49 million people—that don’t know where their next meal is coming from. Magnolia plans a release in the first quarter of 2013. Around the ‘net… Star-studded Audience for Olympics Opening Monarchs, presidents, prime ministers, other royals and a venerable who’s who will be joined by the likes of David Beckham, Orlando Bloom, Brad Pitt and Angelina Jolie, Hugh Bonneville ( Downtown Abbey ) along with U.S. First Lady Michelle Obama at the opening of the Olympics Friday. The show, a 27 million pound ($42 million) spectacular titled “Isles of Wonder,” will end with a performance by Paul McCartney, A.P. reports . Ryan Seacrest & Paramount Team for Food Fight Pic The comedy is loosely based on celebrity chef Jamie Oliver and his reality series Food Revolution Seacrest will produce the project based on a gourmet food truck operator who is sentenced to work at a school, revolutionizing the lunch program, THR reports . Milk Writer Dustin Lance Black Set for Earthquake The Oscar-winner will write the big scale disaster Earthquake for Universal and producer JJ Abrams. The feature will apparently not be a remake of the 1974 film that starred Charlton Heston of the same title, Deadline reports . R.I.P. Lupe Ontiveros The actress who starred in Selena and As Good as It Gets died Thursday at 69. The actress appeared in both film and television over four decades, Deadline reports .

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Royals, Presidents & Celebs Head to Olympics; Ryan Seacrest’s Food Fight: Biz Break

Ben Stiller’s The Watch Avoids Trayvon Martin Connection, But Are Aurora Similarities Too Close for Comfort?

The Watch (nee Neighborhood Watch ) truncated its title to avoid conjuring the February killing of Trayvon Martin and its plot contains no major similarities to the teen’s controversial death. But in the wake of the Aurora, Colorado mass shooting — which may have spawned at least one would-be copycat thwarted today in Maryland — some of the violence-based laughs in the Ben Stiller-Vince Vaughn comedy might hit too close to home for some moviegoers. The comedy, about a suburban schmoe (Stiller) who starts a Neighborhood Watch gang after the murder of a friend, invokes the cultural conversation about violence that has been stirred anew by recent events. “There weren’t walkouts at my particular screening, but in a moment where Jonah Hill’s military-obsessed character Franklin threatens a group of teenagers with a pocket knife, muttering that he’ll ‘kill each and everyone of [them],’ the cringes reached audible levels,” writes Hollywood.com’s Matt Patches , noting audible discomfort among moviegoers at a screening he attended. Like the Columbine shooters and last week’s Aurora gunman, Hill’s character is a young white male with a violent streak on the fringe of society, who has a cache of firearms, including a semi-automatic rifle, stashed at home and is all too eager to use them again. Violent impulses mixed with societal frustrations are given a target when the Watch is called into action to battle their enemies — in this case, extraterrestrial aliens. “Franklin’s entire persona is eerily similar to those that have lashed out in the past: he’s a high school drop out, reject of the police academy, and object of bullying by the socially normal people around him,” Patches continues. “He wants to serve justice, but he’s inherently violent. Hill plays Frankin for comedy, and in another moment in history the act would be hysterical, but in the wake of tragedy it’s simply uncomfortable.” “[When] we see bloodshed early on in The Watch , it stings more than it amuses,” writes Salt Lake Tribune critic Sean P. Means in his review of the film. Hill’s character goes from comic relief to a figure that “instead makes us wince.” Over at the Huffington Post, writer Jonathan Kim echoes the uneasy sentiment. The problem isn’t that violent movies cause violent behavior, he says, but that America’s gun-happy culture is so often reflected in its media. “If American entertainment is seen as too violent, I see that as a reflection of our gun- and military-worshipping culture, not the cause of it,” Kim offers . “And if people copy the violence they see in movies, the problem is not the movies, but people who can’t tell fantasy from reality, and the ease with which our gun laws allow those people to arm themselves to the teeth. The Watch is obviously fiction, but sadly, when unstable people can buy such powerful weapons, we need to do more than just hope that they’ll only be aimed at bad guys and aliens.” Ultimately most critics seem to agree that The Watch hardly earns the attention or scrutiny it may receive from Aurora parallels; it’s currently at a dismal 13 percent at Rotten Tomatoes , while Movieline’s Michelle Orange called it slight and ephemeral entertainment. But beyond that, I’d give writers Seth Rogen, Jared Stern, and Evan Goldberg enough credit to have purposefully written Hill’s character as a commentary on the kind of gun-loving disaffected young man that could, under other circumstances, follow a much darker path. Raw and shaken sensibilities didn’t stop audiences from attending The Dark Knight Rises last weekend, but tracking approaching this weekend was flagging. As the national conversation about guns and violence and film rages on — and with most fans having already seen the event film — are audiences less enthusiastic to flock to theaters, post- TDKR ? And if they do go to the multiplex for the latest Ben Stiller comedy, are they prepared to process shades of Aurora’s gunman in Jonah Hill’s angry, armed loner-turned-hero? Just be warned: If you’re going to the movies this weekend looking for escape from the real world, The Watch may hit closer to home than you anticipated. Then again, if Ben Stiller and Co. can inspire discussions about violence and gun control in America amid the broad guffaws, penis jokes, and one-liners, that might be a good thing for all involved. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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Ben Stiller’s The Watch Avoids Trayvon Martin Connection, But Are Aurora Similarities Too Close for Comfort?

Lady Gaga to Make Film Debut (and Invite More Madonna Comparisons) in Robert Rodriguez’s Machete Kills

Since early 2011, Movieline has been wondering when Lady Gaga would have her Desperately Seeking Susan  moment, and finally it has happened. The Huffington Post reported that the Fame Monster will make her movie debut in splatter-film specialist Robert Rodriguez’s Machete Kills.  Gaga will play a character called La Chameleon in an oddball cast that includes Charlie Sheen, Sofia Vergara, Mel Gibson and Michelle Rodriguez. A poster depicting Gaga’s character, which will soon be adorning the bedrooms of alienated teenagers everywhere, depicts the bare-shouldered pop star holding a smoking gun and wearing what appears to be the pelt of a white wolf around her. Alas, the image, and Gaga’s blond gun-moll hairdo, is more than a tad reminiscent of a couple of 1990s movie roles played by another pop star who Gaga is often accused of slavishly copying: Madonna. The poster image calls to mind Madge’s performance as Breathless Mahoney in the 1990 film adaptation of Dick Tracy , with maybe a little bit of Rebecca Carlson from Madonna’s 1993 sex bomb, Body of Evidence . (If you haven’t seen it, don’t.) Rodriguez apparently liked Gaga’s performance before the camera. On Thursday, he tweeted “I just finished working with  @LadyGaga  on  @MacheteKills  , she kicked SO MUCH ASS! Holy Smokes. Blown away!” Follow Frank DiGiacomo on Twitter. Follow Movieline on  Twitter.

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Lady Gaga to Make Film Debut (and Invite More Madonna Comparisons) in Robert Rodriguez’s Machete Kills

Ambitious Cloud Atlas and Lana Wachowski Debut With First Trailer and Images

October’s Cloud Atlas is as dense and ambitious as it sounds from what I hear, and the newly unveiled five-minute trailer is almost as confounding as it is beautiful to look at. But regardless of how vaguely The Fountain -ish the nested story feels — jumping through time and various incarnations of cast mates (including Tom Hanks, Halle Berry, and Jim Sturgess) as they repeat life in six different eras from the 19th century Pacific to the post-apocalyptic future — the trio of directors at the helm, including Lana Wachowski in her first post-Larry feature credit, should make things very interesting. Fittingly, Cloud Atlas explores themes like rebirth and transformation, so in a way the adaptation of David Mitchell’s award-winning novel feels like a perfect project for Lana’s debut. (She directs alongside brother Andy and Tom Tykwer.) One of the storylines involves a seafarer, a futuristic clone, and another Tom Hanks in the wild; all of them, and all of us, are connected, according to the trailer. But Tykwer and the Wachowskis know theirs is a tough movie to sell, so they put together an adorable director’s commentary to introduce their trailer: “I think it started as a joke,” the trio begin, finishing each others’ sentences. “‘Why don’t we make a movie together?’ But it became this ongoing fantasy. It had to be something we’d never seen before, but it had to remind us of the kind of movies we watched over and over, the kind of movies that made us want to watch movies. Big screen movies! Massive in scope! But relevant to a normal life, to human beings. It would have drama and comedy. Romance! But it had to be political, philosophical. Lots of action, set in the past and the future, every genre.” Verdict: Iiiiinteresting . Still a tough sell for most audiences, but interesting … gorgeous imagery, a somewhat unwieldy trailer, but Lana and Tom and Andy won me over with their giggly enthusiasm. Meanwhile, new images from the film have debuted, showing more of the cast and their divergent (but connected, somehow) stories. Click on the image below for more and leave your impressions below.

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Ambitious Cloud Atlas and Lana Wachowski Debut With First Trailer and Images

REVIEW: Ultraviolent, Shock-Seeking Killer Joe Is A Pulp Fiction Paradox

Slick and mean and full of piss and chicken grease, Killer Joe has worse manners than its deadly, courtly antihero. But in its own way and to its own detriment, William Friedkin ’s splattery, southern gothic return to the screen seeks to amuse as well as shake and stir. What begins as a set of open provocations and genre tweaks propping up the story of a trashily blended Texas family’s encounter with an alpha hitman takes a turn through Coen and Lynch Lanes before winding up at the corner of Friedkin and Peckinpah. There a trailer ignites with violence and the tone of alternately abject and mordant depravity begins flailing like a rogue firehose. That the Smiths are low, stupid people is easily understood, but Friedkin hardly tires of reminding us. Killer Joe opens on the middle of a stormy Texas night, and the wailing and window-banging of a fuck-up named Chris ( Emile Hirsch ), who is locked out of the family’s trailer. When his stepmother Sharla (Gina Gershon) finally responds, Chris (and the audience) comes face to fat, mossy minge with her naked crotch. Chris’s complaints find no truck with his exceptionally dense, defeated dad Ansel (Thomas Haden Church), who echoes Sharla’s involuted logic about not being expecting to find her stepson on the other side of the door. It feels unpromising that what could be a funny gag gets lost in the scene-flattening commotion of idiocy, which too often gets cranked so high little else gets through. The Smiths have all kinds of boundary issues, not least when it comes to Dottie (Juno Temple), the gauzy baby doll daughter with a couple of little pink screws loose. Dottie sleepwalks, and either has crazy good hearing or crazy-girl intuition, because she cottons to Chris’s plan to kill their deadbeat mother (who remains deadbeat; we only get a brief glimpse of her corpse) from the moment he privately proposes it to Ansel. In deep to some coke dealers, Chris has word of his mother’s fifty thousand dollar life insurance payout (to Dottie) and a line on a police officer/hitman named Killer Joe Cooper ( Matthew McConaughey ). No good can come of such a scheme, of course, and no good does. Perhaps the family’s shouty moron shtick is designed to make the arrival of a glossy, black-clad sociopath feel more like a relief. McConaughey has toned down his surf bum beam (and highlights) for the role: in his bad sheriff getup he’s a cold-eyed buck with asses to stomp. Sharing a tight frame with Joe in a typical low-angle shot, Hirsch becomes a mini-pony of a man. But it’s McConaughey’s scenes with Temple that form the twisted center of the movie; they make a pair as riveting as it is unlikely. That it is not as simple as beast-meets-beast of prey is largely a credit to the actors – each exudes an unnerving charisma that enwraps the other and together they create the movie’s only dramatically persuasive atmosphere. It feels a little wrong saying that, given the terms of their relationship. When Chris and Ansel can’t cough up half of Joe’s fee in advance, he proposes taking Dottie as “a retainer.” Because the Smiths’ is a desperate world dulled into moral nihilism by poverty and other indignities, Ansel’s response to the idea of pimping his virgin daughter out to a hired killer is that it “might just do her some good.” We feel scared for Dottie, though after being soothed out of her initial upset she doesn’t seem that scared herself, which of course is really scary. The lead up to Joe’s claiming of his collateral and the chillingly erotic scene that results feels like Friedkin hitting a mesmerizing stride. Instead it forms a peak in what slackens into another, if notably performed and perverse, pulp fiction paradox: Though desperate to shock, its success depends on our desensitization. ( Killer Joe received an NC-17 rating and is perhaps the latest rival to the kink and violent degradations of 2010’s The Killer Inside Me .) Much of the film takes place in close quarters, spaces well parsed by Friedkin’s camera and imbued with a sense of confined desperation instead of plain old claustrophobia. Pulitzer Prize-winner Tracy Letts adapted the script from his own play (this is Friedkin’s second Letts adaptation, after 2006’s Bug ), and as often as a dark, stage-y laugh line falls flat, Joe’s embroidered (and then fearsome) tones and Dottie’s loaded non sequiturs (including her casual mention, after things have gone miserably awry, that it might still all work out — “as long as I don’t get mad”) seem to land exactly how and where they’re meant to be. It seems likely it was the creepy sexual content and not the horrific violence that earned the MPAA’s admonishment, a bias Killer Joe seems to repeat in moving from its glimpses of genuine human darkness toward the more generic drawing of bright red blood. Killer Joe is in limited release Friday. Follow Michelle Orange on Twitter . Follow Movieline on Twitter .

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REVIEW: Ultraviolent, Shock-Seeking Killer Joe Is A Pulp Fiction Paradox

REVIEW: Step Up Revolution Pops (and Locks) in 3-D But Turns Out to Be Real Wallflower in the Story Department

Although the proliferation of talent shows on TV is proof of just how much audiences have come back around to watching dance on screen,  Step Up Revolution  suggests Hollywood is still conflicted about how to film it. On one hand, the fourth movie in the  Step Up franchise was shot in eye-popping 3-D. In choreographed numbers that grow crazier and more extravagant as the film proceeds, breakdancers kick their legs out toward the camera and hold gravity-defying poses; tracking shots glide across the pavement between cars as kids stride out in time to music; performers on bungee cords leap down a ramp toward us only to snap back. As spectacle, it is resoundingly cool. On the other hand, these sequences tend to be edited to bits, as if the filmmakers were afraid their audience would get bored if either the camera or point of view weren’t constantly in motion. Directed by Scott Speer (of the web series “The LXD”) with cinematography by Karsten Gopinath, the film’s best shots, both in terms of dancing and the 3-D, are usually the ones in which the camera sits directly in front of the performers as their main audience, so that we can see their full bodies as they’re used in impossible, athletic feats of movement. But the film rarely maintains this perspective for more than a few seconds before cutting to a reaction shot, a close-up, then up and overhead, then off to the side. While the editing creates a sense of frantic momentum, it’s also dizzying and disorienting. Step Up Revolution is also not a movie you watch for its incredible story and dialogue. The film doesn’t even share much connective tissue with its predecessors save for an appearance from Adam Sevani as Moose. The plot features a boy, Sean (Ryan Guzman), and a girl, Emily (Kathryn McCormick) — who are both making their feature-film debuts. (McCormick was a finalist on the 2009 season of “So You Think You Can Dance.”) Sean is from the most adorably Epcot Center-worthy “gritty” Miami neighborhood ever, while she’s the daughter of a wealthy real estate developer Bill Anderon (Peter Gallagher) with plans to knock the place down and build skyscrapers on top of it. They meet cute at the beach club attached to the hotel that Emily’s father owns. Sean, who works at the hotel, and Emily form a mutual admiration society after facing off in a deliciously over-the-top dance duel that’s filmed like a fight scene. Emily flings sand at the camera and maneuvers Sean under the outdoor shower so that they can both have clingy wet outfits. As you might expect, both have dancing aspirations. When not waiting tables, Sean and his friends make up a flash-mob dance troupe called The Mob. Emily is auditioning for a place in the prestigious Wynwood Dance Company. Guzman, McCormick and the rest of the cast have generic good looks right out of an Abercrombie catalog and enough range to convincingly project the three sentiments for which the script (written by Jenny Mayer) calls — happy, sad and “dance face.” Guzman is particularly gifted at committing to howlers without a wince or trace of irony. “I can’t just do whatever I want,” Emily says. “There are rules.” Sean gets up close and breathes: “Break the rules.” At first, The Mob stages its elaborate pop-up routines as part of a YouTube competition — the first page to reach 10 million hits wins a cash prize. But when the neighborhood in which Sean and his best friend Eddy (Misha Gabriel) grew up is threatened, Emily suggests they use their growing internet fame to draw attention and build opposition to the development plan (without her father’s knowledge). It’s protest art! It’s the 99 percent! And it’s brutally phony, especially when picture pretends to be about the preservation of local culture. The Mob has essentially been formed out of a broad Google search for subcultures. There’s the DJ, the videographer from the SoCal skate scene, the hacker, the street artist, the parkour dudes. The only Miami-specific concession is that the group hangs out at a salsa bar called Ricky’s. Step Up Revolution is, at least, shot on location in Miami, which looks golden and gorgeous in 3D helicopter shots and ridiculously, stiflingly pretty as a backdrop in others. When Sean and Emily practice a duet on the beach, you expect an “Obsession by Calvin Klein” logo to appear next to their faces in their final pose. And it wouldn’t seem that out of place. The film is such a slick product that its vague anti-corporate ideas keep sliding right out of sight — it takes some effort to situate that Au Bon Pain logo so prominently in the middle background of a dance sequence. The movie ends with a never-explicated, and, frankly, insulting compromise. (Spoiler alert!) The Mob — who, three songs earlier, ended a performance with the declaration, ‘We’re not for sale!” — triumphantly sign with Nike as part of a marketing firm plan. Way to stick it to the man, y’all. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .

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REVIEW: Step Up Revolution Pops (and Locks) in 3-D But Turns Out to Be Real Wallflower in the Story Department

The Actors Who Rose in The Dark Knight Rises–and Those Who Did Not (Hint: One of Them Is French)

Rare is the movie in which every cast member performs at the same level–unless maybe you’re talking about the uniformly jaw-dropping performances of everyone in “Witless Protection.” So, here at Movieline, we’d like to begin a tradition of ranking performances within movies–a sort of intramural Oscars, if you will–and asking you to weigh in with your own.  We’ll introduce polling and a catchy title soon enough, but we just had to start with The Dark Knight Rises –a movie in which the performances range from sublime (Tom Hardy, Anne Hathaway, Joseph Gordon-Levitt) to wince-inducing (Marion Cotillard). See how your favorite–or least favorite–character rates below, and then leave your own ranking in the comments section. 1. Tom Hardy:  Yes, comic-book villains are usually way more interesting than the heroes who inevitably vanquish them, but thanks to a considerable piece of hardware strapped to his face, Hardy had a tougher  acting job than the late Heath Ledger did when he played the Joker.  Okay, the Vader-ish voicebox torqued up the creep factor (and made his dialogue hard to understand at times), but Hardy left his pretty-boy aura in his trailer and gave a performance—essentially using his eyes and body language—that was pure, cold malevolence.  Darth gave us nightmares when we were kids, but it’s Bane who’ll wake us in a cold sweat for years to come. 2. Anne Hathaway: Hathaway’s tough, tender–and mouthy–performance as Catwoman erased once and for all the bad taste that lingered in our craw after her loopy Oscars-hosting performance. We knew she could act, but boy does she act in TDKR. And she looks totally hot in her costume, especially while draped over the Batpod.  Spin her off into her own film and she’ll make us forget Halle Berry’s turn as Catwoman, too 3. Joseph Gordon-Levitt:  Gordon-Levitt made the most of a one-note role. His orphan speech to Bruce Wayne could have been as gloppy as bad macaroni and cheese, but he put some sharp Gruyere into it.  And we won’t spoil the picture entirely, but let’s just say the boy could carry his own superhero movie. 4. Ben Mendelsohn: Yes, Ben Mendelsohn. Although his onscreen time, as the construction magnate Daggett, is relatively brief, Mendelsohn is memorable–and, judging from the few narcissistic, weasel-thin corporate titans we’ve met in our travels–extremely realistic. We want to see more of this guy. 5. Michael Caine: We did NOT want to see Alfred cry. But since we had to see Alfred cry, we’re glad that Caine got to regulate the waterworks. 6. Christian Bale: Bale is by far the best actor to wear the  bat-cowl onscreen–and we’ll always give him extra credit for his performance in “Empire of the Sun.”But he didn’t give us anything new in his third outing as the Caped Crusader. His freak-out on the set of Terminator Salvation was more revealing. 7. Morgan Freeman: Same beef. We’ve seen Freeman play this role before–and not just in the Batman franchise. 8. Gary Oldman: We’re sorry, but we couldn’t take our eyes off that damn moustache.  No doubt the talented Oldman was acting his heart out, but while he was doing that, we were imagining cleaning trash-strewn Gotham City streets with his facial hair. 9. Matthew Modine:  We were glad to see him playing a substantial role, and he sure does d-bag arrogance well. Maybe too well. We swear we saw him smirking to himself during a few scenes. 10. Marion Cotillard:  She made us cry in La Vie en Rose. She made us snicker in TKDR. Without giving away too much, let’s just say, we hope you’re not swigging from your Hefty can full of soda when you find out her character’s true identity.  The same goes for the emoting she does in her final scene, which would have been more at home in the pre-talkies part of  The Artist. We doubt you  agree. (Even our own Jen Yamato would put Joseph Gordon-Levitt in the top spot.) So tell us what you think.

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The Actors Who Rose in The Dark Knight Rises–and Those Who Did Not (Hint: One of Them Is French)