“Aloha” has been a hot burning couch fire of a mess-in-production for a while now, according to the leaked Sony internal emails, prompting many concerns over time from then-Sony Pictures chair Amy Pascal over the film’s plot, script, edits and performances, down to even the basic emotional stakes of the movie. Her notes on an early screening before a round of edits read like a poem written on the occasion of watching the most confusing movie ever. And yet no traces have surfaced that anyone involved in a high level with this film seriously questioned the casting of Stone, a white woman apparently of European ancestry, as Allison Ng, a character of ¼ Chinese and ¼ Hawaiian descent.
In the Universal Pictures release Earthquake, one of the biggest hits (no pun intended) of 1974, The Big One takes a big bite out of Los Angeles — God’s vengeance, the film implies, for Charlton Heston cheating on Ava Gardner with Genevieve Bujold. You could expect Moses to be held to a higher ethical standard than the rest of the picture’s all-star cast, which included George Kennedy, Victoria Principal, Richard Roundtree as a “daredevil motorcyclist” and Walter Matthau as a character identified only as “Drunk.” The film was the first to be released in Sensurround, designed to use low frequencies to create a rumble from the back of the theater. In his favorable New York Times review, Vincent Canby said the gimmick “acts on the eardrums like thousands of angry Magic Fingers.” Sensurround probably felt like a bigger deal 40 years ago than the familiar, weightless ka-blammo of San Andreas does now.
But the audience that will pay $14 to see the Hollywood sign tip over again, and the Golden Gate Bridge once more sundered like a bag of Twizzlers ripped open by Dwayne “The Rock” Johnson, regenerates every six or seven years; just enough time for an incremental upgrade in computer animation. And that’s pretty much the calculus behind the new Universal Pictures release San Andreas: The Rock vs. falling rocks, which sometimes seem like they’re really there but just as often don’t. Helo-flown and hella-dumb, the movie delivers what its ads promise and not a particle more: Semi-convincing digital erasure of infrastructure. Extremely persuasive bone structure. On the summer movie Richter scale, it’s a 5.0, grading generously.
One thing i noticed about Frozen was that Anna never found out that Elsa accidentally hurt her. I was expecting the movie to have a climax rotating about that major issue but it was never talked about again. It left me feeling sloppy about the movie.