Four years ago, Jack Sparrow (Johnny Depp’s alter ego) sailed out of our lives in “At World’s End,” in a chaotic, action-packed ending to a three-part series. But the only way to really get rid of Jack, or any pirate for that matter, is to hang them. Thus, it was inevitable that he would reappear on the high seas, off on another adventure.

And so he has. Sparrow is back in “On Stranger Tides,” a dark race across high seas in search of the mythical Fountain of Youth.

“On Stranger Tides” begins with Jack Sparrow up to the antics that made him famous, impersonating a British judge in order to rescue Gibbs (Kevin McNally), his old shipmate. (Depp and McNally, like the actors playing all the reprised characters and most of the new ones, hit their marks with ease.) But their attempted escape is foiled by King George’s men, and Captain Barbossa (Geoffrey Rush), now a privateer in service of the British Crown, demands that Jack join him on a quest in search of the Fountain of Youth.

The ever-adept Jack escapes Barbossa’s grasp, only to be captured by former lover Angelica (Penélope Cruz) and forced into the crew of her father, the mythically villainous Captain Blackbeard (Ian McShane), who is also searching for the famed fountain. (more…)

My apologies for dropping the ball on this countdown. For a couple of weeks I’ve been just barely holding back the flu and early last week it finally hit, hit with a vengeance, and put me in bed all week — something that hasn’t happened since the early nineties. Thanks to our awesome contributors and their awesome contributions (and Assoc. Editor Alex Marlow), the Big Hollywood plates kept spinning, but the effort required to write anything but quickie posts, much less a proper review, just wasn’t there. My thanks to everyone who chipped in while I was away, and without further ado…

“The King’s Speech“

Of course we all know by now that this was the big winner Oscar night; Picture, Director, Actor, and Screenplay — and deservedly so. What we have here is the perfect “Academy movie,” a look at one man overcoming a handicap — in this case a merciless stutter — which is always prime Oscar bait, especially when it’s pulled off as well as “The King’s Speech.”

Based on real-life events, what really makes the story sing is the relationship between King George VI (a terrific Colin Firth) and commoner Lionel Logue (a splendid Geoffrey Rush), his unorthodox speech therapist. This is essentially a love story between two men who meet under extraordinary circumstances and through a number of ups and downs both in their own personal lives and between each other, grow a real and lasting friendship.

The stakes are high, as well. After his hard partying, Charlie Sheen-ish brother is forced to step down, Firth is unsure of himself when it comes to assuming the throne of England. With Hitler spreading his reign of terror across Europe, Britain needs a king who can help to  rally and inspire its people against seemingly impossible odds. But the stutter makes speaking nearly impossible and is only a symptom, not the real problem. And so if this oddball and somewhat eccentric speech therapist is going to cure his patient’s speech impediment, it will require, in part, turning the King into A King, building the confidence and self-esteem of an insecure man unaware of his own potential.

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As I’ve written before, 2010 was actually a good year for movies.  The King’s Speech, The Fighter, Inception, Toy Story 3, Tangled, and How to Train Your Dragon were all great entertainment.  We’ve seen terrific starring roles from actors ranging from the heretofore unwatchable James Franco to the ever impressive Christian Bale, from the magnificent Colin Firth to the chameleonic Geoffrey Rush.  We’ve seen some actresses in supporting roles who have outshone their second-tier parts: Melissa Leo and Amy Adams in The Fighter, Helena Bonham Carter in The King’s Speech.

But when we look at the leading actresses of 2010, the dearth of great performances and great parts is stunning.  The Golden Globe nominees for best actress this year were Halle Berry in the anonymous flick Frankie and Alice, playing a crazy person in her usual over-the-top style; Nicole Kidman in the anonymous flick Rabbit Hole, playing a grieving mother in her usual cold and remote style; Jennifer Lawrence in Winter’s Bone, playing a teenage girl looking for her meth-making dad; Natalie Portman in Black Swan, playing a crazy person with a constipated look plastered on her mug; and Michelle Williams in Blue Valentine, playing a spoiled girl who gets knocked up, married, and presumably divorced.  Has anyone seen any of these women in any of these films?  And if the disastrous Natalie Portman – Queen Amidala masturbating, anyone? – is the frontrunner for Best Actress at the Oscars, how far have female figures fallen?

Far.  Quick, think of the ten greatest living film actors.  It’s not that tough – we have iconic male film stars all the time.  Now think of the ten greatest living film actresses.  Now take away all women over 50.  Still thinking, aren’t you? (more…)

“The King’s Speech” begins with a close-up shot of a microphone. The microphone isn’t extravagant. Nor would it be considered unique. However, its simplicity doesn’t portend its significance in the modern world. The microphone allows the voice of one man or woman to reach millions of listeners. Its power is on full display in “The King’s Speech,” a great film about a leader’s struggle with a speech impediment during a time of crisis in England.

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Colin Firth plays Prince Albert as the story begins in the early 20th century. Albert is forced to give public speeches as part of his official duties. It’s a responsibility that he dreads because he suffers from an awful stammer that he has had since childhood. That speech impediment prevents him from connecting to his audience and inspiring them. Instead, when he gives a speech,  listeners painfully look on as he struggles with the text in front of him. 

 With the support of his wife Elizabeth (Helena Bonham Carter), Prince Albert seeks the counsel of doctors to help him overcome the stammer. One doctor even has Prince Albert insert marbles into his mouth to cure him. That suggestion, like so many other approaches before it, fails to make a difference. (more…)

Join Gary Graham, Tim Slagle, Moxie X. Cathedra, Stage Right and many more as Big Hollywood live-blogs the West Coast feed of the Tony Awards.

Tonight, 8:00 PM Pacific Time, Telecast on CBS.

It’s often said during Oscar season that there are two sets of predictions:  Who WILL win, and who SHOULD win.  It’s the same with Broadway’s Tony Awards but I often like to add a third prediction:  What would be the best for business.  Believe it or not, often times the Tony Awards seem to take into account the shows that “need” the award for marketing purposes.  Even though one show stands out and seems to be the obvious choice to win the top prize, a surprise occurs and a David beats a Goliath thus ensuring a longer run for David.  I will list a few examples for Best Musical travesties from the past that many might quarrel with in terms of the validity of the show that won, but the commercial outcome of the shows involved can’t be argued.  You have a right to your own opinion, but not to your own facts.

1991: “Miss Saigon” has a multi-million-dollar advance, leads nominations with 11, wins Best Actor and Best Actress.  Best Musical that year?  “The Will Rogers Follies.”  Without the award, “Will Rogers” would have not made it another six months. After winning the prize, it ran for two more years, had a successful tour and might still be running in Branson, MO.  “Saigon” ran for a decade. (more…)