POMPEII
About a half-hour into Paul W.S. Anderson's Pompeii, the film's protagonist - a gladiator-turned-slave amusingly named Milo - hears the unfamiliar sound of the nearby Mount Vesuvius preparing to erupt. "It is the mountain," says Milo's comrade Atticus. "It grumbles from time to time." So do movie reviewers, and this latest 3D action spectacle by the director of Mortal Kombat, Death Race, and a trio of Resident Evil flicks would, at first glance, appear to be exactly the sort of thing I'd personally grumble about: a predictably corny, derivative, overscaled costume party with loads of generic violence and nothing in the way of subtlety or emotional nuance.
Yet while it's easy to name the movie's most direct influences, Gladiator and Titanic chief among them, what I didn't at all expect was for this swords-and-sandals outing to be so thoroughly, cheerfully indebted to 1970s disaster epics in the vein of The Towering Inferno and The Poseidon Adventure; Pompeii, to its cheeky credit, is kind of like 1974's Earthquake with the ancient Roman city cast in the role of Los Angeles.
When it comes to the films and individuals that win Academy Awards, it's easy to get defensive, and even a little pissy, about voters' collective choices. "How could those people ever vote for ______," you find yourself asking, "when ______ is so obviously better? Don't they have any integrity at all?!"
Music
ROBOCOP, ABOUT LAST NIGHT, and ENDLESS LOVE
THE LEGO MOVIE
Music
Fans of Jules Verne's 20,000 Leagues Under the Sea - either the novel or 1954's live-action Disney movie - should be excited to attend Davenport Junior Theatre's debuting stage version of the adventure classic, running February 15 through 23. Just as long, says playwright Aaron Randolph III, as those 20,000 Leagues fans aren't also 20,000 Leagues purists.
LABOR DAY
ALL IS LOST
