To make people forget what you're taking the place of, the most effective device is to mention that particular thing to get it
or in this case
to get her out of the way, quick.
So begins the new ANNIE inside a classroom where a redheaded girl wraps up an annoying presentation... and then it's time for the next student, also named ANNIE, played by last year's Oscar nominated Quvenzhané Wallis, who not only trumps this movie's pseudo Annie but the original, Aileen Quinn's iconic orphan, is outdone in one aspect – compared to a haves and have nots opening number inspired by The New Deal, FDR never had such posthumous promotion.
ANNIE, a MR. DEEDS style mainstream comedy with pop culture references galore, introduces each character as if they were cameos in a parody instead of a genuine remake, or in this case... altering from the 1930's into modern day... a reboot.
Wallis sleepwalks through the pains and joys of the title character, and replacing Carol Burnett as the mean orphanage or rather Foster Home den mother is Cameron Diaz. Almost letting her guard down right off the bat, Miss Hannigan seems more like a cranky Aunt than a villain with a hatred for little girls Providing the orphans nothing to really fear. In fact they seem completely at home, and in control: The place ain't too shabby.
Warbucks Unnamed The real heavy is Bobby Cannavale, stepping into the Tim Curry role as a nefarious climber seeking a big raise from his boss, the new Daddy Warbucks in the form of Jamie Foxx as Stacks, a cell phone magnate running for New York City Mayor and, losing in the polls, he takes in an orphan for a needed boost.
During their pivotal field trip bonding experience, Foxx and Wallis have the awkward non-chemistry of two actors who just started rehearsing lines. Stacks isn't very uptight to begin with for his eventual heart-melting transition to matter, while Annie doesn't seem to really need anything, much less a new parent. Songs between the duo border banal and creepy. And as Rose Byrne attempts tying loose ends together, there's just not anything between anyone – even the dog seems bored.
The original hard knocking classics aside, the new tunes lend nothing to an actual story, which isn't an entertaining rags to riches coming-of-age musical but a pointless attempt to bring a famous Comic Strip/Broadway/Cinema character back to life by throwing everything into the pot, hoping something will land.
So begins the new ANNIE inside a classroom where a redheaded girl wraps up an annoying presentation... and then it's time for the next student, also named ANNIE, played by last year's Oscar nominated Quvenzhané Wallis, who not only trumps this movie's pseudo Annie but the original, Aileen Quinn's iconic orphan, is outdone in one aspect – compared to a haves and have nots opening number inspired by The New Deal, FDR never had such posthumous promotion.
ANNIE, a MR. DEEDS style mainstream comedy with pop culture references galore, introduces each character as if they were cameos in a parody instead of a genuine remake, or in this case... altering from the 1930's into modern day... a reboot.
Wallis sleepwalks through the pains and joys of the title character, and replacing Carol Burnett as the mean orphanage or rather Foster Home den mother is Cameron Diaz. Almost letting her guard down right off the bat, Miss Hannigan seems more like a cranky Aunt than a villain with a hatred for little girls Providing the orphans nothing to really fear. In fact they seem completely at home, and in control: The place ain't too shabby.
Warbucks Unnamed The real heavy is Bobby Cannavale, stepping into the Tim Curry role as a nefarious climber seeking a big raise from his boss, the new Daddy Warbucks in the form of Jamie Foxx as Stacks, a cell phone magnate running for New York City Mayor and, losing in the polls, he takes in an orphan for a needed boost.
During their pivotal field trip bonding experience, Foxx and Wallis have the awkward non-chemistry of two actors who just started rehearsing lines. Stacks isn't very uptight to begin with for his eventual heart-melting transition to matter, while Annie doesn't seem to really need anything, much less a new parent. Songs between the duo border banal and creepy. And as Rose Byrne attempts tying loose ends together, there's just not anything between anyone – even the dog seems bored.
The original hard knocking classics aside, the new tunes lend nothing to an actual story, which isn't an entertaining rags to riches coming-of-age musical but a pointless attempt to bring a famous Comic Strip/Broadway/Cinema character back to life by throwing everything into the pot, hoping something will land.