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Sunday, October 31, 2010
Weekend Box Office: 10/29-10/31/10
Title/Gross/%Change/Total
1. Saw 3D: 22.5 mil / NEW
2. Paranormal Activity 2: 16.5 mil / -59% / 66 mil
3. Red: 10.8 mil / -28% / 59 mil
4. Jackass 3-D: 8.4 mil / -61% / 102 mil
5. Hereafter: 6.3 mil / -47% / 22 mil
6. Secretariat: 5 mil / -28% / 45 mil
7. Social Network: 4.7 mil / -35% / 80 mil
8. Life as We Know It: 4 mil / -35% / 43.5 mil
9. The Town: 2.0 mil / -29% / 87.6 mil
10. Conviction: 1.8 mil / NEW
Saturday, October 30, 2010
10 Quick Movie Reviews
The following were reviewed earlier in the year by my co-contributors and I'm cleaning up the laptop. The earlier reviews are linked via the title. The theater experience seems to enhance the films for Lawyer.
Edge of Darkness - C
A deeply unpleasant and humorless journey that begs the question - why doesn't the nefarious corporation just kill Mel and get on with it? The "shocking" violence is pretty easy to spot.
Book of Eli - B
Terrific twist at the end makes up for the overly grim and bleak atmosphere. Great message about staying focused and keeping the faith.
A Prophet - B
A well made film that goes on too long and is surprisingly predictable. Could have used more of the foresight (prophetic) stuff.
A Single Man - C+
Colin Firth is good but I couldn't care less about the problems of these 3 self-absorbed people. Julianne Moore should have dialed it down a notch or two. Who would have guessed About a Boy's Marcus (Nicholas Hoult) would grow up to become anorexic gay-bait?
Date Night - C+
Plot was too ridiculous to go with, especially since the lead actors usually play down to earth simple TV characters.
Kick-Ass - C
A single great line about everyone being responsible - not just the powerful - doesn't make up for the mindless soul-crushing language and violence. Nicolas Cage is pretty good - especially when Chloe Moretz tries to rescue him. The action scenes are watchable, but couldn't be shallower.
Hot Tub Time Machine - C
A horrible message about money making everything better takes away from the mild, ridiculous fun the actors are having. Rob Corddry deserves better.
Greenberg - C-
I hate Noah Baumbach's worldview. And all of his characters. And the way he keeps dragging Wes Anderson down.
Invictus - C-
Well-intentioned but plays it way too safe. Mandela is a great role model, but this makes him look way too preachy. Zzzzzzzzzzzzzzzzzzzzzz.
MacGruber - D
Unfunny, unnecessarily violent, over the top with its vulgarity, and oversexed. Disastrous.
Thursday, October 28, 2010
Best Films of the 90s - 35-31
35. In the Name of the Father - (1993)
A recent viewing catapulted this dozens of spots higher mostly because I can now see it through the eyes of both the son and the father. Daniel Day-Lewis is electrifying as the wayward son who grows up in prison and comes to respect his father's quiet nobility. As the father, Pete Postlewaite remains the only DDL co-star who has ever matched his acting ability on-screen, demonstrating an equal (albeit quieter and subtler) intensity. Director Jim Sheridan fills the film with spectacular imagery and music (both score and source) culminating in a moving and rousing last scene.
34. Lone Star - (1996)
The best examination of race relations of the decade is also John Sayles's best film, and the template for all his subsequent lesser films. Chris Cooper rocketed to the A-list after effortlessly carrying the complex story about a modern day border town Texas sheriff investigating a 30 year old murder. There's also a terrific theme about sons and fathers accepting each other as is. Sayles's transitions are inventive and the use of politics adds another layer. The film veers into creepiness at the end, but this adds a Shakespearean element.
33. Three Colors: Blue, White, Red - (1993-94)
Krzysztof Kieslowski left us far too early at the age of 54 shortly after completing this trilogy that explores the three colors of the French flag (liberty - Blue, equality - White, fraternity - Red). Kieslowski works on many levels thematically and visually (the colors in the titles are stunningly splashed around each respective film) and ties the trilogy together beautifully at the end of Red. 3 talented ladies (Juliette Binoche, Julie Delpy, and Irene Jacob) shine in their respective films, each showing strength and vulnerability. The best foreign language film(s) of the decade, with Blue and Red being the stronger entries.
32. A River Runs Through It - (1992)
Beautiful scenery stunningly captured by Oscar-winning cinematographer Philippe Rousselot is just the background for the moving and tragic story of 2 brothers in pre WWI rural Montana. It's a story about fishing but really it's about making connections with those you care about the most. The reverend's arrogance is subtly shown and has a lasting impact on both sons. Craig Sheffer would never get a part this good again and Brad Pitt's movie star charisma is in full swing.
31. Dead Man Walking - (1995)
Director Tim Robbins showed surprising poise examining the death penalty and its effects on inmates and victims' families. The performances are honest and heartfelt all the way around, especially by Oscar-winner Susan Sarandon and Sean Penn. Not surprisingly, Robbins is an actor's director, keeping his observant camera still as they find new emotional depths. If Christianity is a faith of forgiveness and rebirth, then this one seems to hit the spiritual bullseye.
100. Glengarry Glen Ross
99. Dead Again
98. Ed Wood
97. True Romance
96. The Commitments
95. Bound
94. Die Hard 2
93. In the Line of Fire
92. Affliction
91. Shakespeare in Love
90. In the Company of Men
89. Short Cuts
88. Copland
87. The Hudsucker Proxy
86. The Last Seduction
85. The Apostle
84. Burnt by the Sun
83. The Godfather Part III
82. Good Will Hunting
81. Speed
80. Reversal of Fortune
79. Forest Gump
78. American Beauty
77. Dazed and Confused
76. True Lies
75. Nixon
74. Malcolm X
73. Red Rock West
72. Hearts of Darkness
71. Wag the Dog
70. Thelma and Louise
69. Hoop Dreams
68. Quiz Show
67. Reservoir Dogs
66. Total Recall
65. The Hunt for Red October
64. Babe
63. Braveheart
62. Searching for Bobby Fischer
61. Bottle Rocket
60. Jerry Maguire
59. Terminator 2
58. Toy Story
57. Toy Story 2
56. Elizabeth
55. Apollo 13
54. Casino
53. Rushmore
52. Get Shorty
51. Barton Fink
50. Swingers
49. The Matrix
48. 12 Monkeys
47. Out of Sight
46. The Sixth Sense
45. The Limey
44. Hamlet
43. Dark City
42. Leaving Las Vegas
41. Hard Eight
40. The Fugitive
39. Three Kings
38. Waiting for Guffman
37. Beauty and the Beast
36. Hard-Boiled
Song of the Day - Elbow, One Day Like This
This entry comes from Dentist, basking in his new status as a father of 3. Elbow does a live version of One Day Like This.
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Wednesday, October 27, 2010
Eastbound and Down
The first
season of Eastbound and Down showed flashes of brilliance but was ultimately a pretty big disappointment. The second season has been refreshingly original with lots of belly laughs and absurdity packed into each episode (here's an amazing intro that I watch every couple of days for a laugh). Danny McBride again portrays Kenny Powers, a misogynistic washed up former Major League baseball pitcher. The second season finds him starting a new life in Mexico and looking for his father. Here is my favorite sequence so far this season (NSFW) - when he jumps on the bed like a wild animal it is greatness (bad quality on the video, but still). Click below for more EBD2:
The writing is much sharper than the first season, and Kenny's diminished status makes his 'humor' much funnier to the viewer. I think having Mexicans as his comic foils makes the show much less offensive. The first season was too mean spirited and awkward, with forced jokes all over the place. Steve Little's portrayal of Stevie Janikowski is brilliant, and certainly deserving of an Emmy. His banter with Kenny about wearing Kenny's underwear is hilarious. Pedro from Napoleon Dynamite also provides quality support. Worth your time.
Tuesday, October 26, 2010
DVD and Blu-ray Releases 10/26/10
The Girl who Played with Fire - #
Sex and the City 2 - #
Star Wars: Clone Wars: Season 2 - #
Winter's Bone - #
You Don't Know Jack
Click below for this week's Blu-ray releases.
Alien Anthology - *
Back to the Future Trilogy - *
House (Criterion)
Maniac
Paths of Glory (Criterion) - *
Santa Claus - The Movie
# - also on Blu-ray
* - Doctor approved
A Perfect World
A.O. Scott discusses one of my favorite films in his most recent "Times Picks" video. I wrote about this one last December.
Continue reading this postMonday, October 25, 2010
Songs of the Day
1. Orbans - "Like a Liar". I've already posted this, but I saw them Saturday night and think they may be my new favorite. Everything past 2:50 is especially great. Here's another great song: Don't Lose Yourself.
2. Phoenix - "Listomania". Sounds like its from a new band and I actually like it. Catchy and upbeat.
3. Bruno Mars - "Just the Way You Are". Certainly not my genre, but I can't deny loving this sappy song. His performance of this song on SNL a couple of weeks ago was great with the 50's homage. Dude is talented whether I like it or not.
4. Gerardo - "Rico Suave". Never appreciated the lyrics until now.
Sunday, October 24, 2010
Song of the Day - Let's Talk Turkey
By Ima Robot
A great pop song fusing elements of classic rock and punk. Love the rhythm section propelling the song forward. Lyrics seem to be about accepting the simple things and enjoying them. Good stuff.
Weekend Box Office: 10/22-10/24/10
Title/Gross/%Change/Total
1. Paranormal Activity 2: 41.5 mil / NEW
2. Jackass 3-D: 21.6 mil / -57% / 87 mil
3. Red: 15 mil / -31% / 43 mil
4. Hereafter: 12 mil / NEW
5. Social Network: 7.3 mil / -29% / 72 mil
6. Secretariat: 6.9 mil / -26% / 37 mil
7. Life as We Know It: 6 mil / -31% / 38 mil
8. Legend of Guardians: 3 mil / -25% / 50 mil
9. The Town: 2.7 mil / -32% / 85 mil
10. Easy A: 1.8 mil / -34% / 55 mil
Friday, October 22, 2010
Robin Hood - B+
On DVD and Blu-ray.
For the patient viewer, there's a lot to like in the latest Ridley Scott-Russell Crowe collaboration, much more than their last since it favors Scott's strongest suit (action scenes) as well as Crowe's (a wronged man with purpose). Like Gladiator, the story begins on the battlefield where Scott stages an exciting assault on a castle. There is an element of been there-seen that with Crowe sporting his Maximus haircut but the medieval warfare techniques still intrigue. After King Richard is killed in battle, Robin Longstride (Crowe) and some fellow archers (Little John, Will Scarlett) scheme their way back to England. When they return, they find their country in disarray as the new young, inexperienced king makes lots of mistakes and French relatives of the new queen conspire to take over . . .
Crowe has excellent chemistry with Cate Blanchett (Marian) and their courtship in the middle portion of the film is surprisingly witty and romantic. During the last half, when Robin is forced into battle to save his people and country, the film becomes exciting and sweet revenge is the name of the game. Scott's climactic battlefield scene set on a beach surrounded by cliffs is expertly staged. Max von Sydow and William Hurt put in excellent supporting work. Blanchett is superb, but her inclusion in the climax feels forced rather than era-appropriate.
The major flaw of the film is its familiarity but gone are the long-winded political chats in Gladiator and the preachy defeatism in Kingdom of Heaven is nowhere to be found either. Robin Hood discusses appropriate modern recession-era topics like overtaxation and the importance of employment (especially by young males). Crowe gives an excellent speech about building communities and countries from the ground up. The populist politics work exceedingly well since everyone is shown struggling under the overreaching power of an out-of-touch leader. We've seen too much of that during the past 10 years from both sides of the aisle. B+
Note: I watched the Director's Cut only (156 minutes!) figuring that I'll have an easier time catching the theatrical cut (140 minutes) at a later date. Wish I had the time . . .
Thursday, October 21, 2010
Song of the Day- This Masquerade/Leon Russell
Leon Russell is all over the music press these days thanks to his duet album with Elton John, but he'll always be best remembered for his 70's heyday, when his songs were covered in the blues, rock, and country genres. This Masquerade won Song of the Year for George Benson back in 1972, but Russell's original is the true treasure. If you're not feeling patient, go to the 1:15 mark for the beginning of the song proper. And here is the rest of it.
Continue reading this postWednesday, October 20, 2010
Best Films of the 90s - 40-36
40. The Fugitive - (1993)
The improvisational nature of the US Marshal scenes makes it the rare film where you feel the group has been together for years. Director Andrew Davis gets incredibly naturalistic performances from everyone (especially Tommy Lee Jones). Harrison Ford has always been underrated as an actor and never more so than here. The plot (involving an evil drug company) seems too naive now after a decade of medical training, but it's really about the fully formed characters and there are puh-lenty of them.
39. Three Kings - (1999)
Schwarzkopf's Gulf War seems like child's play given America's two current engagements, but that doesn't take away writer-director David O. Russell's effort involving 4 soldiers trying to smuggle gold back to the States. The heart of the movie lies in the interrogation scenes involving Mark Wahlberg but George Clooney, Ice Cube, and Spike Jonze each deliver their characters as well. in the end, the film belongs to Russell - who shows a confident, unusual style that still impresses with its boldness.
38. Waiting for Guffman - (1997)
Once you've seen Corky St. Clair, you'll never forget him. Christopher Guest's creation is infinitely quotable and the funniest character of the decade (just edging out Walter Sobchak). The supporting cast (including Eugene Levy, Fred Willard, and Parker Posey) bring their own incomparable comedic talents to the story of a small town stage director (St. Clair) putting on a musical to impress a critic. The film is brisk, never waiting for the laughter to subside. But more than that, it cleverly shows a part of America that's fascinated by celebrity & fame - and really shouldn't be.
37. Beauty and the Beast - (1991)
The best musical and the best animated film of the decade are one and the same. Like all great musicals, the film seamlessly and flawlessly transitions in and out of song. The great songs draw you in and somehow make you care about talking flatware. The classic story is known to all but the beauty is in the way it plays.
36. Hard-Boiled - (1992)
John Woo's last brilliant, electric, Hong Kong, slo-mo, dove-filled masterpiece (before his underachieving Hollywood career) has Chow Yun-Fat as a cop whose partner gets killed. He then teams with and undercover cop (Tony Leung - Hero, Infernal Affairs) to take out some gun smugglers. Each action scene is staggering and invigorating but Woo really shoots the works with a 2 minute 43 second one-take scene during the climactic shootout at a hospital. See it here.
100. Glengarry Glen Ross
99. Dead Again
98. Ed Wood
97. True Romance
96. The Commitments
95. Bound
94. Die Hard 2
93. In the Line of Fire
92. Affliction
91. Shakespeare in Love
90. In the Company of Men
89. Short Cuts
88. Copland
87. The Hudsucker Proxy
86. The Last Seduction
85. The Apostle
84. Burnt by the Sun
83. The Godfather Part III
82. Good Will Hunting
81. Speed
80. Reversal of Fortune
79. Forest Gump
78. American Beauty
77. Dazed and Confused
76. True Lies
75. Nixon
74. Malcolm X
73. Red Rock West
72. Hearts of Darkness
71. Wag the Dog
70. Thelma and Louise
69. Hoop Dreams
68. Quiz Show
67. Reservoir Dogs
66. Total Recall
65. The Hunt for Red October
64. Babe
63. Braveheart
62. Searching for Bobby Fischer
61. Bottle Rocket
60. Jerry Maguire
59. Terminator 2
58. Toy Story
57. Toy Story 2
56. Elizabeth
55. Apollo 13
54. Casino
53. Rushmore
52. Get Shorty
51. Barton Fink
50. Swingers
49. The Matrix
48. 12 Monkeys
47. Out of Sight
46. The Sixth Sense
45. The Limey
44. Hamlet
43. Dark City
42. Leaving Las Vegas
41. Hard Eight
Tuesday, October 19, 2010
Monday, October 18, 2010
DVD and Blu-ray Releases 10/19/10
Agora
Assault Girls - #
Mirrors 2 - #
Night of the Demons - #
Oceans - #
Please Give - #
Predators - #
Click below for this week's Blu-ray releases.
Apocalypse Now - *
The California Kid
Harry Potter and the Goblet of Fire
Harry Potter and the Prisoner of Azkaban - *
Moulin Rouge!
Psycho - *
Rocky Horror Picture Show
Romeo + Juliet
Seven Samurai - Criterion - *
Sunday, October 17, 2010
Snap Judgments - A Quick Review of 5 Movies
The Losers
A special forces team (including Columbus Short and Chris Evans) get betrayed by a wacky, sadistic (and occasionally funny) CIA operative (Jason Patric) and vow revenge. After a lackluster opening sequence, the film settles down nicely with the charismatic cast making the most of the ridiculous plot. But Sylvain White's "direction" consists of choppy editing, senseless camera moves, and pointless speed changes. Worth it for the likable cast (including the sensational and sublime Zoe Saldana). B-
From Paris with Love
John Travolta bounced back with The Taking of Pelham One Two Three and he seems to be having even more fun here playing a CIA agent sent to Paris to uncover a terrorist attack. His contact is Jonathan Rhys Meyers, who tries hard, but can't reach Travolta's intensity. Directed by Pierre Morel, the film is brisk, exciting, and fun, but Morel struggles (as he did with last year's Taken) with the sentimental stuff. It's refreshing for someone in Hollywood (or Paris) to acknowledge that most terrorists subscribe to the Islamic faith. B-
Remember Me
A melodramatic and overwrought drama about a young couple (Robert Pattinson and Emilie de Ravin) with overbearing fathers (Pierce Brosnan and Chris Cooper, respectively). The way tragedy affects family members differently and how they deal with it is a well-worn topic. Brosnan fairs best with some speeches about what it takes to be an adult. The climax (spoiler link) has nothing to do with the rest of the film and feels exploitative. Pattinson is a good screen presence but isn't nearly as funny or charming as he's been led to believe. C-
The Killer Inside Me
In the 1950s, a small town Texas deputy (Casey Affleck) discovers his dark side after a meeting with a prostitute (Jessica Alba). Horrific violence and moral ambiguity in small town America is certainly nothing new nearly 25 years after Blue Velvet so there's nothing shocking or revelatory about the film. Affleck seems bored and his narration will lull you to sleep. And the political shenanigans clutter the film rather than providing any insight. Brutal violence and explicit sex only for the sake of themselves. C-
Brooklyn's Finest
3 Brooklyn cops (one undercover - Don Cheadle, one retiring - Richard Gere, and one unabashedly corrupt - Ethan Hawke) have their cliched stories told simultaneously by Antoine Fuqua, barely intersecting near the climax. The individual stories have compelling moments but they lack a cohesive point other than cops have a tough job. The acting is great all around with Hawke being the notable exception, inexplicably stuck in the strung-out white trash role also recently seen in What Doesn't Kill You and Staten Island. And we've seen the plot all before, too, from Serpico to a million cop TV shows. What we haven't seen recently is Wesley Snipes, who makes a welcome return. C+
Weekend Box Office: 10/15-10/17/10
Title/Gross/%Change/Total
1. Jackass 3-D: 50 mil / NEW
2. Red: 22.5 mil / NEW
3. Social Network: 11 mil / -29% / 63 mil
4. Secretariat: 9.5 mil / -25% / 27.6 mil
5. Life as We Know It: 9.2 mil / -37% / 29 mil
6. Legend of Guardians: 4.2 mil / -39% / 46 mil
7. The Town: 4 mil / -37% / 81 mil
8. My Soul to Take: 3.1 mil / -54% / 12 mil
9. Easy A: 2.7 mil / -38% / 52 mil
10. Wall Street 2: 2.4 mil / -49% / 48 mil
Saturday, October 16, 2010
Muse/Passion Pit-- Bombast and Spectacle
Oct. 8, Ford Center, Oklahoma City
I discovered Muse with the release of their stellar 2003 album Absolution and have been tuned in ever since. While they pack stadiums in Europe, they’ve had a tough time gaining the same support here in the colonies—until recently when a few radio hits, an opening gig for U2 on the 360 tour, and inclusion on the Twilight soundtracks have upped their profile, leading to their current string of arena dates. I caught them with U2 down in Dallas, where my favorite song by either band was their Hysteria and determined I’d catch them next time they came through on their own. So it was that I found myself the Friday night of Oct. 8 at the Ford Center in Oklahoma City listening to dance/pop/synth band Passion Pit (great, by the way) and waiting for Muse to take the stage.
Muse is a band that’s made its name on prog rock-leaning bombast and spectacle, and the live show more than lives into that. The stage is designed around three massive central pillars wrapped in LED screen material (see photo) with breaks in the middle of each. The show ripped to life with the unmistakable opening riff of Uprising from their most recent album. The trio was twenty feet above the stage in the spaces within the pillars, MatthProxy-Connection: keep-alive
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Bellamy on lead guitar and lead vocals, Christopher Wostenholme on bass, and Dominic Howard on drums. Bellamy’s voice sounded great throughout, although it’s showing the strain of his full bore style of singing. On the quieter, more delicate songs (granted there aren’t many) he was still having to push the vocals pretty hard. The LED pillars were alive throughout with images, occasionally of the singers but generally of random shapes and distorted photographs. Beyond this, the band made heavy use of lasers (awesome, acProxy-Connection: keep-alive
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ally), and lots of smart lighting often with a strobe effect. Even when the songs weren’t my favorites, the show was never short of awe-inspiring.
As the show progressed, the bottom third of the pillars dropped down to level with the main stage, bringing the band with them. In this configuration, there were three pillars suspended approximately 30 feet up in the air. This allowed the threesome to move quite a bit more, but they still seemed significantly separated from the audience. This was my one complaint about the show. Proxy-Connection: keep-alive
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hile some bands attemProxy-Connection: keep-alive
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to connect with their audience, this concert seemed much more like a classical music concert, with the fourth wall largely intact. In fairness, this seemed to be their intent, with the band and their significant backing instrumentalists coming out for a bow together in traditional fashion.
Show highlights included fantastic versions of Hysteria, Time Is Running Out, Supermassive Black Hole, Stockholm Syndrome, and Starlight. True fans are probably thinking that I’m primarily mentioning the hits in that list, which is true, but the reality is that a good chunk of Muse leaves me a little cold, and the concert, after awhile, feels something akin to working a jack hammer. It’s awesome but sometimes you just want a break. Muse doesn’t give one, with each song a sonic and visual assault that physically and visually beats you into submission. This might be why they chose to only play 17 songs (only 14 in the main set!). At not quite 1.5 hours, that’s a bit stingy from a band of this magnitude with 6 albums under their belts. Still, if they weren’t going to work in a few more of their slower songs, I’m not sure if I would have been up for too much more.
In the end, when they get into a song that hits their sweet spot of soaring vocals, prog rock grandeur, heavy beats, lots of synths, and enough strobes and lasers to sizzle your retinas, you’ll be ready join whatever revolution they’re so insistently selling. I dare you to hold still during Stockholm Syndrome, Hysteria, orStarlight. I’d like to see them lay off occasionally and add a few more songs to the show, but this is a must experience at least once for any concert fan.
*****About Passion Pit. They make the transition from a dude with a MacBook (Michael Angelakos) to a live show way better than I could have imagined. With five live musicians on the stage recreating the loops and blips that make the album work, it was more organic and warm than the original material, and Angelakos voice was, if anything, better. They knew their role and played about 8 songs, to an increasingly warm audience, in a blitzkrieg 35 minute set. They’re perfect for a venue of four or five thousand where people can move, dance, and twirl the glow sticks to the eruptions of joy these guys crank out. GREAT opening band.
Thursday, October 14, 2010
Let Me In, B+
Rated R, In Theatres, 115 minutes.
When I heard they’d placed the remake of the delicate Swedish dance Let the Right One In in the hands of Cloverfield director Matt Reeves, I was appalled. Whatever strengths Cloverfield had were largely neutralized by its wholly unsympathetic characters and flat dialogue. Either Mr. Reeves has been hanging out with real humans in real relationships in the ensuing years or his instincts as a screenwriter (he adapted along with John Ajvide Lindqvist, who wrote the Swedish original as well as the novel on which it was based) far outstrip those of Cloverfield scribe Drew Goddard. Whichever, far from being the embarrassing failure I feared, this Hollywoodizing works—in some places even better than the original.
****Spoiler Alert-- This review is written under that assumption that you've watched the first film or don't mind reading comparisons between the two**** The basics have changed little from the source. The setting is the snowy winter of 1984 in Roswell, New Mexico. Owen (Kodi-Smitt McPhee, The Road) is the 12-year-old son of divorcing parents who lives with his deeply religious, alcoholic mother in an apartment building when new girl Abby (Chloe Moretz, 500 Days of Summer) moves in with her older guardian (Richard Jenkins, The Visitor). Owen’s getting the crap kicked out of him at school and is left to fend for himself the rest of the time by his loving but inadequate mother. He passes the time eating Now-and-Later candies and watching his neighbors through a telescope, a set-up either in homage to or stolen straight from Rear Window; in either case its very effective in introducing us to the cast of characters and as a perch from which to watch the action. In the early dark of winter, Abby and Owen bond over their loneliness even as the audience knows that Abby is a ruthless vampire and her apparent guardian is something far more sinister, the man who procures the blood she needs to survive.
The acting is across-the-board stellar. Moretz is quickly establishing herself as a young actress with nearly unparalleled range with her hilarious turn in 500 Days of Summer, action heroine in Kick Ass, and the tender brutality of Abby here. Owen is likewise a wonder as he asks his father if someone can be truly evil, then slowly succumbs. When he reaches out and pulls the door shut on a detective reaching to him as he’s being devoured, you feel the full force of his decision. Richard Jenkins is great if not on the screen that much and Elias Koteas (Shutter Island) as the police detective in pursuit (in a role that is greatly expanded from the original) nails his role.
While this movie isn’t quite the equal to it’s Swedish original, it’s dang close—and after bigger game. Gone is the ambiguity of the original (a loss I sorely felt). While there is still a wistfulness to young Abby, Owen’s role is never up for debate—not even to her. She’s laying a trap to replace the increasingly sloppy Jenkins, a plan that’s sped up with his subsequent death. While she may feel something for Owen, she tells him in the beginning that they can never be friends, and she never deviates from this promise. And, while we are left to surmise Owen’s eventual fate at the end of original, it’s here clearly, if unwittingly, spelled out for us by Owen himself as he sings a closing jingle. Replacing the ambivalence of the first film is an examination of evil and the sources of violence. The use of fundamentalist Christianity in Owen’s mom is interesting and not nearly as flat or dismissive as might be feared. Meanwhile, Owen is ruthlessly shown to be no different from the bullies at school, the ringleader of which is himself the victim of his brother. It’s chilling to hear each exactly mimic the speech of their respective bully as they turn and bully others. It’s hard not to see terrorists in this picture of Owen and his loss of innocence and choice of paths. They’ve also amped the action a bit, along with the violence, and change enough scenes to goose the suspense for fans of the original. Indeed, the suspense across the board is tighter in this telling. The black, white, and gray palate of the original remains intact, as does the general atmosphere and several significant set pieces such as the jungle gym.
The soundtrack here is great for anyone that lived through 1984, with the inspired choices of The Blue Oyster Cults “I’m Burning for You” and The Culture Club’s “Do You Really Want to Hurt Me”. Across the board a very strong film with much to offer even someone who's seen the first several times. Perhaps an A- if I hadn’t seen the original.
Wednesday, October 13, 2010
Tuesday, October 12, 2010
DVD and Blu-ray Releases 10/12/10
Arn: The Knight Templar - #
How to Train Your Dragon - #
I am Love - #
Jonah Hex - #
Ladies & Gentlemen: The Rolling Stones - #
Leaves of Grass - #
Lost Boys: The Thirst - #
Older than America
Wolverine and X-Men: Complete Series - #
Click below for this week's TV and Blu-ray releases
TV:
CSI: Miami: Eight Season
Dollhouse: Second Season - #
Ghost Whisperer: Fifth Season
In Treatment: Season 2
The Tudors: Final Season
New to Blu-ray:
The Darjeeling Limited - Criterion
The Magician - Criterion
Red Dragon
Sex and Lucia
Three Kings - *
# - also on Blu-ray
* - Doctor approved
Sunday, October 10, 2010
Worthwhile Links
Malcolm Gladwell essay rejecting Facebook and social networking as societal change.
Jackass as art?
SNL in Transition
Saturday Night Live has been unbelievably dreadful during its first 3 episodes this season. Jay Pharoah is the only bright spot and he's only been on twice. His Will Smith impression 2 episodes ago was wasted since he was sitting next to the smuggest prick ever (Seth Myers) but his Denzel Washington impression was better both in setting and delivery. But why did the writers have to say it was Denzel before he came out - it would have been better if the audience would have slowly realized who it was.
Continue reading this postWeekend Box Office: 10/8-10/10/10
Title/Gross/%Change/Total
1. Social Network: 15.5 mil / -31% / 46 mil
2. Life as We Know It: 14.6 mil / NEW
3. Secretariat: 12.6 mil / NEW
4. Legend of Guardians: 7 mil / -36% / 39 mil
5. My Soul to Take: 6.9 mil / NEW
6. The Town: 6.4 mil / -35% / 74 mil
7. Wall Street 2: 4.6 mil / -54% / 44 mil
8. Easy A: 4.2 mil / -38% / 48 mil
9. Case 39: 2.6 mil / - 51% / 9.6 mil
10. You Again: 2.5 mil / -57% / 21 mil
11. Let Me In: 2.4 mil / - 53% / 9.1 mil
12. It's Kind of a Funny Story: 2 mil / NEW
13. Devil: 1.7 mil / -50% / 30 mil
14 Alpha and Omega: 1.5 mil / -49% / 21 mil
15. Resident Evil 4: 1.3 mil / -55% / 59 mil
Saturday, October 9, 2010
Best Films of the 90s - 45-41
45. The Limey - (1999)
A Cockney ex-con (Terence Stamp) travels to Los Angeles to uncover the details about his only daughter's death. Leslie Ann Warren and Luis Guzman are terrific as her friends who help him as is Peter Fonda, an ex-hippie turned music executive. But it's director Steven Soderbergh who's the main attraction. From his use of The Who's "The Seeker" in the opening credits to his flash-forward, flashback editing, Soderbergh makes a work of art out of a simple revenge flick.
44. Hamlet - (1996)
Starting with some above average source material, director Kenneth Branagh added striking visuals with the costumes and sets. The eclectic supporting cast including Billy Crystal, Gerard Depardieu, Charlton Heston, Jack Lemmon, Robin Williams, and Kate Winslet did the rest. Not everything works like gangbusters, but Shakespeare's play, universally accepted as the best piece of English literature, has never felt as alive, even in its unabbreviated state (the 4 hour running time will be a deterrent for some). The film is not as rousing as Henry V, which had a better score, but it is more consistently beautiful.
43. Dark City - (1998)
Like all great science fiction films, the plot is just the bedrock to examine fundamental human mysteries and truths. John Murdoch (Rufus Sewell) tries to find his real identity while others try to discover what makes someone human. And how important are memories (real or imagined) in making who we are? In the meantime, there's an involving story about an insomniac (Sewell) witnessing strange sleeping patterns in others while trying to find his wife (Jennifer Connelly). The "tuning" showdown at the end will seem silly to non sci-fi fans used to guns and ammo. It's paced so fast, the viewer has trouble keeping up with the frequently amazing imagery and thoughtful themes.
42. Leaving Las Vegas - (1995)
Probably way too high for lawyer, but I find myself completely immersed in the world director Mike Figgis creates, which moves from blues to jazz to opera. As a suicidal alcoholic, Nicolas Cage gives his career best performance by being unpredictable (not surprisingly) and by showing uncommon depth and emotion (very surprisingly - especially if you saw his post-Oscar performances before this). Elisabeth Shue has never been as great as she is as Sera, giving the classic hooker with a heart of gold amazing depth. Tons of heart in this one.
41. Hard Eight - (1997)
A drifter (John C. Reilly) meets Sydney (Philip Baker Hall) at a diner and the 2 forge a mentor-pupil relationship in Reno. Paul Thomas Anderson (all of 26 at the time) shows great insight into old age regret and the lengths people will go for redemption. PTA's fluid camera captures his letter-perfect script perfectly. Philip Seymour Hoffman is brash and brilliant as a young gambler who challenges Sydney. Gwyneth Paltrow and Samuel L. Jackson are pretty good but overshadowed by the 3 who became PTA regulars.
100. Glengarry Glen Ross
99. Dead Again
98. Ed Wood
97. True Romance
96. The Commitments
95. Bound
94. Die Hard 2
93. In the Line of Fire
92. Affliction
91. Shakespeare in Love
90. In the Company of Men
89. Short Cuts
88. Copland
87. The Hudsucker Proxy
86. The Last Seduction
85. The Apostle
84. Burnt by the Sun
83. The Godfather Part III
82. Good Will Hunting
81. Speed
80. Reversal of Fortune
79. Forest Gump
78. American Beauty
77. Dazed and Confused
76. True Lies
75. Nixon
74. Malcolm X
73. Red Rock West
72. Hearts of Darkness
71. Wag the Dog
70. Thelma and Louise
69. Hoop Dreams
68. Quiz Show
67. Reservoir Dogs
66. Total Recall
65. The Hunt for Red October
64. Babe
63. Braveheart
62. Searching for Bobby Fischer
61. Bottle Rocket
60. Jerry Maguire
59. Terminator 2
58. Toy Story
57. Toy Story 2
56. Elizabeth
55. Apollo 13
54. Casino
53. Rushmore
52. Get Shorty
51. Barton Fink
50. Swingers
49. The Matrix
48. 12 Monkeys
47. Out of Sight
46. The Sixth Sense
Friday, October 8, 2010
Best Films of the 90s - 50-46
50. Swingers - (1996)
There's something obviously autobiographical about Jon Favreau's script as he and some friends (including Vince Vaughn and Ron Livingston) struggle both as actors and with women. Vince has claimed many of his own lines from real life conversations. In being very specific about the LA acting scene in the mid-90s, the film paradoxically becomes universal by feeling so real. Every group of friends can recognize characters from the film. Vince is truly unbelievable here - it would be the best comedic performance of the decade if he weren't playing himself.
49. The Matrix - (1999)
Neo's journey from low level business cog to revolutionary leader is told in classic film structure which helps make it feel both old and new. The blending of many religions allows everybody to apply their life to the film (this goes double for film nerds in crappy jobs). Keanu Reeves's limited acting range is humorously addressed (the lack of humor hurt the sequels big-time). The Wachowski siblings are in total command here - the way the script shows "The Matrix" to Keanu (thus the audience) is a masterstroke.
48. 12 Monkeys - (1995)
Terry Gilliam's most accessible film still has his usual ridiculous point of view shots, close-ups that are way too close, and crazy makeup choices. But with a focused, driving story, his questionable tendencies take backstage for the better. The time travel stuff is just the foundation for the real story of self-discovery and perseverance. Bruce Willis is nicely subdued and Brad Pitt is hilariously manic. Times have greatly changed in the past 15 years, but the threat of human annihilation by viral epidemic is right around the corner - or not.
47. Out of Sight - (1998)
Teaming up with Steven Soderbergh (who he'd go on to make 4 more films - so far), George Clooney really found his charming, rascally stride as a bank robber being pursued by a US Marshal (Jennifer Lopez) who he has an unusual attraction with. The Clooney-Lopez chemistry is perfect as is the editing in the classic consummation scene. The appearances of Albert Brooks and Nancy Allen in the climactic scene was a delight not only within the film itself, but also for film geeks who love Soderbergh's continued casting of film stars from the 70s and 80s.
46. The Sixth Sense - (1999)
Take away one of the all-time best twist endings and you still have an exceptional drama about parenting and forgiveness. Haley Joel Osment and Toni Collette give very moving performances, especially in the later scenes. M. Night Shyamalan made this film about many different things - including hope, redemption, and helping others. His later films would have less and less ideas in them, much to their detriment. Bruce Willis's longevity is partly related to his willingness to take supporting parts and partly related to choices like this.
100. Glengarry Glen Ross
99. Dead Again
98. Ed Wood
97. True Romance
96. The Commitments
95. Bound
94. Die Hard 2
93. In the Line of Fire
92. Affliction
91. Shakespeare in Love
90. In the Company of Men
89. Short Cuts
88. Copland
87. The Hudsucker Proxy
86. The Last Seduction
85. The Apostle
84. Burnt by the Sun
83. The Godfather Part III
82. Good Will Hunting
81. Speed
80. Reversal of Fortune
79. Forest Gump
78. American Beauty
77. Dazed and Confused
76. True Lies
75. Nixon
74. Malcolm X
73. Red Rock West
72. Hearts of Darkness
71. Wag the Dog
70. Thelma and Louise
69. Hoop Dreams
68. Quiz Show
67. Reservoir Dogs
66. Total Recall
65. The Hunt for Red October
64. Babe
63. Braveheart
62. Searching for Bobby Fischer
61. Bottle Rocket
60. Jerry Maguire
59. Terminator 2
58. Toy Story
57. Toy Story 2
56. Elizabeth
55. Apollo 13
54. Casino
53. Rushmore
52. Get Shorty
51. Barton Fink
Thursday, October 7, 2010
Best Films of the 90s - 55-51
55. Apollo 13 - (1995)
The aborted moon landing in April 1970 is depicted with a surprising amount of tension. Director Ron Howard did an amazing job just acquiring the images on film with great use of CGI and the weightlessness. You feel as if you're on the rocket with the 3 astronauts. The acting is great throughout, but Oscar appropriately singled out Ed Harris, whose flight director confronts, questions, and inspires his crew to get the Americans home. The domestic scenes are stale compared to the flight control and flight crew scenes. Watching a bunch of super-smart nerds solving things with math and physics has never been this glamorous.
54. Casino - (1995)
Everyone wanted Goodfellas Part 2 and what they got was more violence, more language, more costumes, more celebrities, more cinematography, more songs, and less camaraderie. Everyone is at each others throats which makes it less fun. After a few viewings, the characters (especially Robert De Niro's Ace Rothstein) become more sympathetic (and more pathetic). Unexpectedly moral, the biggest sinners suffer the most. For every great scene (the mechanics of the casino), there's one that goes on too long. It's a 2 1/2 hour masterpiece trapped in a 3 hour movie.
53. Rushmore - (1998)
Wes Anderson's second and best film mostly focused on Max Fischer, an unusually creative and precocious teenager at a private school. His interactions with teens and adults alike are hilarious due to his boldness and unpredictability. He finds a mentor in Bill Murray who eventually becomes his rival. Murray reaches comic nirvana as he climbs up on a high diving board with drink and cigarette in tow. His contempt for his life and family as well as his self-loathing and self-deprecating humor make this his most interesting creation.
52. Get Shorty - (1995)
My favorite John Travolta scene ever is when he's watching Touch of Evil and talks back to the screen. At that moment, Chili Palmer is just a movie-loving kid. He then snaps back into "character" as he walks Rene Russo outside. The rest of the movie is almost as good - fast-paced, hilarious, and well-shot. Gene Hackman, Danny DeVito, James Gandolfini, Dennis Farina, and Delroy Lindo are up to the task of keeping of with Travolta.
51. Barton Fink - (1991)
This isn't exactly the Coens' most accessible film with its slow pacing and deliberately impenetrable protagonist. John Turturro's title character develops an Everest level writer's block in 1941 Hollywood. The Coens' examination of the creative process and "art" is certainly their most solipsistic work. But their crew of exciting supporting parts and their knowing, witty dialogue is stimulating and hilarious. Coen regulars John Goodman, Jon Polito, Tony Shaloub (Souse!) and Steve Buscemi (Chet!) are fantastic here. John Mahoney (as a William Faulkner stand-in) and Judy Davis (as his mistress) are smart and terrific. But it's the Oscar nominated Michael Lerner (as a Louis B. Mayer-type studio head) that steals the show.
100. Glengarry Glen Ross
99. Dead Again
98. Ed Wood
97. True Romance
96. The Commitments
95. Bound
94. Die Hard 2
93. In the Line of Fire
92. Affliction
91. Shakespeare in Love
90. In the Company of Men
89. Short Cuts
88. Copland
87. The Hudsucker Proxy
86. The Last Seduction
85. The Apostle
84. Burnt by the Sun
83. The Godfather Part III
82. Good Will Hunting
81. Speed
80. Reversal of Fortune
79. Forest Gump
78. American Beauty
77. Dazed and Confused
76. True Lies
75. Nixon
74. Malcolm X
73. Red Rock West
72. Hearts of Darkness
71. Wag the Dog
70. Thelma and Louise
69. Hoop Dreams
68. Quiz Show
67. Reservoir Dogs
66. Total Recall
65. The Hunt for Red October
64. Babe
63. Braveheart
62. Searching for Bobby Fischer
61. Bottle Rocket
60. Jerry Maguire
59. Terminator 2
58. Toy Story
57. Toy Story 2
56. Elizabeth
Tuesday, October 5, 2010
Boardwalk Empire
On HBO, new episodes every Sunday night
I'm having troubled staying interested in Boardwalk Empire. The first Martin Scorsese-directed episode had moments of flair with whip-smart editing and nice juxtaposition of events. Humor and character counted. But there was still the over-the-top violence and gratuitous nudity that stuck out. Scorsese hasn't handled nudity well since 1973. The following 2 episodes have dropped the humor and nice characterizations and kept the R-rated nudity and violence. We have a too-familiar story about corrupt politicians and ruthless gangsters double-crossing each other and the show brings nothing new to the table . . .
We're left with scene after scene that plods along, waiting for a writer to throw in an unpredictable turn or an engaging character to side with. Steve Buscemi and Michael Pitt had some nice quiet moments in the pilot, but seem to be going through the motions since. Kelly MacDonald is giving nothing to do except look earnest which lasts about one scene before she starts looking constipated. There are some nice religious aspects to Michael Shannon's federal agent character, but he's a passive, thinking man's actor, much better at observing than springing into action. A Serious Man's Michael Stuhlbarg is miscast as an annoying windbag gang boss. The only actor on fire is Stephen Graham who brings a vitality to Al Capone (the casting agent must have seen him as Baby Face Nelson in Michael Mann's Public Enemies).
It doesn't help that Boardwalk Empire is on the same night as AMC's Mad Men, which, in its 4th season is easily having its best. Mad Men takes unusual turns each episode, has layers upon layers within each character, and continues to show a world never seen on TV before. Boardwalk Empire feels like an uninspired dumbed-down retelling of The Untouchables with extra blood and sex to get the viewer's attention.
Scorsese's pilot: B+
2nd & 3rd episodes: B-
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