Well, as you may have noticed I definitely did not keep up with my month long Halloween marathon. I watched plenty more throughout the rest of October, but instead of writing about it as I had hoped to, I let stress and laziness keep me from completing my goal.
There, I said it. It's me. I am the only reason that I don't write more than I do.
When people ask me what I want to do, the answer is always an immediate " I want to talk about movies." Whenever I watch a movie, good or bad, I immediately think about how I can write about it. Yet, I never seem to be able to bring myself to actually sit down and do it consistently. How can I expect to do this for a living if I can't even do it for a few hours a week when I'm not doing anything else anyways? I mean, I like movies, right?
The truth is, I do like movies. I love them. But the time I've spent in North Carolina has been hard. I could go on and on about how stupid and silly this state is and why Texas is better, but I've been there and done that. I'm in this state for one reason and one reason only. One amazing, beautiful, patient, and legally obligated reason. And believe me when I say it is absolutely worth it.
It's been without a doubt a life-changing experience. If we hadn't moved here, I wouldn't have tried to climb the latter at a local retail giant and had a brief experience with alcoholism (kidding, kind of). I also would not have made the decision to finally go to college and pursue my dream of becoming a film critic. And now, as I'm about to complete my first semester of college, I feel both fulfilled and empty. I'm glad to finally be doing something worth-while with my time here in North Carolina, but even with my new found sense of duty, I still can not bring myself to sit down and write about whatever movie I had watched the night before.
I've kept telling myself that movies are my comfort zone. That I need to watch movies, otherwise, no matter what, I could not be happy. Yet rarely do I put in a movie that I truly love, or have been dying to see in hopes of getting that feeling I desperately long for when watching a great movie. Instead, I put in something I've seen a million times while drunk or something I don't really have strong feelings towards one way or another.
That is, until about 3 weeks ago, when I got the absolute worst urge to watch There Will Be Blood. I can't tell you why it was this film in particular that crept into my brain so intensely, but what I can tell you is that I absolutely had to watch it ASAP.
So one day I sat down, ready to have my afternoon consumed with DDL,and as usual he did not disappoint. Yes, I had seen the movie before, so I knew it would be incredible. However, this particular viewing came as a huge relief to me. I had honestly forgotten what it was like to watch such a great movie, and to be totally immersed in a story so rich and compelling.
Even more amazing was the feeling I had after watching it. I felt relieved, like all the stress I was holding onto for whatever reason had washed away. All thanks to a great fucking movie.
I needed more.
Another obviously great film I recently purchased on Blu Ray was Pulp Fiction, a movie that I had somehow created a personal stigma against. I felt that I had seen it too many times, and that I needed a few more years of distance before I could enjoy it again.
WTF? I've seen Punisher: War Zone 3 times in a 6 month period, yet I can't handle Pulp Fiction twice in 5 years? Who am I? I had just reminded myself what it was like to watch greatness, and here I was, scared to witness it again.
But why? Why was I depriving myself? I'm sure there are reasons, mostly of the life variety, but honestly, I don't know why I would ever keep myself from enjoying great movies.
What I do know is that after three horrible holiday shifts at work, I finally said " Fuck it", and sat down to 154 minutes of Tarantino.
All was good.
Although I still couldn't bring myself to write about any of this.
Until, that is, I watched Mission Impossible III. I don't care if you hate Tom Cruise. I don't care if you think J.J. Abrams is overrated. MI3 is a great fucking movie.
Now, yes, a new Mission Impossible was on the way, and yes, I was about to go home to Texas for a week, and yes I was slightly tipsy on wine. But I was just so happy to be watching it. So much so, that I began thinking about why I wasn't watching movies that I love anymore, and more so, why wasn't I writing about them?
And you know, I couldn't think of a single god damn reason. Not a single valid excuse. I just wasn't doing it.
How stupid.
Granted, it's taken me a few weeks to finish this little diddy here, but I needed to go to Texas and re-energize. Luckily, I not only had an amazing time with friends and family, but I saw multiple movies and even found a little bit of inspiration.
I really want 2012 to be different. I really want to stay positive and enjoy myself. Three days into the new year and so far so good. I've watched Thor and Captain America within 24 hours and will end today with Hanna. Those are just warm-ups, though. I have the gifted funds to see multiple movies within the next few weeks, and I honestly intend to come back here and share my thoughts.
So, until then, suck it.
Monday, December 12, 2011
Thursday, October 13, 2011
Scream 4
Well, I'm in school now. It's not that bad so far. I still don't really care for North Carolina, but whatever. I do, however, still like movies. I've watched quite a few since the last time I posted on here, most notably Drive, which is easily the coolest movie I've seen this year.
Since it's October, I figured now is as good a time as any to start this up again since all I watch are horror films. Some new, some old. Some I've seen, most I haven't.
So far this month I've watched Poltergeist, Videodrome, The Fly, Insidious, The Last Exorcism, The Shining, Buried, In the Mouth of Madness, The Evil Dead, Evil Dead II, Let Me In and Scream 4.
In terms of pure scare factor, Insidious is thus far the winner since I am quite easily scared of anything involving paranormal or haunted house situations. Though the movie as a whole is a little silly.
In terms of pure quality, Let Me In was probably the biggest surprise. In fact, I had considered doing a comparison of it with its original counter part, Let the Right One In, but to be honest I'm more interested in watching films I haven't seen as opposed to revisiting old favorites.
Which brings us to Scream 4. I've got a special place in my heart for the first two. I was 10 and 11 years old when they were released, right at the time when I was really discovering my love affair with movies, so seeing movies about movies with characters who only talked about movies was right up my alley. The first is easily the best of the series, turning the entire genre on its head while the second installment was almost as clever in its dissection of sequels and franchises . Having Timothy Olyphant in your movie doesn't hurt, either.
But man, Scream 3 sucks. I mean, it sucks. Of the first three, I had seen this one the least amount of times, though I had a faint memory of it being decent. So when I watched it for the first time in at least 10 years this past April, you could say that I was more than a little surprised to discover just how terrible it is. Phoned in by just about everyone involved, its no shocker that it took 11 years to get the franchise going again.
Even with the bad taste Scream 3 left in my mouth, I was hopeful that the time away had gotten the creative juices flowing again and at least make for a fun return to Woodsboro. And for the most part, that's pretty much what happened.
While nowhere near as smart as the first two, Scream 4 manages to to be fun, funny, and tense all while updating and playing with the "rules" of today's horror films. Also, the opening tag was a great reminder of how clever and fun the series can be, and was easily the best opening since the original.
In fact, the only area where the movie really drops the ball is the reveal of its killer(s). This might be a deal-breaker for most, but I personally always had more fun with the series' self-aware take on the genre than guessing who the killer was.
That being said, the actor who plays the villain here just doesn't have the weight or skill to pull off the obligatory "Why I did it" monologue at the end, not to mention the fact that her motivations make absolutely no sense. Granted, Skeet Ulrich, Matt Lillard, and Tim Olyphant weren't exactly deserving of Oscars for their turns, but I at least believed that their characters were crazy enough to put on a ghost mask and stab teenagers.
Also, and I can't believe I'm saying this, but I actually wish David Arquette had more to do. His Dewey has always been a fan favorite, and Arquette brings a certain 'doofus' like quality to the character that's funny and sweet without going too far over the top. In a complete waste of opportunity, though, the filmmakers chose to make Dewey sheriff this time around, something that should have been a slam dunk in terms of laughs, and instead offer a single running gag where Dewey is forced to but-heads with his now wife Gale, who keeps insisting that she be included in the investigation. It's mildly amusing I suppose, but I feel like they could have easily gone further with the notion of a once bumbling deputy Dewey as a now bumbling sheriff Dewey.
Even with a lame ending and a not so funny Dewey, Scream 4 is leaps and bounds better than the last installment, offering up some tense moments and solid laughs while also reminding the audience just how good Wes Craven can be.
Since it's October, I figured now is as good a time as any to start this up again since all I watch are horror films. Some new, some old. Some I've seen, most I haven't.
So far this month I've watched Poltergeist, Videodrome, The Fly, Insidious, The Last Exorcism, The Shining, Buried, In the Mouth of Madness, The Evil Dead, Evil Dead II, Let Me In and Scream 4.
In terms of pure scare factor, Insidious is thus far the winner since I am quite easily scared of anything involving paranormal or haunted house situations. Though the movie as a whole is a little silly.
In terms of pure quality, Let Me In was probably the biggest surprise. In fact, I had considered doing a comparison of it with its original counter part, Let the Right One In, but to be honest I'm more interested in watching films I haven't seen as opposed to revisiting old favorites.
Which brings us to Scream 4. I've got a special place in my heart for the first two. I was 10 and 11 years old when they were released, right at the time when I was really discovering my love affair with movies, so seeing movies about movies with characters who only talked about movies was right up my alley. The first is easily the best of the series, turning the entire genre on its head while the second installment was almost as clever in its dissection of sequels and franchises . Having Timothy Olyphant in your movie doesn't hurt, either.
But man, Scream 3 sucks. I mean, it sucks. Of the first three, I had seen this one the least amount of times, though I had a faint memory of it being decent. So when I watched it for the first time in at least 10 years this past April, you could say that I was more than a little surprised to discover just how terrible it is. Phoned in by just about everyone involved, its no shocker that it took 11 years to get the franchise going again.
Even with the bad taste Scream 3 left in my mouth, I was hopeful that the time away had gotten the creative juices flowing again and at least make for a fun return to Woodsboro. And for the most part, that's pretty much what happened.
While nowhere near as smart as the first two, Scream 4 manages to to be fun, funny, and tense all while updating and playing with the "rules" of today's horror films. Also, the opening tag was a great reminder of how clever and fun the series can be, and was easily the best opening since the original.
In fact, the only area where the movie really drops the ball is the reveal of its killer(s). This might be a deal-breaker for most, but I personally always had more fun with the series' self-aware take on the genre than guessing who the killer was.
That being said, the actor who plays the villain here just doesn't have the weight or skill to pull off the obligatory "Why I did it" monologue at the end, not to mention the fact that her motivations make absolutely no sense. Granted, Skeet Ulrich, Matt Lillard, and Tim Olyphant weren't exactly deserving of Oscars for their turns, but I at least believed that their characters were crazy enough to put on a ghost mask and stab teenagers.
Also, and I can't believe I'm saying this, but I actually wish David Arquette had more to do. His Dewey has always been a fan favorite, and Arquette brings a certain 'doofus' like quality to the character that's funny and sweet without going too far over the top. In a complete waste of opportunity, though, the filmmakers chose to make Dewey sheriff this time around, something that should have been a slam dunk in terms of laughs, and instead offer a single running gag where Dewey is forced to but-heads with his now wife Gale, who keeps insisting that she be included in the investigation. It's mildly amusing I suppose, but I feel like they could have easily gone further with the notion of a once bumbling deputy Dewey as a now bumbling sheriff Dewey.
Even with a lame ending and a not so funny Dewey, Scream 4 is leaps and bounds better than the last installment, offering up some tense moments and solid laughs while also reminding the audience just how good Wes Craven can be.
Monday, June 20, 2011
Harry Potter and the Deathly Hallows, Part I. Again.
Since I've already covered my thoughts about this movie on here before, I'll keep this brief.
It's been extremely gratifying watching these films again. I wasn't a huge fan of the franchise previously, but watching them back to back I was able to appreciate more than the ever the care and skill that went into this franchise. The fact that over 7 movies and 10 years they were able to consistently improve with each entry is simply amazing. In fact, I think the Potter films are among the greatest film making achievements of all time. Unlike Lord of the Rings, which filmed all three movies at once, ( which itself was no small feat) Warner Bros. made one Potter movie at a time, simply hoping for the best by making the very best films they could.
I have no doubt Deathly Hallows, Part II will be an exciting and fitting end, but at the same time it's going to be hard knowing there won't be another Potter movie around the corner.
It's been extremely gratifying watching these films again. I wasn't a huge fan of the franchise previously, but watching them back to back I was able to appreciate more than the ever the care and skill that went into this franchise. The fact that over 7 movies and 10 years they were able to consistently improve with each entry is simply amazing. In fact, I think the Potter films are among the greatest film making achievements of all time. Unlike Lord of the Rings, which filmed all three movies at once, ( which itself was no small feat) Warner Bros. made one Potter movie at a time, simply hoping for the best by making the very best films they could.
I have no doubt Deathly Hallows, Part II will be an exciting and fitting end, but at the same time it's going to be hard knowing there won't be another Potter movie around the corner.
Friday, June 17, 2011
Blood & Wine
Blood & Wine is a fairly unknown movie starring Jack Nicholson, Michael Caine, Jennifer Lopez and Stephen Dorff about a jewel heist gone wrong.
The reason I was curious about this movie was the cast, and the cast alone. I mean, Nicholson and Caine together was enough reason for me. The movie had been sitting in my Netflix que for quite a while, and as it neared the top of the list I started to have some doubts. I had looked up reviews for it and they ranged from intriguing at best and disappointing at worst. Still, my curiosity of Caine and Nicholson together got the best of me so I finally gave it a shot this morning, and man, what a waste of time.
It's almost impossible to say that Nicholson and Caine are never not good, but here they actually seem a little miscast, and only really showing interest when their two characters butt heads. Aside from the fact that Nicholson worked with the films director numerous times before, most notably on Five Easy Pieces, I can't really understand why he chose to do this movie except that maybe he owed the director a favor. As for Caine, well, he proved in the 90s and 00s that he'll do pretty much anything for a buck.
I think what bothers me most about this movie is that its just there. It's not exactly awful and its nowhere near good, but with this cast and this genre it could have at least been a solid little flick. The main problem seems to be the direction by Bob Rafelson, who doesn't really know how to set a tone for the movie, instead just having the actors read their lines and move on to the next shot. The script isn't amazing either, but I feel like any other director could have at least given Nicholson and Caine some direction in hopes that they could add some much needed spark to the proceedings.
It's pretty hard for me to really dislike a movie, much less hate one, but Blood & Wine is a flick I kinda wish I hadn't even watched. I honestly feel as though I wasted my time, something which I don't usually find valuable in any way.
The reason I was curious about this movie was the cast, and the cast alone. I mean, Nicholson and Caine together was enough reason for me. The movie had been sitting in my Netflix que for quite a while, and as it neared the top of the list I started to have some doubts. I had looked up reviews for it and they ranged from intriguing at best and disappointing at worst. Still, my curiosity of Caine and Nicholson together got the best of me so I finally gave it a shot this morning, and man, what a waste of time.
It's almost impossible to say that Nicholson and Caine are never not good, but here they actually seem a little miscast, and only really showing interest when their two characters butt heads. Aside from the fact that Nicholson worked with the films director numerous times before, most notably on Five Easy Pieces, I can't really understand why he chose to do this movie except that maybe he owed the director a favor. As for Caine, well, he proved in the 90s and 00s that he'll do pretty much anything for a buck.
I think what bothers me most about this movie is that its just there. It's not exactly awful and its nowhere near good, but with this cast and this genre it could have at least been a solid little flick. The main problem seems to be the direction by Bob Rafelson, who doesn't really know how to set a tone for the movie, instead just having the actors read their lines and move on to the next shot. The script isn't amazing either, but I feel like any other director could have at least given Nicholson and Caine some direction in hopes that they could add some much needed spark to the proceedings.
It's pretty hard for me to really dislike a movie, much less hate one, but Blood & Wine is a flick I kinda wish I hadn't even watched. I honestly feel as though I wasted my time, something which I don't usually find valuable in any way.
Thursday, June 16, 2011
Harry Potter 5 & 6
After a nice, long visit from my parents this weekend we were able to continue our look back at the Harry Potter franchise with Order of the Phoenix and The Half Blood Prince, both directed by franchise new comer David Yates.
Although these are some of the most recent movies, they are probably the ones I remembered the least as my interest in the series had lowered over the years. Watching them again though, I can see what a contribution Yates made to the franchise, particularly with Phoenix. It's the first Potter movie that genuinely makes its universe feel real, which in turn makes the threats feel more real and lets the audience truly fear for Harry and friends, something that Yates was able to replicate in Deathly Hollows, Part I.
The Half Blood Prince, while still very good, feels more like a set up for The End than an actual story, which ultimately lessens its impact. There is still plenty to like however, as we get some great moments with Harry, Ron and Hermione. Not to mention its finally time for Alan Rickman to shine. He's had some good moments here and there, but in Half Blood Prince his character really starts to get juicy, and I can't wait to see how he fits into the finale. Overall, it's still a very solid Potter movie, but Deathly Hollows, Part II pending, it might be the weakest of all the Yates installments.
We should get Deathly Hallows, Part I on Saturday. I was genuinely surprised at how much I loved this one in theaters so it will interesting to see how it holds up.
Until then, later dudes.
Although these are some of the most recent movies, they are probably the ones I remembered the least as my interest in the series had lowered over the years. Watching them again though, I can see what a contribution Yates made to the franchise, particularly with Phoenix. It's the first Potter movie that genuinely makes its universe feel real, which in turn makes the threats feel more real and lets the audience truly fear for Harry and friends, something that Yates was able to replicate in Deathly Hollows, Part I.
The Half Blood Prince, while still very good, feels more like a set up for The End than an actual story, which ultimately lessens its impact. There is still plenty to like however, as we get some great moments with Harry, Ron and Hermione. Not to mention its finally time for Alan Rickman to shine. He's had some good moments here and there, but in Half Blood Prince his character really starts to get juicy, and I can't wait to see how he fits into the finale. Overall, it's still a very solid Potter movie, but Deathly Hollows, Part II pending, it might be the weakest of all the Yates installments.
We should get Deathly Hallows, Part I on Saturday. I was genuinely surprised at how much I loved this one in theaters so it will interesting to see how it holds up.
Until then, later dudes.
Tuesday, June 14, 2011
My mission: L.A. Confidential.
I was finally able to continue my personal mission of watching every DVD or Blu Ray I own with L.A. Confidential, a terrific throwback to 1950s cop pictures starring Russell Crowe and Guy Pearce.
As I've said before, this mission of mine has allowed me to rediscover some really great movies that I haven't watched in quite a long time, and L.A. Confidential is no different. Here is a movie that really stands the test of time. Not that it's ridiculously old or anything, as it came out in 1997, but there was so much care and thought put into each and every character and detail that I became enthralled in the story as though it were the first time I watched it. It doesn't hurt that Russell is at his badass best here, with only Gladiator and The Insider ranking ahead in terms of personal favorite Crowe performances.
With this viewing though, it's Pearce who steals the show for me. He's kept fairly quiet in recent years, showing up in small parts in The Hurt Locker and The Road, but here he deftly goes from tight ass to I don't give a fuck in a very convincing and realistic way.
I realize I might be making this movie sound like it's some slam bang action thriller, so let me be clear, it definitely is not that. It's a fairly simple and straight forward detective story that is made great by superior attention to detail and knockout performances from the entire cast, which also includes Kevin Spacey and Danny De Vito. Even if this doesn't sound like your cup of tea, I would say give it a shot as the cast alone could make anyone even remotely enjoy this movie.
Until next time, dudes.
As I've said before, this mission of mine has allowed me to rediscover some really great movies that I haven't watched in quite a long time, and L.A. Confidential is no different. Here is a movie that really stands the test of time. Not that it's ridiculously old or anything, as it came out in 1997, but there was so much care and thought put into each and every character and detail that I became enthralled in the story as though it were the first time I watched it. It doesn't hurt that Russell is at his badass best here, with only Gladiator and The Insider ranking ahead in terms of personal favorite Crowe performances.
With this viewing though, it's Pearce who steals the show for me. He's kept fairly quiet in recent years, showing up in small parts in The Hurt Locker and The Road, but here he deftly goes from tight ass to I don't give a fuck in a very convincing and realistic way.
I realize I might be making this movie sound like it's some slam bang action thriller, so let me be clear, it definitely is not that. It's a fairly simple and straight forward detective story that is made great by superior attention to detail and knockout performances from the entire cast, which also includes Kevin Spacey and Danny De Vito. Even if this doesn't sound like your cup of tea, I would say give it a shot as the cast alone could make anyone even remotely enjoy this movie.
Until next time, dudes.
Super 8
Super 8 is J.J. Abrams' ode to Steven Spielberg's movies from the 70s and 80s, more specifically Close Encounters of the Third Kind and E.T.
Some have felt that Directer Abrams relies too much on the nostalgia factor of Spielberg rather than create his own tone and feel. There are definitely more than a few moments that feel like they were ripped right from the earlier Amblin productions, but I think Abrams main intent was to emulate the feeling of wonder and amazement that populated the movies he grew up with and I think for the most part he is quite successful, albeit not in the way I would have thought.
First though, let's start with what didn't work. The main problem I have with Super 8 is that it feels like 2 movies. E.T. was able to blend the sci fi aspects with the more emotional story with the kids quite seamlessly resulting in a near perfect family adventure film. Super 8, however, can't quite seem to figure out how to blend the kids' story with the aliens story without feeling abrupt. It's a shame too, as every moment spent with any of the kids is wonderfully realized by Abrams and the extremely talented cast, most of which have never professionally acted before. In fact, this easily could have just been a movie about them and it would be a much more successful movie overall.
As I mentioned earlier, the movie doesn't completely miss the mark in terms of the aliens story and Abrams certainly knows how to build an action scene when the time comes. It's just that we are never able to feel connected to the alien as I believe Abrams intended. And that is what keeps this movie from being truly great. Without getting too spoilery, I think had there been just a little more time spent on the alien and his back story ( which is only hinted at here) I think the movie would have had that emotional connection that Abrams was looking for.
Going back and reading this, it definitely sounds like I was really let down by the movie, and that's not exactly the case.There are some really impressive and tense action scenes that made me jump more than a few times. And every single moment that is spent with just the kids is absolutely wonderful. The way Abrams was able to develop and show their dynamic is one of the best displays of childhood friendship to be put on film in a very long time and even makes me think he could one day make the same leap to more dramatic fair as Spielberg did with hopefully the same success. It just really comes down to an underdeveloped script. I think if he had spent just a little longer on it, or had collaborated with some of his Star Trek and MI:III writers, this could have been a really special film in the same vein as E.T. and Close Encounters.
In the end though, Super 8 is still a very enjoyable movie, and very much worth your time, I personally just can't help but wonder what if J.J. had hit a home run instead of a triple?
(I know the baseball analogy came out of nowhere, but whatever, shut up.)
Some have felt that Directer Abrams relies too much on the nostalgia factor of Spielberg rather than create his own tone and feel. There are definitely more than a few moments that feel like they were ripped right from the earlier Amblin productions, but I think Abrams main intent was to emulate the feeling of wonder and amazement that populated the movies he grew up with and I think for the most part he is quite successful, albeit not in the way I would have thought.
First though, let's start with what didn't work. The main problem I have with Super 8 is that it feels like 2 movies. E.T. was able to blend the sci fi aspects with the more emotional story with the kids quite seamlessly resulting in a near perfect family adventure film. Super 8, however, can't quite seem to figure out how to blend the kids' story with the aliens story without feeling abrupt. It's a shame too, as every moment spent with any of the kids is wonderfully realized by Abrams and the extremely talented cast, most of which have never professionally acted before. In fact, this easily could have just been a movie about them and it would be a much more successful movie overall.
As I mentioned earlier, the movie doesn't completely miss the mark in terms of the aliens story and Abrams certainly knows how to build an action scene when the time comes. It's just that we are never able to feel connected to the alien as I believe Abrams intended. And that is what keeps this movie from being truly great. Without getting too spoilery, I think had there been just a little more time spent on the alien and his back story ( which is only hinted at here) I think the movie would have had that emotional connection that Abrams was looking for.
Going back and reading this, it definitely sounds like I was really let down by the movie, and that's not exactly the case.There are some really impressive and tense action scenes that made me jump more than a few times. And every single moment that is spent with just the kids is absolutely wonderful. The way Abrams was able to develop and show their dynamic is one of the best displays of childhood friendship to be put on film in a very long time and even makes me think he could one day make the same leap to more dramatic fair as Spielberg did with hopefully the same success. It just really comes down to an underdeveloped script. I think if he had spent just a little longer on it, or had collaborated with some of his Star Trek and MI:III writers, this could have been a really special film in the same vein as E.T. and Close Encounters.
In the end though, Super 8 is still a very enjoyable movie, and very much worth your time, I personally just can't help but wonder what if J.J. had hit a home run instead of a triple?
(I know the baseball analogy came out of nowhere, but whatever, shut up.)
Wednesday, June 8, 2011
The Harry Potter experience.
So I know that I've dropped the ball on the My Mission entries. I promise I'll start again soon. Until then though, Katy and I have slowly but surely been revisiting all the Harry Potter films on Blu Ray in anticipation of the final film coming out July 15th. I've seen them all before, but most of them only once, so its been nice to be able to see how far the franchise has really come from movie to movie.
It had been probably 10 years since I watched the first one, and before we put it in I was not expecting much, thinking it would be a fairly standard origin story albeit a little longer than most. So I was pleasantly surprised when I found myself really getting into it. Director Chris Columbus deserves a lot of credit for setting up the universe. Overall I think he is a mediocre director but he has put in a lot of care into this one, giving it a true sense of wonder as we meet these characters for the first time. It's definitely the most childish of the franchise, though that's kind of the point.
The second entry, Chamber of Secrets, is easily my least favorite of all the films. Columbus gives another solid effort, and the cast really is that much better this time around, but this movie just drags. Clocking in at 161 minutes, its the longest entry of the franchise and boy does it feel like it. Also, the climax feels too much like exposition than an actual climax and numbs the overall excitement.
They wisely switched things up for Prisoner of Azkaban though, bringing in Alfonso Cuaron to direct. This move proved to be a game changer for the franchise, as he was able to create a real sense of danger and unpredictability that the previous installments lacked. It also didn't hurt that Gary Oldman joined the cast.
Which brings me to Goblet of Fire. They switched the directors up again, this time hiring Mike Newel, who directed Donnie Brasco and Four Weddings and a Funeral. It's this entry where it really feels like the franchise has found its legs. The stakes are upped considerably from the previous entries, even dealing with death in a big way for the first time. Also, the pace has improved greatly from the first two films. Even at 157 minutes, Goblet of Fire doesn't feel that way thanks to some great relationships and a better, more intense story.
It's really interesting seeing them all back to back and it has definitely changed my opinion of the franchise from really liking it to loving it. Order of the Phoenix in next on the list so I'll be sure to continue the discussion ASAP.
It had been probably 10 years since I watched the first one, and before we put it in I was not expecting much, thinking it would be a fairly standard origin story albeit a little longer than most. So I was pleasantly surprised when I found myself really getting into it. Director Chris Columbus deserves a lot of credit for setting up the universe. Overall I think he is a mediocre director but he has put in a lot of care into this one, giving it a true sense of wonder as we meet these characters for the first time. It's definitely the most childish of the franchise, though that's kind of the point.
The second entry, Chamber of Secrets, is easily my least favorite of all the films. Columbus gives another solid effort, and the cast really is that much better this time around, but this movie just drags. Clocking in at 161 minutes, its the longest entry of the franchise and boy does it feel like it. Also, the climax feels too much like exposition than an actual climax and numbs the overall excitement.
They wisely switched things up for Prisoner of Azkaban though, bringing in Alfonso Cuaron to direct. This move proved to be a game changer for the franchise, as he was able to create a real sense of danger and unpredictability that the previous installments lacked. It also didn't hurt that Gary Oldman joined the cast.
Which brings me to Goblet of Fire. They switched the directors up again, this time hiring Mike Newel, who directed Donnie Brasco and Four Weddings and a Funeral. It's this entry where it really feels like the franchise has found its legs. The stakes are upped considerably from the previous entries, even dealing with death in a big way for the first time. Also, the pace has improved greatly from the first two films. Even at 157 minutes, Goblet of Fire doesn't feel that way thanks to some great relationships and a better, more intense story.
It's really interesting seeing them all back to back and it has definitely changed my opinion of the franchise from really liking it to loving it. Order of the Phoenix in next on the list so I'll be sure to continue the discussion ASAP.
X-Men: First Class
I really want to do a review of X Men: First Class, but the experience I had in the theater was absolutely atrocious thanks to multiple stupid people. For the most part, I really enjoyed it, but I feel like I can't form an honest opinion of it until I can give it a second viewing in a hopefully better environment.
Wednesday, June 1, 2011
The Hangover Part II
I went into The Hangover Part II with modest expectations. I didn't expect it to match the greatness and surprise of the original, but after being severely disappointed with Bridesmaids I simply wanted to laugh, and to laugh hard. Thankfully, The Hangover Part II was able to quench that desire.
As you may have heard, there is little or no difference in terms of plot and setup between Hangover 1&2, and for some people this has been a huge problem mainly because it takes away that feeling of surprise and mystery that the original was able to capture. While I can't really disagree with that point, I have to say that what it lacked in originality it made up for with a much darker tone and even darker laughs. Our three leads are involved in some truly awful and sick situations this time around, some of which we find out about in flashbacks or pictures and some are only hinted at, never to be fully revealed. These guys fucked some serious shit up, and the movie doesn't hesitate for a second to go to places much worse than anyone in the audience could have anticipated. And that's what really did it for me.
I love dark comedies. I mean, I LOVE dark comedies. Between this and Due Date, Director Todd Phillips seems determined to push the boundaries of what an audience is willing to go through in the name of comedy, and I for one couldn't be happier. I have a fairly sick sense of humor myself, as I think most people do, and that's what really draws me to Phillips' films. Not only are they raunchy, but they take normal people ( sans Galifianakis) and puts them in situations that are ridiculous, maddening, and believable all at once, all while making sure that the characters react in a way that most people would, even if they wouldn't want to admit it. For example, if I woke up one morning to find one of my best friends has gotten a face tattoo eerily similar to that of Mike Tyson's, I think my first response would be to laugh, just as Bradley Cooper does when he first see's Ed Helms face. So I guess it just comes down to the fact that I really enjoy seeing normal people causing and being put through absolute hell.
It also helps that I laugh at just about anything Zach Galifianakis does. He could literally just stand motionless and not speak a word and I would laugh. Even though he doesn't have as many classic moments as he did in the first (" Hey do you guys know when the next Haley's Comet is?"), he still kills it here. I have to say though, Ken Jeong has two of the movies biggest laughs at the beginning and end of the film, so I would be more than willing to have him show up in the third one if it ever happens, albeit in a similarly small fashion as it was here.
Overall, I highly recommend The Hangover Part II. It's hard for any comedy sequel to deliver the goods, and even though Part II isn't as surprising as the first, it still delivers just as many laughs while also pushing the envelope further than even I expected.
As you may have heard, there is little or no difference in terms of plot and setup between Hangover 1&2, and for some people this has been a huge problem mainly because it takes away that feeling of surprise and mystery that the original was able to capture. While I can't really disagree with that point, I have to say that what it lacked in originality it made up for with a much darker tone and even darker laughs. Our three leads are involved in some truly awful and sick situations this time around, some of which we find out about in flashbacks or pictures and some are only hinted at, never to be fully revealed. These guys fucked some serious shit up, and the movie doesn't hesitate for a second to go to places much worse than anyone in the audience could have anticipated. And that's what really did it for me.
I love dark comedies. I mean, I LOVE dark comedies. Between this and Due Date, Director Todd Phillips seems determined to push the boundaries of what an audience is willing to go through in the name of comedy, and I for one couldn't be happier. I have a fairly sick sense of humor myself, as I think most people do, and that's what really draws me to Phillips' films. Not only are they raunchy, but they take normal people ( sans Galifianakis) and puts them in situations that are ridiculous, maddening, and believable all at once, all while making sure that the characters react in a way that most people would, even if they wouldn't want to admit it. For example, if I woke up one morning to find one of my best friends has gotten a face tattoo eerily similar to that of Mike Tyson's, I think my first response would be to laugh, just as Bradley Cooper does when he first see's Ed Helms face. So I guess it just comes down to the fact that I really enjoy seeing normal people causing and being put through absolute hell.
It also helps that I laugh at just about anything Zach Galifianakis does. He could literally just stand motionless and not speak a word and I would laugh. Even though he doesn't have as many classic moments as he did in the first (" Hey do you guys know when the next Haley's Comet is?"), he still kills it here. I have to say though, Ken Jeong has two of the movies biggest laughs at the beginning and end of the film, so I would be more than willing to have him show up in the third one if it ever happens, albeit in a similarly small fashion as it was here.
Overall, I highly recommend The Hangover Part II. It's hard for any comedy sequel to deliver the goods, and even though Part II isn't as surprising as the first, it still delivers just as many laughs while also pushing the envelope further than even I expected.
Thursday, May 26, 2011
Red Rock West
So I haven't been watching as many of my own movies as I'd like to be, but I have been chipping away at the Netflix instant que for the last week. So here we FUCKING go.
First up is Red Rock West, an effective little thriller from 1993 starring Nic Cage, Dennis Hopper, the great J.T. Walsh and the very ugly Laura Flynn Boyle.
Nic stars as an honest Texas man who has come to Wyoming in hopes of landing a job with a drilling crew. After that falls through, Nic stops at a bar in Red Rock where he is mistaken for a hit man that's been hired by the bar owner to kill his wife. What follows is a movie filled with clever twists and turns and of course a great "ass hole" performance by Dennis Hopper.
One thing that surprised me most about this movie was its confidence. It knows exactly what kind of movie it is, and not in a "winking to the audience" either. It simply revels in its own sketchy characters and situations.
Cage has always been a favorite of mine, but he was especially interesting to watch in 90s as he made the transition from quirky actor to leading man. He is pretty subdued here, but he still manages to hold our attention with a character who wants desperately to the right thing, but for some reason keeps making terrible, terrible choices.
Dennis Hopper and J.T. Walsh are equally as good as Lyle from Dallas and Wayne, respectively. Walsh always soared when playing a scumbag and this is no exception. He's able to bring a feeling of creepiness and believability to the scumbag that few could replicate, allowing the audience to never really be sure what his characters were capable of.
Though its Hopper who steals the show, as he often does, as Lyle. Few can do villains the way Hopper can, and the combination of him and Walsh makes for some great moments onscreen.
The weak link for me though, was Boyle. It's not that she's bad exactly, she fits the role fine. But something about her I just do not find attractive, particularly with the horrible 90s fashion that she wears throughout the movie. I just could not understand how any of these guys would want to be with her.
It's a minor quibble though, as the mood and other performances keep you more than interested the whole way through, making for one of the more surprising movies I've been able to discover through Netflix Instant.
First up is Red Rock West, an effective little thriller from 1993 starring Nic Cage, Dennis Hopper, the great J.T. Walsh and the very ugly Laura Flynn Boyle.
Nic stars as an honest Texas man who has come to Wyoming in hopes of landing a job with a drilling crew. After that falls through, Nic stops at a bar in Red Rock where he is mistaken for a hit man that's been hired by the bar owner to kill his wife. What follows is a movie filled with clever twists and turns and of course a great "ass hole" performance by Dennis Hopper.
One thing that surprised me most about this movie was its confidence. It knows exactly what kind of movie it is, and not in a "winking to the audience" either. It simply revels in its own sketchy characters and situations.
Cage has always been a favorite of mine, but he was especially interesting to watch in 90s as he made the transition from quirky actor to leading man. He is pretty subdued here, but he still manages to hold our attention with a character who wants desperately to the right thing, but for some reason keeps making terrible, terrible choices.
Dennis Hopper and J.T. Walsh are equally as good as Lyle from Dallas and Wayne, respectively. Walsh always soared when playing a scumbag and this is no exception. He's able to bring a feeling of creepiness and believability to the scumbag that few could replicate, allowing the audience to never really be sure what his characters were capable of.
Though its Hopper who steals the show, as he often does, as Lyle. Few can do villains the way Hopper can, and the combination of him and Walsh makes for some great moments onscreen.
The weak link for me though, was Boyle. It's not that she's bad exactly, she fits the role fine. But something about her I just do not find attractive, particularly with the horrible 90s fashion that she wears throughout the movie. I just could not understand how any of these guys would want to be with her.
It's a minor quibble though, as the mood and other performances keep you more than interested the whole way through, making for one of the more surprising movies I've been able to discover through Netflix Instant.
Sunday, May 22, 2011
Bridesmaids
I walked into Bridesmaids ready to be won over. The trailers were good, the reviews were amazing and the amount of talented people in front of and behind the camera practically guaranteed that I would be laughing nonstop for the next 2 hours.
Sadly, it was not meant to be. Bridesmaids is an overlong and wildly over hyped comedy that desperately wants to be better than it is.
Part of me wants to blame my own expectations I had for the film, which were admittedly high, but I just can't quite seem to buy that. I've seen almost every single film Judd Apatow has been involved with, be it directing or producing, and I had yet to be even a little disappointed with any of the results. Bridesmaids director Paul Feig co-created Freaks and Geeks with Apatow and has directed some of the very best episodes of The Office. Two shows that, when at their best, have been both side splittingly funny and heartfelt at the same time. Then of course, there is Kristen Wiig, who is one of the very best female comedians working in TV and film today. So I think I was perfectly justified in expecting nothing but the best from everyone involved. So what went wrong?
First off, this movie is filled with comediennes and actresses that are more than ready to give the material their all, but are let down by the fact that the material just isn't there. There are plenty of opportunities and moments that promise big belly laughs but somehow only deliver slight chuckles, mainly because they are situations that we have not only seen before, but have seen done better. Don't get me wrong, I love poop and vomit jokes as much as anyone, but it really feels like Bridesmaids is relying too much on the fact that its girls doing the pooping and vomiting this time around instead of men.
Let me be clear now, I don't think this movie is unfunny because of the fact that it stars women. I think this movie is unfunny because, well, it's just not that funny. Every single one of the titular bridesmaids have proven themselves in the world of comedy at some point, yet the movie either does not know how to use them, or it doesn't use them at all. I mean, how can you have Tim Heidecker and Maya Rudolph play a couple and not even have them say one word to each other in the entire movie?!
I think that's what has frustrated me most about Bridesmaids, that it turned out to be a great big wasted opportunity. I can't say I hate the film, or even strongly dislike it. In fact, I appreciated a lot of the quieter moments between Wiig and Rudolph. The two are real life friends and it shows in their conversations, adding some depth and believability to their on screen friendship, something which can help a comedy go from good to great. Unfortunately for Bridesmaids, there's not enough comedy here to even call it a good one. Instead, most of the laughs either fall flat or don't hit hard enough, resulting in not only my first true disappointing experience with Apatow and company, but also one of the first big disappointments of the year.
Sadly, it was not meant to be. Bridesmaids is an overlong and wildly over hyped comedy that desperately wants to be better than it is.
Part of me wants to blame my own expectations I had for the film, which were admittedly high, but I just can't quite seem to buy that. I've seen almost every single film Judd Apatow has been involved with, be it directing or producing, and I had yet to be even a little disappointed with any of the results. Bridesmaids director Paul Feig co-created Freaks and Geeks with Apatow and has directed some of the very best episodes of The Office. Two shows that, when at their best, have been both side splittingly funny and heartfelt at the same time. Then of course, there is Kristen Wiig, who is one of the very best female comedians working in TV and film today. So I think I was perfectly justified in expecting nothing but the best from everyone involved. So what went wrong?
First off, this movie is filled with comediennes and actresses that are more than ready to give the material their all, but are let down by the fact that the material just isn't there. There are plenty of opportunities and moments that promise big belly laughs but somehow only deliver slight chuckles, mainly because they are situations that we have not only seen before, but have seen done better. Don't get me wrong, I love poop and vomit jokes as much as anyone, but it really feels like Bridesmaids is relying too much on the fact that its girls doing the pooping and vomiting this time around instead of men.
Let me be clear now, I don't think this movie is unfunny because of the fact that it stars women. I think this movie is unfunny because, well, it's just not that funny. Every single one of the titular bridesmaids have proven themselves in the world of comedy at some point, yet the movie either does not know how to use them, or it doesn't use them at all. I mean, how can you have Tim Heidecker and Maya Rudolph play a couple and not even have them say one word to each other in the entire movie?!
I think that's what has frustrated me most about Bridesmaids, that it turned out to be a great big wasted opportunity. I can't say I hate the film, or even strongly dislike it. In fact, I appreciated a lot of the quieter moments between Wiig and Rudolph. The two are real life friends and it shows in their conversations, adding some depth and believability to their on screen friendship, something which can help a comedy go from good to great. Unfortunately for Bridesmaids, there's not enough comedy here to even call it a good one. Instead, most of the laughs either fall flat or don't hit hard enough, resulting in not only my first true disappointing experience with Apatow and company, but also one of the first big disappointments of the year.
Thursday, May 19, 2011
Green Street Hooligans
Green Street Hooligans stars Elijah Wood as a journalism major who has just been wrongly expelled from Harvard and retreats to England to stay with his sister but ends up apart of the surprisingly violent underworld of extreme football fans.
I know that description sounds a little silly, but trust me, this movie is ridiculously violent.
Anywho, I hadn't watched Hooligans since 2005 when it came out. At the time I was extremely affected by the film. I had just moved out of my parents house for the first time and was living with 5 of my best guy friends, so I was instantly drawn to the camaraderie that was being displayed in the movie. I was just starting to be comfortable on my own and with my friends so after watching a movie about guys doing nothing but having each others back, I very easily related to that and in turn held the movie up in very high regard over the next few years.
Going into it again, I expected to have a somewhat strong emotional reaction and while I still really liked it, I definitely realized it's a much weaker movie than I remembered. It was director Lexi Alexanders first movie and it really shows. There are multiple scenes and plotlines that fall completely flat, specifically any moment where Elijah and his father are on screen together. It's supposed to be a big moment for Elijah, having stood up to his father for the first time about having never been around, but instead it's just kind of there. No real payoff or emotion. This scene also leads to an even sillier moment in the film having to do with Elijah's past as a journalism student that also does nothing to add to the film.
Having lived a good 24 hours from most of my friends for 2 years now though, I still find myself drawn to the film and its depiction of friends and family above all else. Charlie Hunnam in particular stands out thanks to his incredible performance as the leader of "the firm" and the one who takes Elijah under his wing.
Overall, while not being as great as I remembered it, I still really like Green Street Hooligans and would definitely recommend giving it a shot.
I know that description sounds a little silly, but trust me, this movie is ridiculously violent.
Anywho, I hadn't watched Hooligans since 2005 when it came out. At the time I was extremely affected by the film. I had just moved out of my parents house for the first time and was living with 5 of my best guy friends, so I was instantly drawn to the camaraderie that was being displayed in the movie. I was just starting to be comfortable on my own and with my friends so after watching a movie about guys doing nothing but having each others back, I very easily related to that and in turn held the movie up in very high regard over the next few years.
Going into it again, I expected to have a somewhat strong emotional reaction and while I still really liked it, I definitely realized it's a much weaker movie than I remembered. It was director Lexi Alexanders first movie and it really shows. There are multiple scenes and plotlines that fall completely flat, specifically any moment where Elijah and his father are on screen together. It's supposed to be a big moment for Elijah, having stood up to his father for the first time about having never been around, but instead it's just kind of there. No real payoff or emotion. This scene also leads to an even sillier moment in the film having to do with Elijah's past as a journalism student that also does nothing to add to the film.
Having lived a good 24 hours from most of my friends for 2 years now though, I still find myself drawn to the film and its depiction of friends and family above all else. Charlie Hunnam in particular stands out thanks to his incredible performance as the leader of "the firm" and the one who takes Elijah under his wing.
Overall, while not being as great as I remembered it, I still really like Green Street Hooligans and would definitely recommend giving it a shot.
Friday, May 13, 2011
Unforgiven
My original plan was to watch The Good, The Bad and The Ugly, The Outlaw Josey Whales and Pale Rider before revisiting Unforgiven. Eastwood made this movie knowing it would be his last western and I was hoping to go through most of his previous films so I could get the ultimate effect when finally watching again.
However, my movie penis zoned in on Unforgiven in a way I just couldn't ignore.
Even without watching Clint's previous westerns, Unforgiven easily remains one of his greatest triumphs as both actor and director. He stars as William Munny, a reformed gunman who once was known to kill women and children at the drop of a hat, now off the bottle and trying to take care of his youngsters after the passing of his wife. And in an effort to provide for his family, he takes one last job killing two cowboys who severely beat and cut a hooker.
As I keep saying on here, the western genre just calls to me. I can't help it. So it's not hard to believe that this movie is one of my all time favorites. Not only is it a complete examination of the genre itself, but its made by the man who single handedly carried the western for 20 years once The Duke was out of the game.
I love how Eastwood uses the image the audience has of him and completely flip that on its head as a way to introduce Munny. When we first see him, he is trying to separate sick pigs from the healthy ones with little success. Then moments later we see him miss every single shot he takes at a tin can, followed by an extended sequence of Munny struggling to get onto his horse, eventually falling on his ass. It feels almost unnatural to watch Eastwood struggle with these seemingly easy cowboy duties, which is exactly the point. His Munny is a broken man, struggling with the loss of wife who freed him from the bottle and his previously devilish ways and Eastwood plays it beautifully, filling each moment he's on screen with sorrow and regret. The scenes particualrly with him and his young partner asking him about his past, as if he were some kind of legend are both fascinating and chilling.
With all the talk of gunfighting and killing, the movie itself is surprisingly light on actual gunfights, save for the finale. Again though, Eastwood didn't set out to make an action film, but instead a study of men in the old west and the difference between man and myth. You could even go as far as to say that this is an anti-violence film to a degree, as it shows repeatedly the toll it can take on a man after killing or harming another.
I can't talk about this movie and not mention how good Gene Hackman is. I had forgotten how good he is honestly. He somehow knows exactly how to play badass lawman and complete asshole at the same time. Specifically the scene in the jailhouse with him and Richard Harris where Hackman explains how to win a gunfight is masterfully delivered. He won an Oscar for the role and watching his performance again really made me miss his presence onscreen.
I still plan on watching Clint's other western's as I continue my mission throughout the summer, so stay tuned for more western love from this idiot.
However, my movie penis zoned in on Unforgiven in a way I just couldn't ignore.
Even without watching Clint's previous westerns, Unforgiven easily remains one of his greatest triumphs as both actor and director. He stars as William Munny, a reformed gunman who once was known to kill women and children at the drop of a hat, now off the bottle and trying to take care of his youngsters after the passing of his wife. And in an effort to provide for his family, he takes one last job killing two cowboys who severely beat and cut a hooker.
As I keep saying on here, the western genre just calls to me. I can't help it. So it's not hard to believe that this movie is one of my all time favorites. Not only is it a complete examination of the genre itself, but its made by the man who single handedly carried the western for 20 years once The Duke was out of the game.
I love how Eastwood uses the image the audience has of him and completely flip that on its head as a way to introduce Munny. When we first see him, he is trying to separate sick pigs from the healthy ones with little success. Then moments later we see him miss every single shot he takes at a tin can, followed by an extended sequence of Munny struggling to get onto his horse, eventually falling on his ass. It feels almost unnatural to watch Eastwood struggle with these seemingly easy cowboy duties, which is exactly the point. His Munny is a broken man, struggling with the loss of wife who freed him from the bottle and his previously devilish ways and Eastwood plays it beautifully, filling each moment he's on screen with sorrow and regret. The scenes particualrly with him and his young partner asking him about his past, as if he were some kind of legend are both fascinating and chilling.
With all the talk of gunfighting and killing, the movie itself is surprisingly light on actual gunfights, save for the finale. Again though, Eastwood didn't set out to make an action film, but instead a study of men in the old west and the difference between man and myth. You could even go as far as to say that this is an anti-violence film to a degree, as it shows repeatedly the toll it can take on a man after killing or harming another.
I can't talk about this movie and not mention how good Gene Hackman is. I had forgotten how good he is honestly. He somehow knows exactly how to play badass lawman and complete asshole at the same time. Specifically the scene in the jailhouse with him and Richard Harris where Hackman explains how to win a gunfight is masterfully delivered. He won an Oscar for the role and watching his performance again really made me miss his presence onscreen.
I still plan on watching Clint's other western's as I continue my mission throughout the summer, so stay tuned for more western love from this idiot.
Saturday, May 7, 2011
Thor
Thor is Marvel's 4th film in their build up to The Avengers, which finally comes out next May.
In many ways, Thor is a bit of a make or break film for Marvel. Unlike Iron Man or The Incredible Hulk, Thor's powers aren't created by science or experimental mishaps which not only gave Tony Stark and Bruce Banner new abilities, but also kept them human and therefor more relatable from an audience standpoint. Thor however, is a God whose powers are based on magic, something that most superhero films have strayed from, instead trying to somewhat ground themselves in a more recognizable reality.
But it's that decision to really embrace the magic and mythology of Thor that really makes it work. It gives the film a unique, epic feel that no superhero movie before has had. Not only do does it blend the magical aspects in with the more "realistic" tone of the previous Marvel films, but Thor also continues to lay the ground work that leads to The Avengers. I'm genuinely excited to see what Marvel is going to do with that film now that they have successfully introduced the magical quality that is so prominent in the comics.
One thing that really surprised me about the film though, was the humor. The Marvel films have wisely never taken themselves too seriously, but there is a lightheartedness to Thor's humor that really makes it stand out. It's that particular aspect that also has a huge hand in being able to convincingly sell the audience on the more mythical tone of the film.
Overall, Thor is an extremely entertaining and confident superhero movie that not only builds on the ever growing Marvel movie universe, but also has no trouble standing on its own.
In many ways, Thor is a bit of a make or break film for Marvel. Unlike Iron Man or The Incredible Hulk, Thor's powers aren't created by science or experimental mishaps which not only gave Tony Stark and Bruce Banner new abilities, but also kept them human and therefor more relatable from an audience standpoint. Thor however, is a God whose powers are based on magic, something that most superhero films have strayed from, instead trying to somewhat ground themselves in a more recognizable reality.
But it's that decision to really embrace the magic and mythology of Thor that really makes it work. It gives the film a unique, epic feel that no superhero movie before has had. Not only do does it blend the magical aspects in with the more "realistic" tone of the previous Marvel films, but Thor also continues to lay the ground work that leads to The Avengers. I'm genuinely excited to see what Marvel is going to do with that film now that they have successfully introduced the magical quality that is so prominent in the comics.
One thing that really surprised me about the film though, was the humor. The Marvel films have wisely never taken themselves too seriously, but there is a lightheartedness to Thor's humor that really makes it stand out. It's that particular aspect that also has a huge hand in being able to convincingly sell the audience on the more mythical tone of the film.
Overall, Thor is an extremely entertaining and confident superhero movie that not only builds on the ever growing Marvel movie universe, but also has no trouble standing on its own.
Saturday, April 30, 2011
Fast Five
10 years and 5 movies in, you've probably already decided whether or not you're down with the Fast & Furious franchise. To be fair, the series has been all over the map in terms of so bad its good, so bad its bad and so awesome I can't take it anymore. Personally, I could watch these movies all day every day and never get enough.
Fast Five starts mere moments after Fast & Furious left us with Paul Walker and Jordana Brewster breaking out Vin from a prison bus with a spectacularly ridiculous and practical stunt piece. From there the movie barely slows down as Vin and Paul gather some familiar faces to do one last job before giving up life on the run for good.
As I said, this series has had its ups and downs, with its lowest point arguably being 2 Fast 2 Furious, though I personally can enjoy its levels of sheer stupidity. I think the turning point of this franchise though, is Tokyo Drift, directed by Justin Lin. It seems to be the first time where most everyone involved knew what kind of movie they were in, resulting in a genuinely fun time. Lin, who has been with the series ever since, deserves a lot of credit here. He's been able to hone and tinker with the tone with each go round, resulting in a near perfect action flick with Fast Five.
One of the best things Lin has done with this installment is his decision to go with practical stunts over CG as much as possible. All the previous films, while definitely including some solid stunt work, mostly relied on heavily CG'd car sequences, and the fact FF5 went completely in the oppostie direction really sets it apart from not only the rest of the franchise, but also from most big budget action films these days. The amount of wrecked cars in the final car chase alone is outdone only by The Blues Brothers from 1980.
I absolutely cannot talk about this film without mentioning Dwayne Johnson. He owns this movie. He knows exactly the kind of film this is and has a blast with his character, reveling in each and every cliched line he has. He and Vin also have an awesome brawl that is thankfully not over edited Bourne style, giving us a chance to actually see and feel punch after brutal punch.
Honestly, even if you hated every other Fast & Furious movie, I think you could find plenty to enjoy here. Yes, it's stupid, but it knows it, maybe even more so than the previous entries. The action in legitimately bigger and better than ever before, and while even being the longest FF film at 130 minutes, it goes by so fast you would have sworn it was only 90. Don't be a dick, go watch this movie and have a good time. I dare you.
Fast Five starts mere moments after Fast & Furious left us with Paul Walker and Jordana Brewster breaking out Vin from a prison bus with a spectacularly ridiculous and practical stunt piece. From there the movie barely slows down as Vin and Paul gather some familiar faces to do one last job before giving up life on the run for good.
As I said, this series has had its ups and downs, with its lowest point arguably being 2 Fast 2 Furious, though I personally can enjoy its levels of sheer stupidity. I think the turning point of this franchise though, is Tokyo Drift, directed by Justin Lin. It seems to be the first time where most everyone involved knew what kind of movie they were in, resulting in a genuinely fun time. Lin, who has been with the series ever since, deserves a lot of credit here. He's been able to hone and tinker with the tone with each go round, resulting in a near perfect action flick with Fast Five.
One of the best things Lin has done with this installment is his decision to go with practical stunts over CG as much as possible. All the previous films, while definitely including some solid stunt work, mostly relied on heavily CG'd car sequences, and the fact FF5 went completely in the oppostie direction really sets it apart from not only the rest of the franchise, but also from most big budget action films these days. The amount of wrecked cars in the final car chase alone is outdone only by The Blues Brothers from 1980.
I absolutely cannot talk about this film without mentioning Dwayne Johnson. He owns this movie. He knows exactly the kind of film this is and has a blast with his character, reveling in each and every cliched line he has. He and Vin also have an awesome brawl that is thankfully not over edited Bourne style, giving us a chance to actually see and feel punch after brutal punch.
Honestly, even if you hated every other Fast & Furious movie, I think you could find plenty to enjoy here. Yes, it's stupid, but it knows it, maybe even more so than the previous entries. The action in legitimately bigger and better than ever before, and while even being the longest FF film at 130 minutes, it goes by so fast you would have sworn it was only 90. Don't be a dick, go watch this movie and have a good time. I dare you.
Wednesday, April 27, 2011
Slumdog Millionaire
Most of the movies I've chosen to watch as a part of my mission have been movies I have only seen once before. Such is the case with Slumdog Millionaire. I watched it when it first came out in theaters, but unfortunately due to horrible timing on my part, I was forced to sit at the end of the second row, one of the worst spots to view a movie, in my opinion. Even with such a terrible spot, I was still able to get caught up in the film and was not surprised when it won the Best Picture Oscar that year.
Upon my second viewing a few days ago, I can safely say that Slumdog Millionaire is without a doubt a great movie. Director Danny Boyle has proven time and again that he doesn't wish to repeat himself and Slumdog is no exception.
Boyle has always had a particularly interesting visual flair to go along with his always interesting choices in material, and here he is able to bring that energy to what boils down to a simple tale of an underdog fighting for the love if his life. Now, yes, there is a lot more to it than that, but considering Boyle's genre jumping ways it makes it even more exciting to see him do something so heartfelt and genuine.
Boyle can't take all the credit though, as everything from the script, score and especially the younger actors portraying the leads as children do a lot in making this film as enjoyable as it is.
Having said all that though, I have to admit I can't really agree with its Best Picture win. Granted I'm still bitter from the fact that The Dark Knight was shut out of the Best Picture race, but out of the movies that were nominated that year I feel both Milk and The Wrestler were much more affective and will be able to stand the test of time a little better than Slumdog can.
Either way, it's still an extremely entertaining movie and if you've been on the fence about it you should definitely give it a shot. I think you'll be pleasantly surprised.
Upon my second viewing a few days ago, I can safely say that Slumdog Millionaire is without a doubt a great movie. Director Danny Boyle has proven time and again that he doesn't wish to repeat himself and Slumdog is no exception.
Boyle has always had a particularly interesting visual flair to go along with his always interesting choices in material, and here he is able to bring that energy to what boils down to a simple tale of an underdog fighting for the love if his life. Now, yes, there is a lot more to it than that, but considering Boyle's genre jumping ways it makes it even more exciting to see him do something so heartfelt and genuine.
Boyle can't take all the credit though, as everything from the script, score and especially the younger actors portraying the leads as children do a lot in making this film as enjoyable as it is.
Having said all that though, I have to admit I can't really agree with its Best Picture win. Granted I'm still bitter from the fact that The Dark Knight was shut out of the Best Picture race, but out of the movies that were nominated that year I feel both Milk and The Wrestler were much more affective and will be able to stand the test of time a little better than Slumdog can.
Either way, it's still an extremely entertaining movie and if you've been on the fence about it you should definitely give it a shot. I think you'll be pleasantly surprised.
Monday, April 25, 2011
For a Few Dollars More, Salt
I honestly can't remember if I'd seen For a Few Dollars More before. Blasphemy, I know, but it's just one of those movies that everyone has seen parts or is at least aware of it and its iconic score and imagery, that I honestly wasn't sure if I had sat down and watched the thing all the way through. So, yesterday, just to be sure, I put it on and watched that sucker.
I had watched A Fist Full of Dollars, the first part of Leone's Man with No Name Trilogy, a few weeks ago and while that movie is an undeniable classic, I have to admit I enjoyed For a Few Dollars More quite a bit more. Everything about this movie seems more confident than the first. Eastwood, Leone, and even Ennio Morricone's score impressively build on what they started with A Fist Full of Dollars. The addition of Lee Van Cleef as Eastwood's unlikely ally also adds the overall enjoyment.
For me, these movies are all about Eastwood. Even if he had never made a western again he would still be just as connected with the genre as he is today solely based on this trilogy. Not only does his Man with no name not give a fuck, but he only uses his right hand for shooting and nothing else. He lets his left do all the drinking and fighting. A serious badass.
As I've said before in this blog, the western is one of my favorite film genre's, so it's particularly exciting to watch this trilogy as it not only cements Eastwood as supreme western God, but it also influenced countless films and filmmakers alike. Leone's trilogy may not be my absolute favorite westerns, but they are without a doubt some of the best ever put to film.
I also watched Salt yesterday, an action flick starring Angelina Jolie as a spy who is forced to go on the run after she has been accused of trying to assassinate the Russian President.
I honestly don't know why I wanted to watch this all of a sudden. I've always enjoyed Jolie in action films, but this one really didn't speak to me when it came out last summer. However, when I saw it was on Netflix instant I kind of said to myself " Fuck it".
And you know what? I liked it. It's pretty silly and very stupid, but like I said, Jolie is easy to watch in this genre. I genuinely believe that she could kick my ass, as most people could.
Salt isn't as solid as Mr.& Mrs. Smith, or as ridiculous as Wanted, but it actually went places I didn't expect, something which is hard to say for a lot of mainstream action films these days.
The worst thing I could say about it is that I called out who the villain was 2 minutes in, but even so I was able to just go along for the ride. I recommend watching this one if you've got an afternoon to kill or some beers to drink, otherwise you might just end up hating me for having suggested it.
I had watched A Fist Full of Dollars, the first part of Leone's Man with No Name Trilogy, a few weeks ago and while that movie is an undeniable classic, I have to admit I enjoyed For a Few Dollars More quite a bit more. Everything about this movie seems more confident than the first. Eastwood, Leone, and even Ennio Morricone's score impressively build on what they started with A Fist Full of Dollars. The addition of Lee Van Cleef as Eastwood's unlikely ally also adds the overall enjoyment.
For me, these movies are all about Eastwood. Even if he had never made a western again he would still be just as connected with the genre as he is today solely based on this trilogy. Not only does his Man with no name not give a fuck, but he only uses his right hand for shooting and nothing else. He lets his left do all the drinking and fighting. A serious badass.
As I've said before in this blog, the western is one of my favorite film genre's, so it's particularly exciting to watch this trilogy as it not only cements Eastwood as supreme western God, but it also influenced countless films and filmmakers alike. Leone's trilogy may not be my absolute favorite westerns, but they are without a doubt some of the best ever put to film.
I also watched Salt yesterday, an action flick starring Angelina Jolie as a spy who is forced to go on the run after she has been accused of trying to assassinate the Russian President.
I honestly don't know why I wanted to watch this all of a sudden. I've always enjoyed Jolie in action films, but this one really didn't speak to me when it came out last summer. However, when I saw it was on Netflix instant I kind of said to myself " Fuck it".
And you know what? I liked it. It's pretty silly and very stupid, but like I said, Jolie is easy to watch in this genre. I genuinely believe that she could kick my ass, as most people could.
Salt isn't as solid as Mr.& Mrs. Smith, or as ridiculous as Wanted, but it actually went places I didn't expect, something which is hard to say for a lot of mainstream action films these days.
The worst thing I could say about it is that I called out who the villain was 2 minutes in, but even so I was able to just go along for the ride. I recommend watching this one if you've got an afternoon to kill or some beers to drink, otherwise you might just end up hating me for having suggested it.
Saturday, April 23, 2011
My Mission, Part III
It's been a while since I've been able to continue the journey through my movie collection. Most of that is because I was, for some reason, preparing to become a student for the first time since 2005. Unfortunately, I was able to achieve this goal and will be attending Wake Tech Community College this fall semester. In an attempt to console myself, I decided to watch two movies I hadn't seen before from my instant Netflix, Mary & Max and Following, and only watch one from my personal collection, Traffic.
I started with Traffic, director Steven Soderbergh's sprawling account of America's war on drugs, or lack thereof told through a number of point of views, all of which are connected in some form or another.
2000 was the year of Soderbergh. In addition to Traffic, he also directed Erin Brochovich, and both movies made over $100 million. What's even more impressive was that Steven was actually nominated as Best Director at the Oscars for both movies, a fact that many thought would cost Soderbergh the award due to splitting of the votes. He ended up winning for Traffic though, and it easy to see why. It's a two and a half hour movie dealing with at least 4 separate stories in two languages, and yet somehow it feels effortless. It's not exactly an easy movie to watch, but Soderbergh ensures that there is not a moment or character wasted, no matter how small. The pace of the film is another major asset, assuring that you don't feel too exhausted by the end of the 147 minute run time. If you are even the smallest Soderbergh fan, I highly recommend this one. It may not be his best, but it's definitely up there.
Next up was the Clay-mation film Mary & Max, an extremely heartfelt story about a young Australian girl who becomes pen pals with Max, a 44 year old man whose only wishes in life are to have a lifetime supply of chocolate and a friend. What follows is a 20 year correspondence affects their lives in both good and bad ways.
I don't want to say too much about this one, as there are many surprises throughout, but I will say that I was completely taken aback at how emotionally honest the movie is. Even though it is animated it's actually much more for adults than children. The filmmakers instead use the medium to help convey the characters growing relationship and feelings of happiness and pain throughout their lives. It's a move that adds unexpected weight to the material, not to mention the fact that this is apparently based on a true story. It's a truly original and touching film, and one I strongly urge anyone and everyone to check out.
Finally I watched Following, the first film by none other than Christopher Nolan, director of The Dark Knight and Inception.
The movie focuses on a young writer who becomes obsessed with following people and breaking into their homes in an attempt to gain material for his stories.
Unfortunately, there's much to say about this one. It's definitely interesting to see a young Nolan play with storytelling techniques that we would later see in film's such as Memento and The Prestige, but again it's more interesting than entertaining. Even with a run time of 70 minutes, the film tends to be a bit slow, though never completely boring. I would say only check this one out if you are absolutely dying to see where Nolan started. For everyone else, just enjoy all the wonderful movies he has made since.
I'm hoping to continue my mission over the next two days while I celebrate what's his name's excuse for a day off, so until then, later dudes.
I started with Traffic, director Steven Soderbergh's sprawling account of America's war on drugs, or lack thereof told through a number of point of views, all of which are connected in some form or another.
2000 was the year of Soderbergh. In addition to Traffic, he also directed Erin Brochovich, and both movies made over $100 million. What's even more impressive was that Steven was actually nominated as Best Director at the Oscars for both movies, a fact that many thought would cost Soderbergh the award due to splitting of the votes. He ended up winning for Traffic though, and it easy to see why. It's a two and a half hour movie dealing with at least 4 separate stories in two languages, and yet somehow it feels effortless. It's not exactly an easy movie to watch, but Soderbergh ensures that there is not a moment or character wasted, no matter how small. The pace of the film is another major asset, assuring that you don't feel too exhausted by the end of the 147 minute run time. If you are even the smallest Soderbergh fan, I highly recommend this one. It may not be his best, but it's definitely up there.
Next up was the Clay-mation film Mary & Max, an extremely heartfelt story about a young Australian girl who becomes pen pals with Max, a 44 year old man whose only wishes in life are to have a lifetime supply of chocolate and a friend. What follows is a 20 year correspondence affects their lives in both good and bad ways.
I don't want to say too much about this one, as there are many surprises throughout, but I will say that I was completely taken aback at how emotionally honest the movie is. Even though it is animated it's actually much more for adults than children. The filmmakers instead use the medium to help convey the characters growing relationship and feelings of happiness and pain throughout their lives. It's a move that adds unexpected weight to the material, not to mention the fact that this is apparently based on a true story. It's a truly original and touching film, and one I strongly urge anyone and everyone to check out.
Finally I watched Following, the first film by none other than Christopher Nolan, director of The Dark Knight and Inception.
The movie focuses on a young writer who becomes obsessed with following people and breaking into their homes in an attempt to gain material for his stories.
Unfortunately, there's much to say about this one. It's definitely interesting to see a young Nolan play with storytelling techniques that we would later see in film's such as Memento and The Prestige, but again it's more interesting than entertaining. Even with a run time of 70 minutes, the film tends to be a bit slow, though never completely boring. I would say only check this one out if you are absolutely dying to see where Nolan started. For everyone else, just enjoy all the wonderful movies he has made since.
I'm hoping to continue my mission over the next two days while I celebrate what's his name's excuse for a day off, so until then, later dudes.
Sunday, April 10, 2011
Hanna
Hanna is the most refreshing action film I've seen in quite a few years. It's a film that doesn't reinvent the genre, but instead manages to just get everything right, including staging beautifully choreographed fight scenes without over editing them, which is a feat in and of itself.
Saoirse Ronan stars as Hanna, a teenage girl who has been raised in the arctic woods by her father, played by the amazing Eric Bana as a rouge spy who has trained Hanna to be the perfect assassin in an attempt to get revenge on the agency who betrayed him years before.
Ronan has already been nominated for an Oscar at the age of 13 for her work in Attonement, also directed by Hanna helmer Joe Wright, so it's no surprise that her work here is incredible. Her Hanna is a complicated teenager if there ever was one. She is every bit the killer her father trained her to be, but she's also a naive, confused and sheltered girl who is in the process of discovering who she is, just as most teenagers her age are doing. What's truly impressive though is Ronan's ability to go from vicious killer to innocent teen girl in the very same scene. It's a truly incredible performance that ensures Ronan will be someone to watch for years to come.
I have to say though, my favorite part of the movie is Eric Bana as Hanna's father. Bana is a complete badass here. Not only does he match Ronan and Cate Blanchett in the acting department, but he has the best action scene of the year so far with a jaw dropping fight sequence against four other men all shot in one take.
Which brings me to the action. Director Joe Wright has decided to just put the camera down and actually create an exciting sequence in front of the camera instead of trying to create it in the editing room. It's a move that is refreshing and old school at the same time. For too long now Hollywood has copied the frenetic editing style of the Bourne films fight sequences, and while I still believe they work in those films, I was so relieved and grateful to see such a ballsy sequence.
Before I end this, I have to also mention the film's score composed by The Chemical Brothers. I hadn't heard much of their stuff before this movie, but I can easily say that it's a score that's right up there with The Social Network and TRON: Legacy in terms of score's done by recording artists. Great, great stuff.
If you are at all a fan of action films and looking for something just a little bit different, then I highly recommend you see Hanna ASAP.
Saoirse Ronan stars as Hanna, a teenage girl who has been raised in the arctic woods by her father, played by the amazing Eric Bana as a rouge spy who has trained Hanna to be the perfect assassin in an attempt to get revenge on the agency who betrayed him years before.
Ronan has already been nominated for an Oscar at the age of 13 for her work in Attonement, also directed by Hanna helmer Joe Wright, so it's no surprise that her work here is incredible. Her Hanna is a complicated teenager if there ever was one. She is every bit the killer her father trained her to be, but she's also a naive, confused and sheltered girl who is in the process of discovering who she is, just as most teenagers her age are doing. What's truly impressive though is Ronan's ability to go from vicious killer to innocent teen girl in the very same scene. It's a truly incredible performance that ensures Ronan will be someone to watch for years to come.
I have to say though, my favorite part of the movie is Eric Bana as Hanna's father. Bana is a complete badass here. Not only does he match Ronan and Cate Blanchett in the acting department, but he has the best action scene of the year so far with a jaw dropping fight sequence against four other men all shot in one take.
Which brings me to the action. Director Joe Wright has decided to just put the camera down and actually create an exciting sequence in front of the camera instead of trying to create it in the editing room. It's a move that is refreshing and old school at the same time. For too long now Hollywood has copied the frenetic editing style of the Bourne films fight sequences, and while I still believe they work in those films, I was so relieved and grateful to see such a ballsy sequence.
Before I end this, I have to also mention the film's score composed by The Chemical Brothers. I hadn't heard much of their stuff before this movie, but I can easily say that it's a score that's right up there with The Social Network and TRON: Legacy in terms of score's done by recording artists. Great, great stuff.
If you are at all a fan of action films and looking for something just a little bit different, then I highly recommend you see Hanna ASAP.
Sunday, April 3, 2011
My mission part II
Last week, while Katy was out of town I continued my plan to physically watch every single movie I own by watching Where the Wild Things Are, Cop Land, The Hunt for Red October and Red.
I had only seen Where the Wild Things Are once, in theaters, but I remembered liking it a lot more than I did with this viewing. This time I found it to be pretty boring. I realize there's not a lot going on in the movie on purpose as it's more a reflection of how a child deals with his feelings than some kind of fantasy family film, but fuck, it's so boring.
Thankfully I watched Cop Land next, a movie that absolutely lives up to the potential promised by its cast that includes Sylvester Stallone, Robert DeNiro, Harvey Keitel and Ray Liotta. It was amazing to see Stallone in this part. I had honestly forgotten how good an actor he can be outside of the Rocky/Rambo franchises. If you haven't seen this one, you must do so now.
Next was The Hunt for Red October, a very 90s thriller about a Soviet submarine commander, Sean Connery, who may or may not be hijacking his submarine to America. This wasn't quite as awesome as I remember, though there is still plenty to enjoy. I have a soft spot for almost anything from the 90s, and it doesn't hurt that Sean Connery and Alec Baldwin both are at the top of their game. It's especially nice to watch Alec in leading man mode, and it makes me wish he still got parts like this one.
Finally, I ended the night with Red, a movie starring Bruce Willis, John Malkovich, Hellen Mirren and Morgan Freeman as assassins forced out of retirement in order to find out who is trying to kill them. I actually enjoyed this much more upon second viewing. I definitely enjoyed it in theaters, but watching it this time I was able to enjoy the smaller moments that are spread throughout the film. The cast itself is hilarious, particularly Malkovich as a spy who has been on one too many mission in his day. It's Karl Urban who really stands out for me though as the young hot shot given the task of taken these Retired, Extremely Dangerous agents down. He doesn't have a huge part per se, but he brings a gruffness to the part that reminds me of Timothy Olyphant, something that is definitely a good thing.
I'm not sure when I'll have another movie day, but I have seen Source Code and will be seeing Your Highness this weekend so I'll be sure and have something up about those ASAP.
I had only seen Where the Wild Things Are once, in theaters, but I remembered liking it a lot more than I did with this viewing. This time I found it to be pretty boring. I realize there's not a lot going on in the movie on purpose as it's more a reflection of how a child deals with his feelings than some kind of fantasy family film, but fuck, it's so boring.
Thankfully I watched Cop Land next, a movie that absolutely lives up to the potential promised by its cast that includes Sylvester Stallone, Robert DeNiro, Harvey Keitel and Ray Liotta. It was amazing to see Stallone in this part. I had honestly forgotten how good an actor he can be outside of the Rocky/Rambo franchises. If you haven't seen this one, you must do so now.
Next was The Hunt for Red October, a very 90s thriller about a Soviet submarine commander, Sean Connery, who may or may not be hijacking his submarine to America. This wasn't quite as awesome as I remember, though there is still plenty to enjoy. I have a soft spot for almost anything from the 90s, and it doesn't hurt that Sean Connery and Alec Baldwin both are at the top of their game. It's especially nice to watch Alec in leading man mode, and it makes me wish he still got parts like this one.
Finally, I ended the night with Red, a movie starring Bruce Willis, John Malkovich, Hellen Mirren and Morgan Freeman as assassins forced out of retirement in order to find out who is trying to kill them. I actually enjoyed this much more upon second viewing. I definitely enjoyed it in theaters, but watching it this time I was able to enjoy the smaller moments that are spread throughout the film. The cast itself is hilarious, particularly Malkovich as a spy who has been on one too many mission in his day. It's Karl Urban who really stands out for me though as the young hot shot given the task of taken these Retired, Extremely Dangerous agents down. He doesn't have a huge part per se, but he brings a gruffness to the part that reminds me of Timothy Olyphant, something that is definitely a good thing.
I'm not sure when I'll have another movie day, but I have seen Source Code and will be seeing Your Highness this weekend so I'll be sure and have something up about those ASAP.
Saturday, March 19, 2011
Paul
Paul is a geek movie made by geeks, for geeks. That's not to say that everyone can't enjoy it, as there is plenty here to enjoy besides the in jokes and references, but I think if you are in any way a film lover, I think you'll get a little more out of this than the average movie-goer.
Simon Pegg and Nick Frost wrote and star as two British geeks going to Comic Con and taking a trip across the U.S. seeing all the famous Alien landing sites the States have to offer. Along the way, they meet up with Paul, an alien voiced by Seth Rogan who is on the run from the government and trying to get back to his home planet.
That's about all you need to know really. The rest is just good, solid laughs joined with nice character moments for even the smallest of parts, all of which is made possible by the amazing cast. Aside from Pegg and Frost, you have Jason Bateman, Kristen Wiig, Bill Hader, Joe Lo Truglio and Jeffrey Tambor ( just to name a few) that pop up at some point or other to provide memorable, funny moments.
It's Rogan that steals the show though, finding the perfect balance portraying Paul as that lovable yet ass hole of a friend that you can't help but like. The effect itself isn't perfect, but you really don't notice it as an effect because Rogan is so good at making Paul's personality feel natural. You believe that if Paul wasn't an alien, he would just be one of the guys.
Perhaps my favorite thing about this movie though, is that it flat out embraces atheism. I'm not quite atheist myself, but I love the fact that this movie has the balls to say that Bible thumping, evolution hating Christians are flat out stupid. It's not a major point in the movie, and it doesn't go out of its way to say it, but the fact that it's there makes me beyond happy.
In the end, if you like Pegg and Frost, and you are even the littlest bit of a geek, you will enjoy this one. It's not the best thing these guys have done, but it definitely keeps me excited for what they can come up with next.
Simon Pegg and Nick Frost wrote and star as two British geeks going to Comic Con and taking a trip across the U.S. seeing all the famous Alien landing sites the States have to offer. Along the way, they meet up with Paul, an alien voiced by Seth Rogan who is on the run from the government and trying to get back to his home planet.
That's about all you need to know really. The rest is just good, solid laughs joined with nice character moments for even the smallest of parts, all of which is made possible by the amazing cast. Aside from Pegg and Frost, you have Jason Bateman, Kristen Wiig, Bill Hader, Joe Lo Truglio and Jeffrey Tambor ( just to name a few) that pop up at some point or other to provide memorable, funny moments.
It's Rogan that steals the show though, finding the perfect balance portraying Paul as that lovable yet ass hole of a friend that you can't help but like. The effect itself isn't perfect, but you really don't notice it as an effect because Rogan is so good at making Paul's personality feel natural. You believe that if Paul wasn't an alien, he would just be one of the guys.
Perhaps my favorite thing about this movie though, is that it flat out embraces atheism. I'm not quite atheist myself, but I love the fact that this movie has the balls to say that Bible thumping, evolution hating Christians are flat out stupid. It's not a major point in the movie, and it doesn't go out of its way to say it, but the fact that it's there makes me beyond happy.
In the end, if you like Pegg and Frost, and you are even the littlest bit of a geek, you will enjoy this one. It's not the best thing these guys have done, but it definitely keeps me excited for what they can come up with next.
My mission.
I own around 600 movies. 500 or so of those are DVDs and the rest are Blu Ray. Rarely have I ever bought a movie without watching it, but when it did happen I made it a point to watch it as soon as possible because for some reason I just found it downright embarrassing to let an unseen film I own go unwatched. I guess you could say it was part of my Code, as a man's got to have his own Code.
One thing I'm not proud of though, is that I haven't physically watched every DVD or Blu Ray that I own. I've seen them all at one point, but there are about 100 that I have never physically put into my DVD player.
That's something I desperately need to change.
I have actually already started the process a few weeks ago by having two day long marathons comprised entirely of Blu Ray discs that I have yet to watch. It had been quite a while since I had done nothing but watch movies all day long. I did it almost every weekend as a child, trying to stay up all night every Friday hoping to make it to the morning with little to no success. Thankfully though, now that I am a married, 24 year old adult, I have absolutely nothing but time to waste. So, for the next few months, I'm going to try and have these movie days as often as possible. Sometimes with just DVDs, sometimes with just Blu Rays, and sometimes with both. Also, I think every once in a while I'll throw in something that I haven't seen from Netflix instant so my brain can be fed new movie knowledge along with the old. Then, as each marathon comes and goes I'll come here and give you my thoughts and sexual feelings about the experience. Let us begin.
The first round I watched Saving Private Ryan, Rambo, Back to the Future, Escape from New York and Moon. The second round, which took place just yesterday, included A Clockwork Orange, Back to the Future Part II, Backdraft and The Fighter.
I had made a conscious decision to watch the Back to the Future trilogy for my first three marathons. However, I had unconsciously decided to watch multiple Kurt Russell in the first few marathons. I must have been having Russell withdrawal, because when I started Backdraft and Kurt appears as his own characters father I instantly became aroused in a way that only Kurt can make happen. This guy just exudes badass. It also doesn't hurt that Backdraft features one of the best hero shots of the 90s with Kurt running out of a room that had just become engulfed with flames, carrying a small black child that everyone feared dead. I mean, shit man, that's awesome.
Seriously though, Kurt aside, Backdraft was a nice surprise yesterday. I hadn't watched it in at least 10 years and I had forgotten how good it is. I think maybe that's one of the reason's I'm so excited to be doing this little mission, having the chance to rediscover so many great films that I haven't seen in forever.
I'm planning for the next marathon next week when the wife is out of town for three days. I also plan on burning our apartment to the ground, so stay tuned.
One thing I'm not proud of though, is that I haven't physically watched every DVD or Blu Ray that I own. I've seen them all at one point, but there are about 100 that I have never physically put into my DVD player.
That's something I desperately need to change.
I have actually already started the process a few weeks ago by having two day long marathons comprised entirely of Blu Ray discs that I have yet to watch. It had been quite a while since I had done nothing but watch movies all day long. I did it almost every weekend as a child, trying to stay up all night every Friday hoping to make it to the morning with little to no success. Thankfully though, now that I am a married, 24 year old adult, I have absolutely nothing but time to waste. So, for the next few months, I'm going to try and have these movie days as often as possible. Sometimes with just DVDs, sometimes with just Blu Rays, and sometimes with both. Also, I think every once in a while I'll throw in something that I haven't seen from Netflix instant so my brain can be fed new movie knowledge along with the old. Then, as each marathon comes and goes I'll come here and give you my thoughts and sexual feelings about the experience. Let us begin.
The first round I watched Saving Private Ryan, Rambo, Back to the Future, Escape from New York and Moon. The second round, which took place just yesterday, included A Clockwork Orange, Back to the Future Part II, Backdraft and The Fighter.
I had made a conscious decision to watch the Back to the Future trilogy for my first three marathons. However, I had unconsciously decided to watch multiple Kurt Russell in the first few marathons. I must have been having Russell withdrawal, because when I started Backdraft and Kurt appears as his own characters father I instantly became aroused in a way that only Kurt can make happen. This guy just exudes badass. It also doesn't hurt that Backdraft features one of the best hero shots of the 90s with Kurt running out of a room that had just become engulfed with flames, carrying a small black child that everyone feared dead. I mean, shit man, that's awesome.
Seriously though, Kurt aside, Backdraft was a nice surprise yesterday. I hadn't watched it in at least 10 years and I had forgotten how good it is. I think maybe that's one of the reason's I'm so excited to be doing this little mission, having the chance to rediscover so many great films that I haven't seen in forever.
I'm planning for the next marathon next week when the wife is out of town for three days. I also plan on burning our apartment to the ground, so stay tuned.
Monday, March 14, 2011
The Pianist
I know this is a fairly old film, but I'm trying to talk about any new or awesome movie I see, so here it goes.
To be honest, I had thought this was gonna be more emotionally draining that it actually was. That's not to say it isn't a great movie, but the one scene I had actually seen from the film was a very graphic one that at the time actually took my breath away. That scene in particular has always stayed with me and I guess you could say that it made me a little hesitant to actually sit down and watch the whole thing.
I'm glad I finally did though, The Pianist is easily up there with Schindler's List as a captivating Holocaust experience. Every scene dealing with the evacuation of the Jewish neighborhoods are so realistic and absolutely horrifying that it is indeed difficult to comprehend why and how such events could ever actually happen.
One thing that really surprised me though was how well Roman Polanski shot this film. There are multiple scenes that feel like they were done in one take, all shot from a far that add a voyeuristic type feeling to the movie.
All in all, a tough but rewarding experience.
To be honest, I had thought this was gonna be more emotionally draining that it actually was. That's not to say it isn't a great movie, but the one scene I had actually seen from the film was a very graphic one that at the time actually took my breath away. That scene in particular has always stayed with me and I guess you could say that it made me a little hesitant to actually sit down and watch the whole thing.
I'm glad I finally did though, The Pianist is easily up there with Schindler's List as a captivating Holocaust experience. Every scene dealing with the evacuation of the Jewish neighborhoods are so realistic and absolutely horrifying that it is indeed difficult to comprehend why and how such events could ever actually happen.
One thing that really surprised me though was how well Roman Polanski shot this film. There are multiple scenes that feel like they were done in one take, all shot from a far that add a voyeuristic type feeling to the movie.
All in all, a tough but rewarding experience.
Friday, March 11, 2011
Battle: Los Angeles
Battle: LA is a movie that I really wanted to love and I went into it with what I still think were realistic expectations. Beforehand I had read a few reviews saying that even though it was filled with every war movie cliche in the book, it still had great action and was a ton of fun., and that's all I wanted. I don't think that's asking too much, do you?
I might be giving the impression that I really didn't like the movie, but that's not entirely true. I'm more disappointed by it than anything. I love the idea for Battle:LA, a straight up war movie that just happens to have aliens much like this summer's Cowboys and Aliens which claims to be a western that just happens to include aliens as well. I love that we have so many serious Sci-fi movies being made right now, both big and small. Battle: LA is definitely big, and like I said earlier, I wasn't expecting the best alien invasion movie ever, but I really wanted an intense action movie that would put me on the edge of my seat. It's been a slow couple of months for movies in that department, and I was especially in the mood for one after a long and even more disappointing award season.
It all starts promisingly enough, opening hard and fast with the invasion in full swing. It's a bold move, and had it continued from there it could have made for a very different experience, allowing us to get to know characters through actions and small moments. Instead, the movie flashes 24 hours earlier in an attempt to get the audience invested in the characters, all of whom you've seen before. The Virgin, the father to be, the hero with a dark past, a guy from Jersey, they're all here.
You know what though, it's not the one note characters that I mind, or the even worse dialogue. I can deal with that. Hell sometimes, for whatever reason, it makes me love a movie more as long as the action delivers. That, for me, is the main problem with Battle: LA. There is no tension. I felt almost nothing during most of the films many action scenes. It's not that they aren't staged well, or that the aliens aren't menacing. There just isn't a real sense of danger, something that I feel is a must for this genre. I know I should sit back and enjoy the explosions, but this movie keeps trying and trying to be intense and thrilling, and that's what ruins it for me. This movie wants to be good. It tries so hard and despite all the game efforts by cast and crew, they just couldn't make it happen.
Hopefully Cowboys & Aliens can fill this void I have in me now, a void for a really good, straight faced alien invasion.
I might be giving the impression that I really didn't like the movie, but that's not entirely true. I'm more disappointed by it than anything. I love the idea for Battle:LA, a straight up war movie that just happens to have aliens much like this summer's Cowboys and Aliens which claims to be a western that just happens to include aliens as well. I love that we have so many serious Sci-fi movies being made right now, both big and small. Battle: LA is definitely big, and like I said earlier, I wasn't expecting the best alien invasion movie ever, but I really wanted an intense action movie that would put me on the edge of my seat. It's been a slow couple of months for movies in that department, and I was especially in the mood for one after a long and even more disappointing award season.
It all starts promisingly enough, opening hard and fast with the invasion in full swing. It's a bold move, and had it continued from there it could have made for a very different experience, allowing us to get to know characters through actions and small moments. Instead, the movie flashes 24 hours earlier in an attempt to get the audience invested in the characters, all of whom you've seen before. The Virgin, the father to be, the hero with a dark past, a guy from Jersey, they're all here.
You know what though, it's not the one note characters that I mind, or the even worse dialogue. I can deal with that. Hell sometimes, for whatever reason, it makes me love a movie more as long as the action delivers. That, for me, is the main problem with Battle: LA. There is no tension. I felt almost nothing during most of the films many action scenes. It's not that they aren't staged well, or that the aliens aren't menacing. There just isn't a real sense of danger, something that I feel is a must for this genre. I know I should sit back and enjoy the explosions, but this movie keeps trying and trying to be intense and thrilling, and that's what ruins it for me. This movie wants to be good. It tries so hard and despite all the game efforts by cast and crew, they just couldn't make it happen.
Hopefully Cowboys & Aliens can fill this void I have in me now, a void for a really good, straight faced alien invasion.
Wednesday, March 9, 2011
Rango
Rango is a weird, enjoyable little movie about an aspiring actor/lizard who through a series of random events becomes sheriff of a town called Dirt.
Even for most animated talking animal movies, that premise is definitely out there. Thankfully though, director Gore Verbinski of Pirates of the Caribbean and The Weather Man fame has crafted one of the more original and gorgeous looking movies I've seen in a long time.
Johnny Depp leads a terrific cast of character actors, all of whom were picked not for their name, but for their actual vocal talent, a choice that helps the audience really get to know and like the characters themselves instead of just guessing who's who in the celebrity filled cast.
As I said earlier, Johnny D is the lead here, and he does a great job as usual. Depp is always easy to watch, or hear in this case, even in the worst of movies. Yet there's a great a balancing act he does with Rango that not only continues his list of eccentric characters, but also allows him to bring a little more heart to the character, something he hasn't had the chance to do since at least Finding Neverland in 2004.
The thing I think I liked most about this movie though, is the fact that it's a straight up western, one of my favorite genre's. It's becoming increasingly rare for them to get made nowadays, which breaks my heart. To me, there's just something so epic about a man (or lizard) in the old west who clings to his convictions and stands up for what he believes in, no matter the outcome, and Rango does just that. Between this and True Grit, I can only hope that Hollywood pays attention and realize that people will still flock to a western, as long as it's done right.
Now, you can't talk about this movie and not mention the absolutely beautiful animation done by ILM. Oddly enough it's the company's first animated film, and they knock it out of the park. Each frame is filled with stunning detail and each character is so meticulously created that you could easily fall in love with what's on screen and not even pay attention to what's happening in the story.
In the end, Rango is a very enjoyable movie made better with great ideas, great acting and incredible animation. Even if you hate westerns, you will easily find something to like here.
Even for most animated talking animal movies, that premise is definitely out there. Thankfully though, director Gore Verbinski of Pirates of the Caribbean and The Weather Man fame has crafted one of the more original and gorgeous looking movies I've seen in a long time.
Johnny Depp leads a terrific cast of character actors, all of whom were picked not for their name, but for their actual vocal talent, a choice that helps the audience really get to know and like the characters themselves instead of just guessing who's who in the celebrity filled cast.
As I said earlier, Johnny D is the lead here, and he does a great job as usual. Depp is always easy to watch, or hear in this case, even in the worst of movies. Yet there's a great a balancing act he does with Rango that not only continues his list of eccentric characters, but also allows him to bring a little more heart to the character, something he hasn't had the chance to do since at least Finding Neverland in 2004.
The thing I think I liked most about this movie though, is the fact that it's a straight up western, one of my favorite genre's. It's becoming increasingly rare for them to get made nowadays, which breaks my heart. To me, there's just something so epic about a man (or lizard) in the old west who clings to his convictions and stands up for what he believes in, no matter the outcome, and Rango does just that. Between this and True Grit, I can only hope that Hollywood pays attention and realize that people will still flock to a western, as long as it's done right.
Now, you can't talk about this movie and not mention the absolutely beautiful animation done by ILM. Oddly enough it's the company's first animated film, and they knock it out of the park. Each frame is filled with stunning detail and each character is so meticulously created that you could easily fall in love with what's on screen and not even pay attention to what's happening in the story.
In the end, Rango is a very enjoyable movie made better with great ideas, great acting and incredible animation. Even if you hate westerns, you will easily find something to like here.
Wednesday, March 2, 2011
I love Roland Emmerich
The other night I was watching 2012 for the second time. The first time I watched it I remember having a great time, laughing consistently throughout. However, I didn't really remember much of the movie itself since I had ingested almost an entire bag of Franzia while watching it.
This second time though, I didn't drink. Well, not as much anyway, and I found myself genuinely enjoying the movie. Yes, it's completely illogical and filled with pointless characters connected by even more pointless coincidences, and yet it's these very reasons why I love it so much. It's just big, stupid fun.
Look, it's obvious by this point that I'm easily entertained when it comes to movies. No matter how good or bad, I just like movies, and I really like the movies Roland Emmerich makes. From Universal Soldier all the way to 2012. In fact, there are only two of his films that I can't really enjoy. One is The Day After Tomorrow, mainly because it's on TV every other hour and I'm sick of watching it. The other is 10,000 B.C. because, well, it's not that good.
Before your head explodes from that last statement, let me say that no, most of his movies aren't exactly 'Good'. I, however, enjoy them greatly.
Independence Day is probably his best movie, or if anything his most popular. It's not hard to see why. It's got a great premise, a great cast and more importantly, it shows America doing what America does best. Winning.
However, I seem to be the only person who has actually enjoyed almost every movie he has done since then. Yes, that means I like Godzilla. It sucks, I know, but I can't help myself, Roland knows how to destroy a city. Maybe he couldn't do it as well as Michael Bay did that same year with Armageddon, but shit, who can? I love a good trainwreck, and Godzilla is exactly that. There's nothing but bad ideas in this movie and yet despite it all I can't help but laughing my way through to the very end. It's just that terribly awesome.
Now let's not forget The Patriot, Roland's best movie post ID4, starring rage master Mel Gibson as a man who loved America so much, he single handedly won the Revolutionary War. I don't think anything else needs to be said about that.
Next came The Day After Tomorrow and 10,000 B. C., Roland's only two movies in which I cannot enjoy. The Day After Tomorrow is easily the better of the two, but as I said earlier, I've watched it so many times that my nose starts to bleed from anger every time it comes on. As for 10,000 B. C., there just is not one second of enjoyment there, not even in the worst way. It's a flat out boring movie.
Thankfully, he redeemed himself with 2012, his farewell to the disaster genre. He spared no expense here, spending $200 million of Sony's money and taking 160 minutes of our lives to show how awesome John Cusack is at outrunning Mother Nature. It's ridiculous and preposterous in the very best way.
In the end though, it just comes down to the fact that Roland Emmerich's movies are right up my alley. Big, stupid, and most of all, fun.
This second time though, I didn't drink. Well, not as much anyway, and I found myself genuinely enjoying the movie. Yes, it's completely illogical and filled with pointless characters connected by even more pointless coincidences, and yet it's these very reasons why I love it so much. It's just big, stupid fun.
Look, it's obvious by this point that I'm easily entertained when it comes to movies. No matter how good or bad, I just like movies, and I really like the movies Roland Emmerich makes. From Universal Soldier all the way to 2012. In fact, there are only two of his films that I can't really enjoy. One is The Day After Tomorrow, mainly because it's on TV every other hour and I'm sick of watching it. The other is 10,000 B.C. because, well, it's not that good.
Before your head explodes from that last statement, let me say that no, most of his movies aren't exactly 'Good'. I, however, enjoy them greatly.
Independence Day is probably his best movie, or if anything his most popular. It's not hard to see why. It's got a great premise, a great cast and more importantly, it shows America doing what America does best. Winning.
However, I seem to be the only person who has actually enjoyed almost every movie he has done since then. Yes, that means I like Godzilla. It sucks, I know, but I can't help myself, Roland knows how to destroy a city. Maybe he couldn't do it as well as Michael Bay did that same year with Armageddon, but shit, who can? I love a good trainwreck, and Godzilla is exactly that. There's nothing but bad ideas in this movie and yet despite it all I can't help but laughing my way through to the very end. It's just that terribly awesome.
Now let's not forget The Patriot, Roland's best movie post ID4, starring rage master Mel Gibson as a man who loved America so much, he single handedly won the Revolutionary War. I don't think anything else needs to be said about that.
Next came The Day After Tomorrow and 10,000 B. C., Roland's only two movies in which I cannot enjoy. The Day After Tomorrow is easily the better of the two, but as I said earlier, I've watched it so many times that my nose starts to bleed from anger every time it comes on. As for 10,000 B. C., there just is not one second of enjoyment there, not even in the worst way. It's a flat out boring movie.
Thankfully, he redeemed himself with 2012, his farewell to the disaster genre. He spared no expense here, spending $200 million of Sony's money and taking 160 minutes of our lives to show how awesome John Cusack is at outrunning Mother Nature. It's ridiculous and preposterous in the very best way.
In the end though, it just comes down to the fact that Roland Emmerich's movies are right up my alley. Big, stupid, and most of all, fun.
Wednesday, January 12, 2011
The Town VS Gone Baby Gone
I get that nowadays most of the bigger award shows such as the Oscars and even more so the Golden Globes have become less about great films and more about popularity. Yet, waning significance aside, I still find myself getting way into the award process every year, and each year I find myself disappointed in one way or another. One movie or performance that should be a lock doesn't win, or wasn't nominated in the first place and vice versa.
This year though, even with the expectation that these award shows will never reflect exactly how I felt about the year in film, I find myself particularly surprised by the overly strong reception to Ben Affleck's The Town.
Don't get me wrong, I really like The Town. The performances are top notch, especially Jeremy Renner as Affleck's lifelong friend and fellow bank robber, and I have to admit I was extremely surprised with Blake Lively, who proved here that she has what it takes to be taken seriously.
Also, the action is intense and well executed. Affleck wisely decides to show the action rather than relying on excessive editing to do the trick.
More than anything though, The Town proved that Affleck was no fluke as a director, after his debut effort with the exceptional Gone Baby Gone.
There is, however, one fatal flaw that I believe really keeps this movie from best picture qualification. The ending, more specifically the final shot. It feels as though it belongs in a 90s romantic drama, and not a hard R action picture. Now I understand and agree that you could argue that there is more to The Town other than action, but that final shot really takes me out of the moment and ruins what could have at least been a satisfying ending, albeit far from a perfect one.
Again, I really like this movie, I own it even, but best picture? Really? At best, this is a great, mainstream heist flick. Not that there's anything wrong with that, I just can't imagine that anyone would think that this is up there with Inception, Black Swan or even The Fighter.
I wonder though, could award associations be making up for the lack of love for Gone Baby Gone? Granted, 'Gone' star Amy Ryan got an Oscar nomination and Casey Affleck got a few critic's awards, but for the most part 'Gone' went by mostly unnoticed in the awards season that year, something that really upset me.
For me, Gone Baby Gone is leaps and bounds better than the The Town, in almost every way. The atmosphere that Affleck creates is a tense and harrowing one that lasts up to the very last frame of film, with realistic characters and dialogue in each and every scene, all while dealing with a subject matter that would bring a strong reaction in even the most indifferent of people.
I think though, it's the follow-through of Gone Baby Gone that makes me prefer it over The Town. The ending of 'Gone' is at once angering and relieving. It doesn't candy-coat anything for the viewer, you have to decide for yourself if Casey Affleck did the right thing or not, whereas with The Town, it feels as though Ben is forcing it on us, like at the last minute he wanted this instead of that.
I don't know, I really don't mean to sounds like a negative Nancy/BITCH towards The Town. It really makes me excited for what Ben will do next as either actor or director, and hopefully if anything, it will cause more people to go out and watch Gone Baby Gone, a movie I feel deserves the widest audience possible.
This year though, even with the expectation that these award shows will never reflect exactly how I felt about the year in film, I find myself particularly surprised by the overly strong reception to Ben Affleck's The Town.
Don't get me wrong, I really like The Town. The performances are top notch, especially Jeremy Renner as Affleck's lifelong friend and fellow bank robber, and I have to admit I was extremely surprised with Blake Lively, who proved here that she has what it takes to be taken seriously.
Also, the action is intense and well executed. Affleck wisely decides to show the action rather than relying on excessive editing to do the trick.
More than anything though, The Town proved that Affleck was no fluke as a director, after his debut effort with the exceptional Gone Baby Gone.
There is, however, one fatal flaw that I believe really keeps this movie from best picture qualification. The ending, more specifically the final shot. It feels as though it belongs in a 90s romantic drama, and not a hard R action picture. Now I understand and agree that you could argue that there is more to The Town other than action, but that final shot really takes me out of the moment and ruins what could have at least been a satisfying ending, albeit far from a perfect one.
Again, I really like this movie, I own it even, but best picture? Really? At best, this is a great, mainstream heist flick. Not that there's anything wrong with that, I just can't imagine that anyone would think that this is up there with Inception, Black Swan or even The Fighter.
I wonder though, could award associations be making up for the lack of love for Gone Baby Gone? Granted, 'Gone' star Amy Ryan got an Oscar nomination and Casey Affleck got a few critic's awards, but for the most part 'Gone' went by mostly unnoticed in the awards season that year, something that really upset me.
For me, Gone Baby Gone is leaps and bounds better than the The Town, in almost every way. The atmosphere that Affleck creates is a tense and harrowing one that lasts up to the very last frame of film, with realistic characters and dialogue in each and every scene, all while dealing with a subject matter that would bring a strong reaction in even the most indifferent of people.
I think though, it's the follow-through of Gone Baby Gone that makes me prefer it over The Town. The ending of 'Gone' is at once angering and relieving. It doesn't candy-coat anything for the viewer, you have to decide for yourself if Casey Affleck did the right thing or not, whereas with The Town, it feels as though Ben is forcing it on us, like at the last minute he wanted this instead of that.
I don't know, I really don't mean to sounds like a negative Nancy/BITCH towards The Town. It really makes me excited for what Ben will do next as either actor or director, and hopefully if anything, it will cause more people to go out and watch Gone Baby Gone, a movie I feel deserves the widest audience possible.
Tuesday, January 11, 2011
The Fighter
Again, I'm a little late in the game with this one, but I trust you don't care anyway.
The Fighter is a gem of a film. Every single person involved in this brought their A game, starting with my personal man-crush Christian Bale. Bale again transforms his body and becomes the crack-addicted brother to Wahlbergs boxing hopeful. It's the most charismatic Bale has been in a long time, even at his most cracked out you can't help but laugh at his jokes or forgive him for breaking every promise he throws at you.
In addition to Bale, you have Amy Adams and Melissa Leo giving equally amazing performances as Marky Mark's girlfriend and Mother. Adams in particular stands out for me. She goes from cute to adorable to kinda trashy yet proud and strong all in one scene.
I'm not trying to be mean, but it's actually Wahlberg who has the least to do here. That's not to say that he is in any way bad or unconvincing, because he absolutely does a great job. It's just that the other character's have a little more to show, a little more to overcome. Actually, now that I think about it, I think that may have been part of the point. He was simply surrounded by these over the top characters and could do nothing but react accordingly.
In short, The Fighter is not only a great sports film, but simply a great film period, one that shouldn't have trouble finding a spot on my favorite films of 2010.
The Fighter is a gem of a film. Every single person involved in this brought their A game, starting with my personal man-crush Christian Bale. Bale again transforms his body and becomes the crack-addicted brother to Wahlbergs boxing hopeful. It's the most charismatic Bale has been in a long time, even at his most cracked out you can't help but laugh at his jokes or forgive him for breaking every promise he throws at you.
In addition to Bale, you have Amy Adams and Melissa Leo giving equally amazing performances as Marky Mark's girlfriend and Mother. Adams in particular stands out for me. She goes from cute to adorable to kinda trashy yet proud and strong all in one scene.
I'm not trying to be mean, but it's actually Wahlberg who has the least to do here. That's not to say that he is in any way bad or unconvincing, because he absolutely does a great job. It's just that the other character's have a little more to show, a little more to overcome. Actually, now that I think about it, I think that may have been part of the point. He was simply surrounded by these over the top characters and could do nothing but react accordingly.
In short, The Fighter is not only a great sports film, but simply a great film period, one that shouldn't have trouble finding a spot on my favorite films of 2010.
How to Train Your Dragon
Even with somewhat elevated expectations, I was genuinely surprised at how good How to Train Your Dragon was. I had heard nothing but good things about it, but I wasn't really convinced that it could be considered in the same league as Toy Story 3.
Thankfully, I took off my "I know everything" hat and finally gave Dragon a shot, and I can honestly say that if TS3 hadn't come out this year, How to Train Your Dragon would have easily been my favorite animated movie of the year, not to mention the best movie Dreamworks Animation has done thus far.
One of the best things about Dragons is that it doesn't talk down to its audience. The movie deals with death, friendship and forgiveness all in a way that lets any children watching to be able get sucked in and actually feel the danger when a character is in trouble, something which most animated movies nowadays tend to shy away from. It's refreshing, honestly.
As with most animated films today, there is plenty of humor for both adults and children, but Dragon in particular has some of the very best jokes I've heard all year. One in particular was so sharp and so fast that it almost went right over my head and I didn't get it for quite a few seconds. Not even the best R-rated comedies this year have done that to me.
Finally, Dreamworks not only stepped it up in terms of story but also the quality of the animation itself. Dragons is on par with even the best of Pixar, offering stunning looks at mountain views, oceans and especially sequences of the main character flying with his dragon. Truly epic stuff.
If Dreamworks keeps up with this quality, they will have no problem becoming Pixar's main competition.
Thankfully, I took off my "I know everything" hat and finally gave Dragon a shot, and I can honestly say that if TS3 hadn't come out this year, How to Train Your Dragon would have easily been my favorite animated movie of the year, not to mention the best movie Dreamworks Animation has done thus far.
One of the best things about Dragons is that it doesn't talk down to its audience. The movie deals with death, friendship and forgiveness all in a way that lets any children watching to be able get sucked in and actually feel the danger when a character is in trouble, something which most animated movies nowadays tend to shy away from. It's refreshing, honestly.
As with most animated films today, there is plenty of humor for both adults and children, but Dragon in particular has some of the very best jokes I've heard all year. One in particular was so sharp and so fast that it almost went right over my head and I didn't get it for quite a few seconds. Not even the best R-rated comedies this year have done that to me.
Finally, Dreamworks not only stepped it up in terms of story but also the quality of the animation itself. Dragons is on par with even the best of Pixar, offering stunning looks at mountain views, oceans and especially sequences of the main character flying with his dragon. Truly epic stuff.
If Dreamworks keeps up with this quality, they will have no problem becoming Pixar's main competition.
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