There are some who hate the first Expendables and some who don't. I fall into the don't hate it category. But to those who do, I can't really argue. It's not a very well made movie with an even worse script. But the nostalgia was enough for me. I loved seeing Stallone on the big screen again, no matter the quality of the final product. As such were my feeling going into the sequel.
So imagine my surprise when the movie turned out to be legitimately awesome, and better than the original in almost every way.
In fact, the opening sequence has bigger and better action than anything found in the original. Thankfully, the movie keeps up that momentum for most of the movie and only occasionally gets bogged down for exposition or poor character development.
Aside from the action, I honestly feel the best asset the film has is it's camaraderie. This time around it actually kind of felt like these guys had history together, and I don't just mean the first movie, ya twits. There's a certain moment where Statham and Stallone are about to face a giant of a man, and right before they share some playful words that hint at past experiences and give some credibility to the friendship. Even Dolph gets some backstory that's actually plucked straight from his actual past. It's nothing major on either instance, but still nice bits that help add to the fun of watching these guys together.
The absolute best thing about this movie though is without a doubt, JCVD. First, he is a villain named Vilain. LITERALLY. Aside from that masterstroke, JCVD absolutely kills in the movie, relishing every moment he has. Also, the fight between him and Stallone was legitimately brutal and proves that we need more JCVD ASAP!
As for the rest of the crew, Terry Crews again steals every scene he's in. However, Jet Li and Randy Couture are barely in the damn thing. They both get a moment to shine, but other than that they really weren't given much to do. Normally that would bug me, but everyone else got such good moments that it didn't really phase me. Statham in particular gets an awesomely intense fight with Scott Adkinds that had me gripping my chair.
Also, Chuck Norris says a Chuck Norris joke.
If you're wondering why I haven't mention Chris Hemsworth ( AKA the lesser Hemsworth), its because he is utterly useless in the movie. His character is actually what helps set the main plot of the movie in motion, but ultimately thats all he feels like, something to get point A to point B.
The only other real disappointment has to go to Schwarzenegger. Unlike the last film, him and Willis actually get in on the action and when it finally happens it really is awesome to see the three icons kick ass together. However, more than anyone, Schwarzenegger was riding on his own coattails. I mean, he says "I'll be back" or a variation of at least three times, and it's really getting old (ahem). That being said, it really was incredible to see Willis, Stallone and Schwarzenegger fire automatic weapons at people, and I hope Schwarzenegger finds his groove again, because I want nothing more than to see him and Stallone both dominating the big screen again.
Even if you only kind of liked the first one, give this one a shot. I think you'll be pleasantly surprised at how good a time you will have.
Friday, September 7, 2012
Wednesday, August 8, 2012
The Dark Knight Rises
First things first, I loved The Dark Knight Rises. Yes, I might be a bit biased, but I honestly believe it to be an incredible movie.
I would also like to say that even though I love Nolan's final Batman film, I still find The Dark Knight to be the absolute best out of the trilogy.
But man, what a way to go out.
Rises takes place 8 years after DK, with Bruce Wayne retired from Batmaning and secluding himself in his rebuilt manor. Also, since he had taken the fall for Harvey Dent's crimes, Gotham has seen crime drop to almost zero in the years since, something that has left a hole not only in Wayne but in Commissioner Gordon as well.
That little bit of plot is just the tip of the iceberg, all of which is covered in the first 10-15 minutes or so, and as such I'm going to try to refrain from giving away too much else in case the 0 people who read this have not already seen it, however unlikely that might be.
For a movie about Batman, there are surprisingly few scenes that actually feature the title character, in full costume at least. Usually that would be a huge red flag, but of course Nolan has a purpose here, and that is to focus on Bruce Wayne. Now, yes Nolan has always put the man behind the Batman first, but here he examines life after the Batman and shows just how broken and lost that man is. Even though him and Gordon won and seemingly brought Gotham back to its former glory, that victory was based on a lie. Not to mention, Wayne lost what he considered to be his only real reason for living in Rachel. And as such, in DKR, Wayne is a shell of his former self, never leaving Wayne manor and actually needing a cane to get around. In short, for him, hope is lost.
Let me stop for a second and reiterate just how weird it is to see Batman needing a cane. That's the point of course. In Nolan's realistic setting, it only makes sense for a man who went out and fought criminals every night for more than a year to basically be physically broken, but still, it's a jarring and effective image.
As Wayne, Bale gives his best performance in the series, and we're finally given the chance to see Bruce throw away the playboy image and just be himself outside of the cowl as he struggles to re-enter the world with the emergence of Bane.
Equally as good are both familiar faces and new comers to the franchise. Anne Hathaway completely owns the role of Selina Kyle. Hathaway has just the right amount of slyness, ass-kicking and sarcastic attitude the role requires. A lot of people are surprised by how good she is in the role actually, as most of the people I've talked to aren't really a fan of hers, which makes no sense to me, since even in her worst movies she is always watchable and completely charming. Anywho, Joseph Gordon-Levitt also does great supporting work in the very important role of John Blake, a young officer hoping the Batman will return and finish the work he started years before. Levitt seriously fits wonderfully in this universe and if Nolan should ever return to this world ( Highly unlikely ) I would most look forward to see where his character had ended up.
Gary Oldman has a great follow up to his crucial part in DK, with a more emotional arc here. Gordon fully understands that only the Batman can stop the evil that rises, and it's his cries for help that finally gets Wayne in the cowl again.
Of course, you can't discuss DKR without mentioning Tom Hardy as Bane. I've seen this movie four times now, and his performance gets better with each viewing. Hardy plays him with a ferocious calmness, using his eyes brilliantly to convey menace.
OK, I kinda lied about no spoilers because I have to talk about something, so avert your eyes for the next paragraph or two.
The Batman and Bane have two fights in DKR, and they are both absolutely brutal. The first is probably the most intense, as Bane just rips through the Batman. Just as Wayne using a cane was jarring, seeing his alter ego get his ass handed to him is equally disturbing. At multiple points during the fight, the Batman screams right before going in for a blow, as opposed to his usual silence he displays in a fight. It's a small touch, but it shows just how much he is struggling against Bane, showing that he has to sike himself up and reach deep down for the strength he desperately needs to beat the masked villain. In fact, Nolan used the one part of the Knightfall storyline that I honestly didn't think he would, and my jaw honestly dropped when the moment happened. Bane picks the Batman up over his head and slams his back over his knee. It's an insanely brutal moment that makes me flinch just thinking about it. The second fight comes towards the end of the film, and its more emotional than the first. It's a moment where the Batman HAS to win, not only for redemption but for every person in Gotham. And like their first meeting, the Batman screams multiple times, still having to reach for strength even with renewed confidence and purpose.
The most emotional element of the film comes in the guise of Alfred, as played by Michael Caine. I would argue that Alfred has suffered more than anyone in the series ( well maybe Rachel had it worse ), if only because he had to watch his closest friend and son he never had suffer and deteriorate over the years, becoming the Howard Hughes like persona we see in the first part of the film. Even as Bruce becomes motivated again, Alfred fears he is past his prime and has more of a death wish than a purpose, and its these scenes when Alfred tells Bruce exactly what he doesn't want to hear that really get to me.
Nolan knows exactly what buttons to push at this point and he pulls no punches here, really giving the feeling that hope is lost as he promised in the trailers. And for me, that's what Batman is all about. Even in the face of certain death and the weight of an entire city on his shoulders, he is the only one who can overcome. Not just because he has to, but because he wants to. He wants the city to have hope, whether it's the Batman or something else, he wants the people to believe in something good.
As I said before, I find The Dark Knight to be the absolute best of the trilogy, but Nolan has finally given us what no other superhero franchise has given us before, an emotional and completely satisfying end. Even better though, he left us wanting more.
Alright dudes, school is about to start, so I'll probably be on here less than I already am. However I have vowed to at least write about everything I see theatrically and I plan on seeing The Campaign, The Bourne Legacy and The Expendables 2 in the coming weeks, so until then, suck it.
I would also like to say that even though I love Nolan's final Batman film, I still find The Dark Knight to be the absolute best out of the trilogy.
But man, what a way to go out.
Rises takes place 8 years after DK, with Bruce Wayne retired from Batmaning and secluding himself in his rebuilt manor. Also, since he had taken the fall for Harvey Dent's crimes, Gotham has seen crime drop to almost zero in the years since, something that has left a hole not only in Wayne but in Commissioner Gordon as well.
That little bit of plot is just the tip of the iceberg, all of which is covered in the first 10-15 minutes or so, and as such I'm going to try to refrain from giving away too much else in case the 0 people who read this have not already seen it, however unlikely that might be.
For a movie about Batman, there are surprisingly few scenes that actually feature the title character, in full costume at least. Usually that would be a huge red flag, but of course Nolan has a purpose here, and that is to focus on Bruce Wayne. Now, yes Nolan has always put the man behind the Batman first, but here he examines life after the Batman and shows just how broken and lost that man is. Even though him and Gordon won and seemingly brought Gotham back to its former glory, that victory was based on a lie. Not to mention, Wayne lost what he considered to be his only real reason for living in Rachel. And as such, in DKR, Wayne is a shell of his former self, never leaving Wayne manor and actually needing a cane to get around. In short, for him, hope is lost.
Let me stop for a second and reiterate just how weird it is to see Batman needing a cane. That's the point of course. In Nolan's realistic setting, it only makes sense for a man who went out and fought criminals every night for more than a year to basically be physically broken, but still, it's a jarring and effective image.
As Wayne, Bale gives his best performance in the series, and we're finally given the chance to see Bruce throw away the playboy image and just be himself outside of the cowl as he struggles to re-enter the world with the emergence of Bane.
Equally as good are both familiar faces and new comers to the franchise. Anne Hathaway completely owns the role of Selina Kyle. Hathaway has just the right amount of slyness, ass-kicking and sarcastic attitude the role requires. A lot of people are surprised by how good she is in the role actually, as most of the people I've talked to aren't really a fan of hers, which makes no sense to me, since even in her worst movies she is always watchable and completely charming. Anywho, Joseph Gordon-Levitt also does great supporting work in the very important role of John Blake, a young officer hoping the Batman will return and finish the work he started years before. Levitt seriously fits wonderfully in this universe and if Nolan should ever return to this world ( Highly unlikely ) I would most look forward to see where his character had ended up.
Gary Oldman has a great follow up to his crucial part in DK, with a more emotional arc here. Gordon fully understands that only the Batman can stop the evil that rises, and it's his cries for help that finally gets Wayne in the cowl again.
Of course, you can't discuss DKR without mentioning Tom Hardy as Bane. I've seen this movie four times now, and his performance gets better with each viewing. Hardy plays him with a ferocious calmness, using his eyes brilliantly to convey menace.
OK, I kinda lied about no spoilers because I have to talk about something, so avert your eyes for the next paragraph or two.
The Batman and Bane have two fights in DKR, and they are both absolutely brutal. The first is probably the most intense, as Bane just rips through the Batman. Just as Wayne using a cane was jarring, seeing his alter ego get his ass handed to him is equally disturbing. At multiple points during the fight, the Batman screams right before going in for a blow, as opposed to his usual silence he displays in a fight. It's a small touch, but it shows just how much he is struggling against Bane, showing that he has to sike himself up and reach deep down for the strength he desperately needs to beat the masked villain. In fact, Nolan used the one part of the Knightfall storyline that I honestly didn't think he would, and my jaw honestly dropped when the moment happened. Bane picks the Batman up over his head and slams his back over his knee. It's an insanely brutal moment that makes me flinch just thinking about it. The second fight comes towards the end of the film, and its more emotional than the first. It's a moment where the Batman HAS to win, not only for redemption but for every person in Gotham. And like their first meeting, the Batman screams multiple times, still having to reach for strength even with renewed confidence and purpose.
The most emotional element of the film comes in the guise of Alfred, as played by Michael Caine. I would argue that Alfred has suffered more than anyone in the series ( well maybe Rachel had it worse ), if only because he had to watch his closest friend and son he never had suffer and deteriorate over the years, becoming the Howard Hughes like persona we see in the first part of the film. Even as Bruce becomes motivated again, Alfred fears he is past his prime and has more of a death wish than a purpose, and its these scenes when Alfred tells Bruce exactly what he doesn't want to hear that really get to me.
Nolan knows exactly what buttons to push at this point and he pulls no punches here, really giving the feeling that hope is lost as he promised in the trailers. And for me, that's what Batman is all about. Even in the face of certain death and the weight of an entire city on his shoulders, he is the only one who can overcome. Not just because he has to, but because he wants to. He wants the city to have hope, whether it's the Batman or something else, he wants the people to believe in something good.
As I said before, I find The Dark Knight to be the absolute best of the trilogy, but Nolan has finally given us what no other superhero franchise has given us before, an emotional and completely satisfying end. Even better though, he left us wanting more.
Alright dudes, school is about to start, so I'll probably be on here less than I already am. However I have vowed to at least write about everything I see theatrically and I plan on seeing The Campaign, The Bourne Legacy and The Expendables 2 in the coming weeks, so until then, suck it.
Wednesday, July 18, 2012
The Amazing Spider-Man
I was pretty skeptical heading into The Amazing Spider-Man. I just didn't understand the need for another origin story. I get that Sony has to keep making these movies in order to retain the rights for the property, but come on guys, give us something new. Anyway, despite my hesitation I tried my best to put away any preconceived notions I had about the movie and give it a shot. So, was it worth it?
Eh, I guess. Andrew Garfield is genuinely good as our new Peter Parker, showing a little more sarcasm than Maguire's take and Emma Stone is freaking adorable as Gwen Stacy. Not to mention the two star's easy chemistry that marks the best thing about the movie. Everything else? *shrugs* Honestly, it's been a week since I've seen the movie and it's hard to find anything else that really resonated with me. The rest of the cast do strong work, with Sally Field and Martin Sheen making ideal Aunt May and Uncle Ben, and Rhys Ifans doing the best he could with almost zero decent material to work with. Actually, that brings me to the movies biggest fault. The villain. As a character, Dr. Connors just didn't make any sense. One second he's sad because he only has one arm, then the next he's a rage thirsty lizard who wants to make the entire city rage thirsty lizards. There's actually a throw away line in the movie that tried to explain the sudden shift in character, but it's half ass at best.
Also, it's been fairly widely reported that there were major story changes made at the last minute that caused major re-editing and it definitely shows in the final product. Characters are introduced and then completely forgotten, and certain scenes begin and end abruptly, adding to an overall unfocused feeling that the movie already carries. Oh yea, and the untold story that had been advertised has been completely removed only to be teased at for a potential sequel. Lame.
I find it hard to have any feeling toward the movie, either good or bad. I really did like the cast, and I found the final 20 minutes to be genuinely rousing, though not enough to help the movie resonate. I'll watch the sequel, but it will be with equal hesitation.
Well, I'm seeing The Dark Knight Rises tomorrow night. I plan to give it a couple of days to sink in before getting back on here to share, so until then, suck it.
Eh, I guess. Andrew Garfield is genuinely good as our new Peter Parker, showing a little more sarcasm than Maguire's take and Emma Stone is freaking adorable as Gwen Stacy. Not to mention the two star's easy chemistry that marks the best thing about the movie. Everything else? *shrugs* Honestly, it's been a week since I've seen the movie and it's hard to find anything else that really resonated with me. The rest of the cast do strong work, with Sally Field and Martin Sheen making ideal Aunt May and Uncle Ben, and Rhys Ifans doing the best he could with almost zero decent material to work with. Actually, that brings me to the movies biggest fault. The villain. As a character, Dr. Connors just didn't make any sense. One second he's sad because he only has one arm, then the next he's a rage thirsty lizard who wants to make the entire city rage thirsty lizards. There's actually a throw away line in the movie that tried to explain the sudden shift in character, but it's half ass at best.
Also, it's been fairly widely reported that there were major story changes made at the last minute that caused major re-editing and it definitely shows in the final product. Characters are introduced and then completely forgotten, and certain scenes begin and end abruptly, adding to an overall unfocused feeling that the movie already carries. Oh yea, and the untold story that had been advertised has been completely removed only to be teased at for a potential sequel. Lame.
I find it hard to have any feeling toward the movie, either good or bad. I really did like the cast, and I found the final 20 minutes to be genuinely rousing, though not enough to help the movie resonate. I'll watch the sequel, but it will be with equal hesitation.
Well, I'm seeing The Dark Knight Rises tomorrow night. I plan to give it a couple of days to sink in before getting back on here to share, so until then, suck it.
Monday, July 9, 2012
Magic Mike
On the surface, Magic Mike delivers everything you'd expect a movie about male stripping to deliver. First and foremost, there is a lot of male stripping, numerous dance numbers, plenty of butt shots and a surprisingly small amount of peen.
Being a Steven Soderbergh movie though, one shouldn't be all that surprised that Magic Mike goes beyond the stripping and gives us an insightful character study about a guy who just happens to strip for a living.
First, I have to get my one little nitpick out of the way. Obviously, the movie is called Magic Mike so of course this is his journey and it's a good one at that. But I really wanted to spend more time with his co-workers. With actors like Matthew McConaughey, Joe Mangaiello of True Blood fame, Matt Bomer and even wrestler Kevin Nash, we're given a chance to really get a feel for their group dynamic. Each actor really brings something interesting to their character, even if they only have a scene or two to do it, and as a result I really wish I could spend more time with them. McConaughey especially shines as the owner and announcer of the strip club. Not only is he hilarious as the creepy ring-leader, but he is also able to keep the characters true intentions at bay just enough to keep you guessing at what is really going on in this guy's head. It really is a great performance in a year full of great McConaughey performances.
Speaking of a good year, Channing Tatum is riding high after this, 21 Jump Street and his other Soderbergh collaboration in Haywire. Oh yea, The Vow came out too but I have yet to see it, but it made a shit load of money as well. I've touched on this before, but I really didn't used to care for Tatum, but something has snapped in him for whatever reason, because he has gotten really comfortable in front of the camera. Yes, he can dance like nobody's business, but his Mike is completely charming and ambitious. He is a smart and nice guy who realizes what he does is ridiculous, but it totally OK with it because the money is good. Oh, and girls. What he really wants though, is to start his own business making custom furniture. So for him, stripping is a good time, but also a means to an end.
After spending a lot of good times with these guys, things start to get a little hairy after Mike takes Adam under his wing. Played by Alex Pettyfer, Adam is an aimless 19 year old who gets caught up in the stripping world after getting fired from Mike's day job on a construction site.
In one of the few unsurprising plot beats, Adam gets into sex and drugs and completely forgets the people who got him there in the first place. Pettyfer is OK in the role. He does what is expected of him and nothing more, which is to mainly act as a plot device for Mike's arc. It's not a big issue by any means, but it stands out as a little cliche in a movie otherwise filled with strong character work.
I really hope Soderbergh doesn't retire as has been reported, because here he proves what he can do with even the most ridiculous plots for a movie and turn it into a funny and smart human story filled with strong performances. Or in other words, he is one of the few filmmakers left who is constantly delivering the unexpected.
Alright dudes, I'm seeing The Amazing Spider-Man this week. I don't have very high expectations, but who knows? Then there is some other stupid movie coming out about a guy bat or something. Between those two I should also have another marathon so hopefully I'll get on here and share with you fools. Until then, suck it.
Being a Steven Soderbergh movie though, one shouldn't be all that surprised that Magic Mike goes beyond the stripping and gives us an insightful character study about a guy who just happens to strip for a living.
First, I have to get my one little nitpick out of the way. Obviously, the movie is called Magic Mike so of course this is his journey and it's a good one at that. But I really wanted to spend more time with his co-workers. With actors like Matthew McConaughey, Joe Mangaiello of True Blood fame, Matt Bomer and even wrestler Kevin Nash, we're given a chance to really get a feel for their group dynamic. Each actor really brings something interesting to their character, even if they only have a scene or two to do it, and as a result I really wish I could spend more time with them. McConaughey especially shines as the owner and announcer of the strip club. Not only is he hilarious as the creepy ring-leader, but he is also able to keep the characters true intentions at bay just enough to keep you guessing at what is really going on in this guy's head. It really is a great performance in a year full of great McConaughey performances.
Speaking of a good year, Channing Tatum is riding high after this, 21 Jump Street and his other Soderbergh collaboration in Haywire. Oh yea, The Vow came out too but I have yet to see it, but it made a shit load of money as well. I've touched on this before, but I really didn't used to care for Tatum, but something has snapped in him for whatever reason, because he has gotten really comfortable in front of the camera. Yes, he can dance like nobody's business, but his Mike is completely charming and ambitious. He is a smart and nice guy who realizes what he does is ridiculous, but it totally OK with it because the money is good. Oh, and girls. What he really wants though, is to start his own business making custom furniture. So for him, stripping is a good time, but also a means to an end.
After spending a lot of good times with these guys, things start to get a little hairy after Mike takes Adam under his wing. Played by Alex Pettyfer, Adam is an aimless 19 year old who gets caught up in the stripping world after getting fired from Mike's day job on a construction site.
In one of the few unsurprising plot beats, Adam gets into sex and drugs and completely forgets the people who got him there in the first place. Pettyfer is OK in the role. He does what is expected of him and nothing more, which is to mainly act as a plot device for Mike's arc. It's not a big issue by any means, but it stands out as a little cliche in a movie otherwise filled with strong character work.
I really hope Soderbergh doesn't retire as has been reported, because here he proves what he can do with even the most ridiculous plots for a movie and turn it into a funny and smart human story filled with strong performances. Or in other words, he is one of the few filmmakers left who is constantly delivering the unexpected.
Alright dudes, I'm seeing The Amazing Spider-Man this week. I don't have very high expectations, but who knows? Then there is some other stupid movie coming out about a guy bat or something. Between those two I should also have another marathon so hopefully I'll get on here and share with you fools. Until then, suck it.
Friday, July 6, 2012
Moonrise Kingdom
Full disclosure, I haven't really loved Wes Anderson's last two live action films. The Life Aquatic was good, and actually grew in esteem a little after a second viewing, but The Darjeeling Limited really didn't do much for me. I had fun while I was watching it, but it almost immediately left my brain after it ended, which is extremely disappointing because I absolutely adore Rushmore and The Royal Tenenbaums and really really like Bottle Rocket. Either way, it seemed Anderson's style was wearing thin on me.
And then he made Fantastic Mr. Fox, a movie so utterly charming and wonderful that I began to immediately anticipate his next feature. Two years later, when a synopsis and cast list came out for Moonrise Kingdom I hoped that his return to form was not just due to his jump to animation, but hopefully a second creative wind.
And man oh man, if Anderson didn't just go ahead and make what might be his best film yet with Moonrise Kingdom.
It all takes place in early 1960's New England where Sam, a orphaned Khaki scout, flees base camp to meet Suzy, a troubled tween he met a year before, and plan to start a life together, all at the tender age of 12. Upon their disappearance, the small town desperately scrambles to find them.
It sounds pretty straight forward of course, and it pretty much is, but Anderson fills his screenplay with fascinating and hilarious characters brought to life by my personal favorite Anderson ensemble so far ( Though Tenenbaums is a very close second. HACKMAN! ) including Bill Murray, Bruce Willis, Edward Norton, Francis McDormand, Tilda Swinton, Harvey Keitel, Bob Balaban and of course Jason Schwartzman. All of these guys are amazing and each character gets their own moment of some sort, but for me it's Bruce Willis who almost steals the show from the two young leads ( more on them in a moment ). Willis, of course, is awesome. Besides just being awesome though, he actually happens to be quite a capable actor, something that I feel a lot of people forget. He's always played somber well, as well as having comic timing better than most comedians out there and here he gets to play both those cards. The result is a funny and surprisingly tender character who gets a bit of a wake up call when he begins to look for the two children.
As good as the adults are though, this movie belongs to the kids. From my understanding, both of the leads are completely new to acting ( according to IMDB, at least. So obviously this is fact ), though one would never know it, as they both deliver natural performances. Honestly, the biggest compliment I can give them is that their characters really felt like kids, not just kid actors saying words the audience thinks kids would say. Granted, a lot of credit goes to Anderson for writing these characters so well and directing his actors, but they really came across as kids and react to situations accordingly. There is one scene in particular where their love is "blossoming" so to speak, and they treat the situation in such a matter of fact way that only kids can do.
The other treat of this film is its tone. Anderson's characters have always felt like they are in another world that is at once similar yet different and Moonrise Kingdom is no exception. Like Fantastic Mr. Fox before it, there is an extra whimsical feeling to the movie that really brings it a notch above his previous movies.
Above all though, the movie is honest. It may sounds cliche as hell, but one of Anderson's strengths has always been his honest depiction of how people deal with life, love and all the other shit in between. His characters and universe may be slightly odd, but they are always overwhelmingly human.
And then he made Fantastic Mr. Fox, a movie so utterly charming and wonderful that I began to immediately anticipate his next feature. Two years later, when a synopsis and cast list came out for Moonrise Kingdom I hoped that his return to form was not just due to his jump to animation, but hopefully a second creative wind.
And man oh man, if Anderson didn't just go ahead and make what might be his best film yet with Moonrise Kingdom.
It all takes place in early 1960's New England where Sam, a orphaned Khaki scout, flees base camp to meet Suzy, a troubled tween he met a year before, and plan to start a life together, all at the tender age of 12. Upon their disappearance, the small town desperately scrambles to find them.
It sounds pretty straight forward of course, and it pretty much is, but Anderson fills his screenplay with fascinating and hilarious characters brought to life by my personal favorite Anderson ensemble so far ( Though Tenenbaums is a very close second. HACKMAN! ) including Bill Murray, Bruce Willis, Edward Norton, Francis McDormand, Tilda Swinton, Harvey Keitel, Bob Balaban and of course Jason Schwartzman. All of these guys are amazing and each character gets their own moment of some sort, but for me it's Bruce Willis who almost steals the show from the two young leads ( more on them in a moment ). Willis, of course, is awesome. Besides just being awesome though, he actually happens to be quite a capable actor, something that I feel a lot of people forget. He's always played somber well, as well as having comic timing better than most comedians out there and here he gets to play both those cards. The result is a funny and surprisingly tender character who gets a bit of a wake up call when he begins to look for the two children.
As good as the adults are though, this movie belongs to the kids. From my understanding, both of the leads are completely new to acting ( according to IMDB, at least. So obviously this is fact ), though one would never know it, as they both deliver natural performances. Honestly, the biggest compliment I can give them is that their characters really felt like kids, not just kid actors saying words the audience thinks kids would say. Granted, a lot of credit goes to Anderson for writing these characters so well and directing his actors, but they really came across as kids and react to situations accordingly. There is one scene in particular where their love is "blossoming" so to speak, and they treat the situation in such a matter of fact way that only kids can do.
The other treat of this film is its tone. Anderson's characters have always felt like they are in another world that is at once similar yet different and Moonrise Kingdom is no exception. Like Fantastic Mr. Fox before it, there is an extra whimsical feeling to the movie that really brings it a notch above his previous movies.
Above all though, the movie is honest. It may sounds cliche as hell, but one of Anderson's strengths has always been his honest depiction of how people deal with life, love and all the other shit in between. His characters and universe may be slightly odd, but they are always overwhelmingly human.
Friday, June 22, 2012
Snow White and the Huntsman
Snow White and the Huntsman is Hollywood's latest attempt to turn something once light and fluffy into something more gritty and dirty because well, The Dark Knight made a shit ton of money so what worked for that movie will surely work for this.
While I don't agree with the idea behind it, I have to admit the execution isn't all that bad. First time director Rupert Sanders fills his debut with impressive visuals and a willing cast that's filled with some serious talent.
Without a doubt, the highlight for me was Charlize Theron. Theron is turning it up to eleven here and couldn't be more fun. What's even more surprising, is that I actually believed her as a threat. Yea, she gave a few too many speeches when she could have just killed her mortal enemy, but I didn't doubt for a second that she would do whatever she had to. Actually, the whole movie went to some pretty dark places, at least darker than I thought it would.
But I cannot get for the life of me why didn't Universal promote the dwarfs more? They had Bob Hoskins, Nick Frost, Ian McShane and Ray Winstone. These guys are absolutely great and the effects even better. But the marketing barely glossed over them. Bad, bad move.
It's nice to see Hemsworth in something else, but he doesn't have too much to do, which one could consider a problem since his name is in the title, but whatever. He's got charisma to spare.
Now, I am an the minority apparently but I really like Kristen Stewart. I think with the right script and director she can be great. Into the Wild, The Runaways, Adventureland. All great examples of how good she can be. Here though, she's fine. Nothing spectacular, but the script doesn't give us any great example of why she is the one to end all the darkness besides just telling us.
Overall, I had fun while I was watching this flick, but almost immediately after exiting the theater I had completely forgotten about it. It took me two days to get the urge to sit down and write about it, so take that as you will.
While I don't agree with the idea behind it, I have to admit the execution isn't all that bad. First time director Rupert Sanders fills his debut with impressive visuals and a willing cast that's filled with some serious talent.
Without a doubt, the highlight for me was Charlize Theron. Theron is turning it up to eleven here and couldn't be more fun. What's even more surprising, is that I actually believed her as a threat. Yea, she gave a few too many speeches when she could have just killed her mortal enemy, but I didn't doubt for a second that she would do whatever she had to. Actually, the whole movie went to some pretty dark places, at least darker than I thought it would.
But I cannot get for the life of me why didn't Universal promote the dwarfs more? They had Bob Hoskins, Nick Frost, Ian McShane and Ray Winstone. These guys are absolutely great and the effects even better. But the marketing barely glossed over them. Bad, bad move.
It's nice to see Hemsworth in something else, but he doesn't have too much to do, which one could consider a problem since his name is in the title, but whatever. He's got charisma to spare.
Now, I am an the minority apparently but I really like Kristen Stewart. I think with the right script and director she can be great. Into the Wild, The Runaways, Adventureland. All great examples of how good she can be. Here though, she's fine. Nothing spectacular, but the script doesn't give us any great example of why she is the one to end all the darkness besides just telling us.
Overall, I had fun while I was watching this flick, but almost immediately after exiting the theater I had completely forgotten about it. It took me two days to get the urge to sit down and write about it, so take that as you will.
Tuesday, June 19, 2012
After another year of dealing with Wake Tech Community College's frustrating registration process, I figured the only way to celebrate my first full time year at college would be to start another edition of My Mission with Melancholia, Lars Van Triers ode to depression amidst the end of the world.
I had forgotten what it means to watch a film by Van Triers. His last movie, Antichrist, was unsettling to say the least. Now, Melancholia isn't as in your face as Antichrist, but it is still an experience that not everyone can appreciate.
The film is told in two parts, with each segment focusing on one of the two sisters, played by Kirsten Dunst and Charlotte Gainsburg respectively. Part one is Dunsts' segment, taking place on her wedding day. We first see her and her groom share a humorous moment on the way to their reception where their limo driver struggles to navigate the properties winding roads. It's a deceptively cute moment, as we quickly learn that Dunst suffers from a deep depression that's only fueled by her barely there parents, both of whom ignore their daughter's obvious plea for help. Oh yea, did I mention that there is a planet called Melancholia that's been hiding behind the sun and is on a potential crash course with Earth? Because that's happening too.
Of course, that element of the film takes a back seat to the study of depression and the affects it has on our loved ones. Dunst is devastating here, showing absolutely no fear in what is easily the best work of her career so far. She goes from glowing and gorgeous to vicious and hallow to empty and defeated in seconds. Truly remarkable.
Part two focuses on Gainsburg as she struggles with helping her sister after the fallout from the wedding as well as the possibility of the world ending. This was my favorite part of the movie. Overall I enjoyed Dunst's work more in the first part, but Gainsburg is just as good as Van Triers focuses is sight on what it means if you knew the world was going to end.
Melancholia is a deeply affecting and almost lyrical film. Lars Van Triers uses visuals sparingly but effectively, creating a sense of awe that seeps into the rest of the movie. Not for everyone to be sure, but if you're willing and patient, it's well worth the ride.
Next, I put in Good Night, and Good Luck. George Clooney's second film as writer/director. This go around, Clooney tackles Edward R. Murrow's stand against Communist hating Joseph McCarthy and his baseless tactics against anyone and everyone who opposed him.
I think I'd have to say that this is my favorite movie that Clooney has directed so far. I love just about anything Clooney anyways, but here he has a focus that is truly impressive. From tone, pace, performances, camera angle. Clooney nails everything here, delivering a riveting story, never worried that the outcome has been known for 50 years.
Special mention must go to just about every cast member here. Of course David Strathairn is amazing as Murrow, and was awarded an Oscar nomination for his work, but everyone in this movie is fantastic. Sure, it's easy to say that when Robert Downey, Jr., Jeff Daniels, Frank Langella, Patricia Clarkson and Mr. Clooney himself are in the ensemble, but they all bring their A-game, making themselves believable in the time period and adding to the films documentary like approach.
Also, the musical interludes added in are simply delightful. No real surprise since Clooneys aunt was the great Rosemary Clooney. Still, it's an unexpected inclusion that pays off in spades. Well done, sir.
For whatever reason, I've really had the urge to watch Parenthood lately. Not the recent TV show mind you, but the original movie starring Steve Martin. It's one of the those movies I saw 100 times when I was 7, but had absolutely no idea what was going on. I laughed at Martin of course, because well, that guy is funny. Luckily enough I picked up the blu ray not too long ago and decided to give it a go today.
Thank christ I did man, after two pretty serious dramas, I was in the mood to laugh and there are more than a few here. What was even more gratifying though, was catching onto to everything that went right over my head as a kid. This is a pretty honest movie about family. Not one member is left unexposed, just as it is with any regular family. Especially love the vibrator scene.
Also, any movie I watch nowadays that deals with marriage realistically in even the most minor way seems to hit me a little closer.
It also makes me dread having to hang out with our kids friends' parents. UGH.
Anyway, a great rediscovery from Ron Howard's early directing career.
Finally, I end this evening with Trainspotting, Danny Boyle's second movie about the ups and downs of heroin addiction in Scotland starring Ewen McGregor, Kelly Macdonald, Robert Carlyle and Johnny Lee Miller.
I had forgotten how funny this movie is. Apparently upon its initial release it was chastised for glorifying drug use, which if you actually watch the film its obvious that is not true at all. Rather, it just so happens that some seriously funny and weird shit happens when you're high. Also, you get into quite a few situations that involve feces for some reason.
I digress.
While showing the not so ever lasting ups, Trainspotting is not afraid to show the inevitable downs and does so in equally clever and harrowing ways. McGregor's cleansing scene is so surreal that it really gives a sense of what it's like to come down from such an addiction whereas other movies about addiction just show our main character screaming and throwing up. But Boyle is intent on showing us just what it's like.
McGregor's work is impressive as well, especially considering that his character really isn't a good person by his own admission. McGregor somehow makes you root for him, even when he is at his most detestable, such as getting his clean and sober friend in on the high.
Well, it seems as though I've hit a bit of a wall. I've watched four great movies today, though all are quite serious in some way, shape or form. So I think for now I will put in Jurassic Park on blu ray and have a beer.
Tomorrow I am seeing Snow White and the Huntsman so I'll get on here sometime before the weekend and give you fools a dose.
Until then, suck it.
I had forgotten what it means to watch a film by Van Triers. His last movie, Antichrist, was unsettling to say the least. Now, Melancholia isn't as in your face as Antichrist, but it is still an experience that not everyone can appreciate.
The film is told in two parts, with each segment focusing on one of the two sisters, played by Kirsten Dunst and Charlotte Gainsburg respectively. Part one is Dunsts' segment, taking place on her wedding day. We first see her and her groom share a humorous moment on the way to their reception where their limo driver struggles to navigate the properties winding roads. It's a deceptively cute moment, as we quickly learn that Dunst suffers from a deep depression that's only fueled by her barely there parents, both of whom ignore their daughter's obvious plea for help. Oh yea, did I mention that there is a planet called Melancholia that's been hiding behind the sun and is on a potential crash course with Earth? Because that's happening too.
Of course, that element of the film takes a back seat to the study of depression and the affects it has on our loved ones. Dunst is devastating here, showing absolutely no fear in what is easily the best work of her career so far. She goes from glowing and gorgeous to vicious and hallow to empty and defeated in seconds. Truly remarkable.
Part two focuses on Gainsburg as she struggles with helping her sister after the fallout from the wedding as well as the possibility of the world ending. This was my favorite part of the movie. Overall I enjoyed Dunst's work more in the first part, but Gainsburg is just as good as Van Triers focuses is sight on what it means if you knew the world was going to end.
Melancholia is a deeply affecting and almost lyrical film. Lars Van Triers uses visuals sparingly but effectively, creating a sense of awe that seeps into the rest of the movie. Not for everyone to be sure, but if you're willing and patient, it's well worth the ride.
Next, I put in Good Night, and Good Luck. George Clooney's second film as writer/director. This go around, Clooney tackles Edward R. Murrow's stand against Communist hating Joseph McCarthy and his baseless tactics against anyone and everyone who opposed him.
I think I'd have to say that this is my favorite movie that Clooney has directed so far. I love just about anything Clooney anyways, but here he has a focus that is truly impressive. From tone, pace, performances, camera angle. Clooney nails everything here, delivering a riveting story, never worried that the outcome has been known for 50 years.
Special mention must go to just about every cast member here. Of course David Strathairn is amazing as Murrow, and was awarded an Oscar nomination for his work, but everyone in this movie is fantastic. Sure, it's easy to say that when Robert Downey, Jr., Jeff Daniels, Frank Langella, Patricia Clarkson and Mr. Clooney himself are in the ensemble, but they all bring their A-game, making themselves believable in the time period and adding to the films documentary like approach.
Also, the musical interludes added in are simply delightful. No real surprise since Clooneys aunt was the great Rosemary Clooney. Still, it's an unexpected inclusion that pays off in spades. Well done, sir.
For whatever reason, I've really had the urge to watch Parenthood lately. Not the recent TV show mind you, but the original movie starring Steve Martin. It's one of the those movies I saw 100 times when I was 7, but had absolutely no idea what was going on. I laughed at Martin of course, because well, that guy is funny. Luckily enough I picked up the blu ray not too long ago and decided to give it a go today.
Thank christ I did man, after two pretty serious dramas, I was in the mood to laugh and there are more than a few here. What was even more gratifying though, was catching onto to everything that went right over my head as a kid. This is a pretty honest movie about family. Not one member is left unexposed, just as it is with any regular family. Especially love the vibrator scene.
Also, any movie I watch nowadays that deals with marriage realistically in even the most minor way seems to hit me a little closer.
It also makes me dread having to hang out with our kids friends' parents. UGH.
Anyway, a great rediscovery from Ron Howard's early directing career.
Finally, I end this evening with Trainspotting, Danny Boyle's second movie about the ups and downs of heroin addiction in Scotland starring Ewen McGregor, Kelly Macdonald, Robert Carlyle and Johnny Lee Miller.
I had forgotten how funny this movie is. Apparently upon its initial release it was chastised for glorifying drug use, which if you actually watch the film its obvious that is not true at all. Rather, it just so happens that some seriously funny and weird shit happens when you're high. Also, you get into quite a few situations that involve feces for some reason.
I digress.
While showing the not so ever lasting ups, Trainspotting is not afraid to show the inevitable downs and does so in equally clever and harrowing ways. McGregor's cleansing scene is so surreal that it really gives a sense of what it's like to come down from such an addiction whereas other movies about addiction just show our main character screaming and throwing up. But Boyle is intent on showing us just what it's like.
McGregor's work is impressive as well, especially considering that his character really isn't a good person by his own admission. McGregor somehow makes you root for him, even when he is at his most detestable, such as getting his clean and sober friend in on the high.
Well, it seems as though I've hit a bit of a wall. I've watched four great movies today, though all are quite serious in some way, shape or form. So I think for now I will put in Jurassic Park on blu ray and have a beer.
Tomorrow I am seeing Snow White and the Huntsman so I'll get on here sometime before the weekend and give you fools a dose.
Until then, suck it.
Friday, June 15, 2012
Prometheus
The biggest mistake I made before seeing this movie was watching Alien.
I had been told not to do so, and even director Ridley Scott went on record saying that this movie barely ties into that classic film. " Sharing DNA", as he put it, is quite apt. Unfortunately, I did not listen and instead of getting one thing I got something completely different.
Again, part of that is my fault, and it's an issue that's caused me to struggle with my feelings towards the movie. Actually, there quite a few issues that have caused me to struggle. First, there were my expectations, which like I said, I should have tempered. Second, there are a lot of problems with the movie such as bad characterizations and poor plotting. Finally though, the movie has the balls to not only ask big questions, but to do it as a big budget, major studio film. Unfortunately, the film runs away from those questions in hopes of answering them in a sequel, a move that comes off as a bit dickish.
The film opens with an "engineer" sacrificing himself in order to create life on what looks like an awful lot like Earth. Cut to 2080 something, we have scientist Noomi Rapace discovering pictographs in a cave that are identical to others found on opposite ends of the earth and is convinced that they are an invitation by our "engineers" to come and find them. Somehow this is enough to convince Peter Weyland to spend a trillion dollars ( TRILLION!) on a mission to seek out our makers and ask them what their deal is. But of course, shit goes oh so wrong.
What's frustrating about this film is that I know there is a good movie in there somewhere. If more time had been spend on the script and replace a few of the actors and this easily could have held itself in great regard with Ridley's other Sci-fi ventures. That didn't happen though. Instead we have a film full of non-answers and supposed scientists constantly making decisions that any level-headed human would call shitty. Also, there is no feeling of consequence in this movie. Insane stuff happens, characters die in gruesome fashion, but nobody stops for even a second and react believably. At one point, our heroine gives herself a C-section, one of the few highlights of the movie, and it's mentioned in passing once and never acknowledged again. If the characters don't even care about themselves, how the hell are we supposed to?
Also, I don't get Noomi Rapace. I've seen her in this and the Sherlock Holmes sequel and she really doesn't bring anything to either movie. She looks interesting, I guess, but otherwise is just there.
Oh, and don't put Idris Elba in your movie and then completely waste him. Not cool.
It might be hard to believe after all that, but there are some bright spots here. Michael Fassbender steals the show as the robot David. There's an early sequence where David is trying to keep himself busy for the two years that the crew is in hyper-sleep while en-route that is fascinating. Fassbender plays him with just the right amount of coyness so that we the audience are never quite sure of his intentions. Easily the best part of the movie.
Charlize Theron is also very good here. In fact, I'd argue that her character is one of the most reasonable in the film, even though the movie tries to brand her a bad guy. Like Ripley before her, Theron forbids to let a fellow scientist back on the ship after he has been infected by something. It's one of the few character beats in the movie that makes sense, but like everything else, is instantly tossed aside and forgotten.
Of course being a Ridley Scott picture, the visuals are stunning. In fact, if your curiosity gets the better of you and you absolutely have to see it in theaters as I did, see it in IMAX 3D. Scott uses the extra dimension expertly and is further proof that only the masters should be allowed to use it.
Prometheus is a frustrating movie. If it had absolutely no ties to the ALIEN universe I don't think my reaction would be as negative, though it also wouldn't be amazingly positive. Even with all my frustrations, the movie has stayed with me in the days since I viewed it and I'll eventually watch it again, albeit with lowered expectations. If anything though, Prometheus should be considered a success if only for the fact that a major studio was willing to make an adult, R rated science fiction film with an actual budget and fantastic marketing campaign. And it worked! The movie $50 million in its first weekend. Granted, it's proving to not have very long legs at the box office, but still, it shows that people will show up and hopefully we can see more popping up in the future.
Alright dudes, tomorrow I'm gearing up for My Mission again. So until then, suck it.
I had been told not to do so, and even director Ridley Scott went on record saying that this movie barely ties into that classic film. " Sharing DNA", as he put it, is quite apt. Unfortunately, I did not listen and instead of getting one thing I got something completely different.
Again, part of that is my fault, and it's an issue that's caused me to struggle with my feelings towards the movie. Actually, there quite a few issues that have caused me to struggle. First, there were my expectations, which like I said, I should have tempered. Second, there are a lot of problems with the movie such as bad characterizations and poor plotting. Finally though, the movie has the balls to not only ask big questions, but to do it as a big budget, major studio film. Unfortunately, the film runs away from those questions in hopes of answering them in a sequel, a move that comes off as a bit dickish.
The film opens with an "engineer" sacrificing himself in order to create life on what looks like an awful lot like Earth. Cut to 2080 something, we have scientist Noomi Rapace discovering pictographs in a cave that are identical to others found on opposite ends of the earth and is convinced that they are an invitation by our "engineers" to come and find them. Somehow this is enough to convince Peter Weyland to spend a trillion dollars ( TRILLION!) on a mission to seek out our makers and ask them what their deal is. But of course, shit goes oh so wrong.
What's frustrating about this film is that I know there is a good movie in there somewhere. If more time had been spend on the script and replace a few of the actors and this easily could have held itself in great regard with Ridley's other Sci-fi ventures. That didn't happen though. Instead we have a film full of non-answers and supposed scientists constantly making decisions that any level-headed human would call shitty. Also, there is no feeling of consequence in this movie. Insane stuff happens, characters die in gruesome fashion, but nobody stops for even a second and react believably. At one point, our heroine gives herself a C-section, one of the few highlights of the movie, and it's mentioned in passing once and never acknowledged again. If the characters don't even care about themselves, how the hell are we supposed to?
Also, I don't get Noomi Rapace. I've seen her in this and the Sherlock Holmes sequel and she really doesn't bring anything to either movie. She looks interesting, I guess, but otherwise is just there.
Oh, and don't put Idris Elba in your movie and then completely waste him. Not cool.
It might be hard to believe after all that, but there are some bright spots here. Michael Fassbender steals the show as the robot David. There's an early sequence where David is trying to keep himself busy for the two years that the crew is in hyper-sleep while en-route that is fascinating. Fassbender plays him with just the right amount of coyness so that we the audience are never quite sure of his intentions. Easily the best part of the movie.
Charlize Theron is also very good here. In fact, I'd argue that her character is one of the most reasonable in the film, even though the movie tries to brand her a bad guy. Like Ripley before her, Theron forbids to let a fellow scientist back on the ship after he has been infected by something. It's one of the few character beats in the movie that makes sense, but like everything else, is instantly tossed aside and forgotten.
Of course being a Ridley Scott picture, the visuals are stunning. In fact, if your curiosity gets the better of you and you absolutely have to see it in theaters as I did, see it in IMAX 3D. Scott uses the extra dimension expertly and is further proof that only the masters should be allowed to use it.
Prometheus is a frustrating movie. If it had absolutely no ties to the ALIEN universe I don't think my reaction would be as negative, though it also wouldn't be amazingly positive. Even with all my frustrations, the movie has stayed with me in the days since I viewed it and I'll eventually watch it again, albeit with lowered expectations. If anything though, Prometheus should be considered a success if only for the fact that a major studio was willing to make an adult, R rated science fiction film with an actual budget and fantastic marketing campaign. And it worked! The movie $50 million in its first weekend. Granted, it's proving to not have very long legs at the box office, but still, it shows that people will show up and hopefully we can see more popping up in the future.
Alright dudes, tomorrow I'm gearing up for My Mission again. So until then, suck it.
Thursday, June 7, 2012
Well, yesterday I was able to watch quite a few movies. I had actually intended to only watch 4, but managed to squeeze 5 in before the end of the day, though the last one can't really be counted as I had already watched it before.
First up is The Outlaw Josey Wales. This is a film that's considered by many western fans to be a crucial Clint Eastwood movie, and surprisingly, as a huge western fan myself, I have to disagree. It's not a bad film per se, but it's also nowhere near Clint's best in the genre.
Right off the bat, the flick opens with the murder of Wales' family by The Red Legs, a group of evil cowboys roaming the land killing people and pillaging their homes. It's supposed to show us why Josey would become an outlaw, and why we should be rooting for him. Unfortunately, the moment falls flat. We don't get his family's name, nor do we even get to see his wife except from a distance, so when they are murdered we have absolutely no attachment to them. There is a moment where he buries his fallen family and cries at their graves, but it's just not enough. It's as if we're supposed to go " well shit, man, Clint Eastwood is sad, that sucks", and granted if there's anyone who can pull something like that off it's Clint, but here is just isn't enough. What's worse though, is that because the movie starts with such a disconnect it flows into the rest of the movie. Along the way, Josey runs into various characters, including an elder Native American and a big-mouthed granny and shy granddaughter from Kansas, all of whom are humorously realized by the actors, but it just doesn't pull me in.
Overall, The Outlaw Josey Wales is not a bad film. Clint is badass as always and there really are some good performances by the supporting players, but in my correct opinion the movie ranks on the lower end of Eastwood's western catalog.
Next up is Eternal Sunshine of the Spotless Mind from Charlie Kaufman and Michel Gondry. In case you ever lived under a rock, Eternal is a journey of one couple's relationship played by Jim Carrey and Kate Winslet, told through dream flashbacks ( how Kaufman-esque ) during Carrey's attempt to erase the relationship from his mind via a new technology that can erase memories.
It felt only right to follow Being John Malkovich with this movie. Obviously saying it's dream-like is an understatement as it literally takes place in a dream, but there really is no other word for it. Director Gondry brilliantly realizes dreams on film, making them surreal and confusing, but never hard to follow. He would go on to explore the dream state further with The Science of Sleep a few years later, but it's here where he really laid the foundation.
Amongst all the visuals and amazing camera tricks, Gondry wisely focuses on the the relationship of the two characters, showing both the good and bad. He makes us believe that these two very different individuals could work as a couple, and also how that happiness can evaporate no matter great they can be together. It helps that Carrey and Winslet are absolutely terrific. Winslet is always great, but there is something she does here that makes her absolutely adorable and detestable at the same time. I felt as though I had been through the relationship with her. Great, great work.
Carrey brings the goods just as much a Winslet does. He creates a character that feels completely human, and I honestly don't think he's ever been as good as he is here. Man on the Moon comes close, but no cigar.
I haven't even mentioned the supporting cast. Mark Ruffalo, Kirsten Dunst, Elijah Wood, Tom Wilkinson and David Cross. Needless to say they are all amazing, though I have to give extra props to Ruffalo who is amazingly eccentric here. Not over the top, but just weird enough to be endearing.
Eternal Sunshine is one of those movies that really takes me back to a specific time and place in my life in a way that great movies and sometimes music can do. This movie was somewhat of a catharsis for me in high school. Yes, it was high school and nowhere near as horrible as I perceived it to be at the time, but still, this movie helped me through it, again reminding me why it is that I like movies.
Continuing with the theme of loneliness, I put in The Talented Mr. Ripley starring Matt Damon, Jude Law, Gwyneth Paltrow and Phillip Seymour Hoffman.
Damon plays the title character Tom Ripley, a bathroom attendant in 1950's New York who by sheer luck, coincidence and misunderstanidng/lying is sent to Italy by a rich business man to retrieve his playboy son and bring him back to New York.
From the get go though, it's obvious that something is off with Tom. He doesn't hesitate to take advantage of the misunderstanding that leads to his trip to Italy. In fact, he takes obvious pleasure in it. In his first few moments in Italy, he even tells someone that he is Dickie Greenleaf, the person he is supposed to be bringing back to New York. It only gets weirder from there, as Damon deftly manipulates his way into Dickie and his girlfriends' lives.
I hesitate to call this movie slow, because I feel that it implies that it's boring, which it isn't. I think a better way to put it is that it's deliberately paced. Director Anthony Minghella spends a full hour with Damon, Law and Paltrow before any murder and homosexual tension appears ( I told you it gets weird), but it's time well spent. We not only get to see what makes Dickie so infatuating, but also what doesn't, which helps give a character like Tom Ripley much needed sympathy, given that he is an imposter/murderer.
Damon plays Ripley with an effeminate loneliness, something that really makes you feel sorry for the guy. He wants nothing more than to be loved and appreciated, and it's a true testament to Damon's performance that we have sympathy for the character at all.
After that first hour, the film really turns on the suspense as Ripley attempts to live both as himself and Dickie, and director Minghella handles it like a master. In fact, the movie really feels like a modern Hitchcock film. Filled with suspense, dread and a sense of loneliness throughout, The Talented Mr. Ripley is a hugely underrated flick from the 90s that I strongly urge you to check out.
I ended the night with my first viewing of Predator on blu ray. First off, I just have to say how gorgeous this movie looked. Between this and the pristine prints of Alien and Aliens, Fox has put themselves at the forefront of home entertainment. End Tangent.
I have seen Predator countless times, and I'm sure you have as well ( even you haven't, lie to me), but the last few times I just kind of put the movie in as background noise and hadn't really paid attention to it until now.
I realize that John McTiernan's next movie was Die Hard, and it of course went on to be the greatest action movie ever made and all, but holy shit, Predator is incredible. The pace, the tension, the make up, the cast. Oh and that cast. This movie is straight up iconic.
I mean, this movie has one of the best set ups of any action movie, other than Die Hard of course, that I've ever seen. Within 8 minutes, we are introduced to every character perfectly and are informed of the mission and the stakes and like that, the movie is off and running. What's even more amazing is, aside from the brief moment in the beginning, this movie doesn't even hint at sci-fi for almost a full hour.
I was honestly astounded at well this movie holds up. Yes, it's a towering action film of the 80s, but more than that, it's just a towering action film. Easily Arnold's best role outside of The Terminator. Like I said, I know you've seen this movie ( I KNOW!), but put it in again and be reminded just how awesome it is.
Since I was so floored with Predator, the only obvious follow up was Predator 2, and while obviously nowhere near as good, there's plenty I like about it. It's definitely one of the weirdest sequels of the 90s, so of course I love it.
Anywho, that's all for now. Won't be able to have a marathon for a little over a week due to work, but I will be seeing Prometheus this Tuesday and I promise to get on here and share.
So until then, suck it.
First up is The Outlaw Josey Wales. This is a film that's considered by many western fans to be a crucial Clint Eastwood movie, and surprisingly, as a huge western fan myself, I have to disagree. It's not a bad film per se, but it's also nowhere near Clint's best in the genre.
Right off the bat, the flick opens with the murder of Wales' family by The Red Legs, a group of evil cowboys roaming the land killing people and pillaging their homes. It's supposed to show us why Josey would become an outlaw, and why we should be rooting for him. Unfortunately, the moment falls flat. We don't get his family's name, nor do we even get to see his wife except from a distance, so when they are murdered we have absolutely no attachment to them. There is a moment where he buries his fallen family and cries at their graves, but it's just not enough. It's as if we're supposed to go " well shit, man, Clint Eastwood is sad, that sucks", and granted if there's anyone who can pull something like that off it's Clint, but here is just isn't enough. What's worse though, is that because the movie starts with such a disconnect it flows into the rest of the movie. Along the way, Josey runs into various characters, including an elder Native American and a big-mouthed granny and shy granddaughter from Kansas, all of whom are humorously realized by the actors, but it just doesn't pull me in.
Overall, The Outlaw Josey Wales is not a bad film. Clint is badass as always and there really are some good performances by the supporting players, but in my correct opinion the movie ranks on the lower end of Eastwood's western catalog.
Next up is Eternal Sunshine of the Spotless Mind from Charlie Kaufman and Michel Gondry. In case you ever lived under a rock, Eternal is a journey of one couple's relationship played by Jim Carrey and Kate Winslet, told through dream flashbacks ( how Kaufman-esque ) during Carrey's attempt to erase the relationship from his mind via a new technology that can erase memories.
It felt only right to follow Being John Malkovich with this movie. Obviously saying it's dream-like is an understatement as it literally takes place in a dream, but there really is no other word for it. Director Gondry brilliantly realizes dreams on film, making them surreal and confusing, but never hard to follow. He would go on to explore the dream state further with The Science of Sleep a few years later, but it's here where he really laid the foundation.
Amongst all the visuals and amazing camera tricks, Gondry wisely focuses on the the relationship of the two characters, showing both the good and bad. He makes us believe that these two very different individuals could work as a couple, and also how that happiness can evaporate no matter great they can be together. It helps that Carrey and Winslet are absolutely terrific. Winslet is always great, but there is something she does here that makes her absolutely adorable and detestable at the same time. I felt as though I had been through the relationship with her. Great, great work.
Carrey brings the goods just as much a Winslet does. He creates a character that feels completely human, and I honestly don't think he's ever been as good as he is here. Man on the Moon comes close, but no cigar.
I haven't even mentioned the supporting cast. Mark Ruffalo, Kirsten Dunst, Elijah Wood, Tom Wilkinson and David Cross. Needless to say they are all amazing, though I have to give extra props to Ruffalo who is amazingly eccentric here. Not over the top, but just weird enough to be endearing.
Eternal Sunshine is one of those movies that really takes me back to a specific time and place in my life in a way that great movies and sometimes music can do. This movie was somewhat of a catharsis for me in high school. Yes, it was high school and nowhere near as horrible as I perceived it to be at the time, but still, this movie helped me through it, again reminding me why it is that I like movies.
Continuing with the theme of loneliness, I put in The Talented Mr. Ripley starring Matt Damon, Jude Law, Gwyneth Paltrow and Phillip Seymour Hoffman.
Damon plays the title character Tom Ripley, a bathroom attendant in 1950's New York who by sheer luck, coincidence and misunderstanidng/lying is sent to Italy by a rich business man to retrieve his playboy son and bring him back to New York.
From the get go though, it's obvious that something is off with Tom. He doesn't hesitate to take advantage of the misunderstanding that leads to his trip to Italy. In fact, he takes obvious pleasure in it. In his first few moments in Italy, he even tells someone that he is Dickie Greenleaf, the person he is supposed to be bringing back to New York. It only gets weirder from there, as Damon deftly manipulates his way into Dickie and his girlfriends' lives.
I hesitate to call this movie slow, because I feel that it implies that it's boring, which it isn't. I think a better way to put it is that it's deliberately paced. Director Anthony Minghella spends a full hour with Damon, Law and Paltrow before any murder and homosexual tension appears ( I told you it gets weird), but it's time well spent. We not only get to see what makes Dickie so infatuating, but also what doesn't, which helps give a character like Tom Ripley much needed sympathy, given that he is an imposter/murderer.
Damon plays Ripley with an effeminate loneliness, something that really makes you feel sorry for the guy. He wants nothing more than to be loved and appreciated, and it's a true testament to Damon's performance that we have sympathy for the character at all.
After that first hour, the film really turns on the suspense as Ripley attempts to live both as himself and Dickie, and director Minghella handles it like a master. In fact, the movie really feels like a modern Hitchcock film. Filled with suspense, dread and a sense of loneliness throughout, The Talented Mr. Ripley is a hugely underrated flick from the 90s that I strongly urge you to check out.
I ended the night with my first viewing of Predator on blu ray. First off, I just have to say how gorgeous this movie looked. Between this and the pristine prints of Alien and Aliens, Fox has put themselves at the forefront of home entertainment. End Tangent.
I have seen Predator countless times, and I'm sure you have as well ( even you haven't, lie to me), but the last few times I just kind of put the movie in as background noise and hadn't really paid attention to it until now.
I realize that John McTiernan's next movie was Die Hard, and it of course went on to be the greatest action movie ever made and all, but holy shit, Predator is incredible. The pace, the tension, the make up, the cast. Oh and that cast. This movie is straight up iconic.
I mean, this movie has one of the best set ups of any action movie, other than Die Hard of course, that I've ever seen. Within 8 minutes, we are introduced to every character perfectly and are informed of the mission and the stakes and like that, the movie is off and running. What's even more amazing is, aside from the brief moment in the beginning, this movie doesn't even hint at sci-fi for almost a full hour.
I was honestly astounded at well this movie holds up. Yes, it's a towering action film of the 80s, but more than that, it's just a towering action film. Easily Arnold's best role outside of The Terminator. Like I said, I know you've seen this movie ( I KNOW!), but put it in again and be reminded just how awesome it is.
Since I was so floored with Predator, the only obvious follow up was Predator 2, and while obviously nowhere near as good, there's plenty I like about it. It's definitely one of the weirdest sequels of the 90s, so of course I love it.
Anywho, that's all for now. Won't be able to have a marathon for a little over a week due to work, but I will be seeing Prometheus this Tuesday and I promise to get on here and share.
So until then, suck it.
Saturday, June 2, 2012
Alien
Finally, after many failed attempts this past week, I put my blu ray of Alien in. Now, the atmosphere wasn't quite what I wanted it to be; I had hoped to watch it at night time with all the lights off for the full effect, but I finally had the time and the means today so I put it in at about noon, with the blinds closed tightly so as to allow as little light in as possible.
Of course, I was a fool for trying so hard to set the atmosphere, as Alien is just as frightening and suspenseful no matter the time of day you watch it. Pure masterclass film-making, I tell you.
Alien is not a movie I have seen dozens of times, though I have seen it more than a few times, but there was something about this particular viewing that dawned on me. The true secret weapon of this film is the cast. Granted, this isn't exactly a new or earth-shattering revelation, but for some reason is really stood out to me. First off, having Harry Dean Stanton in your movie already makes it better, and this isn't even one of his best roles, but just like everyone else, he makes the character feel real, like he has been living and breathing in their ship Nostromos for months which adds that much extra to making the sci-fi environment feel real. Throw in folks like Tom Skerritt, John Hurt, Veronica Cartwright, Ian Holm, and duh, Sigourney Weaver and you have a crew that feels as though they belong there, making every decision and reaction completely believable. Of course, credit where credit is due; none of this would be possible without a solid script in place. But Director Ridley Scott allowed the actors to improvise a bit in the early scenes, which I believe helps sell the audience on the camaraderie these guys have, thus making their deaths all the more painful.
The not so secret weapons of this movie are, of course, Ridley Scott and Ms. Weaver herself. In my correct opinion, Scott made one of, if not the scariest film of all time with Alien. By choosing to use silence and taking time to set up the characters and the threat, he manages to build a sense of dread and suspense that runs through to the very last frame. My body is literally tense during the entire viewing time. It makes for an exhausting experience, but one I gladly endure, as horror and sci-fi just don't get better than this.
It's incredible that an entire franchise ended up being built around Ripley. In this first entry, you could argue that there really isn't a lead character, which increases the threat that truly nobody could survive. However, Ripley makes her mark as a badass early on, when she ignores her commanding officer's order to let them in when a fellow crew member has been attacked by an alien. Ripley knows protocol is to quarantine said crew for at least 24 hours so as not to risk the rest of the crew. Now, if things had gone her way, there would be no movie. Still, it's an important moment for the character, and for the audience as well. We know she's right. Her decision makes sense, and thus we are able to believe in her ability to out smart the alien in the end.
Seriously guys, I realize this isn't the most amazing analysis of Alien around, but if you haven't experienced this film yet please do so immediately. Your movie loving mind will be changed forever.
Obviously, this viewing was in anticipation of Prometheus. I may not be seeing it as soon as I hoped, as Men in Black III seems to be holding on to most IMAX screens for another week or so, and I really want to wait for that because I want the absolute best picture and sound as well as great 3D presentation since that is the way Ridley meant for the film to be seen. Rest assured, whenever I see it I will come here and discuss.
Before that though, I should be able to squeeze in a few more movies for My Mission, so until then dudes. Suck it.
Of course, I was a fool for trying so hard to set the atmosphere, as Alien is just as frightening and suspenseful no matter the time of day you watch it. Pure masterclass film-making, I tell you.
Alien is not a movie I have seen dozens of times, though I have seen it more than a few times, but there was something about this particular viewing that dawned on me. The true secret weapon of this film is the cast. Granted, this isn't exactly a new or earth-shattering revelation, but for some reason is really stood out to me. First off, having Harry Dean Stanton in your movie already makes it better, and this isn't even one of his best roles, but just like everyone else, he makes the character feel real, like he has been living and breathing in their ship Nostromos for months which adds that much extra to making the sci-fi environment feel real. Throw in folks like Tom Skerritt, John Hurt, Veronica Cartwright, Ian Holm, and duh, Sigourney Weaver and you have a crew that feels as though they belong there, making every decision and reaction completely believable. Of course, credit where credit is due; none of this would be possible without a solid script in place. But Director Ridley Scott allowed the actors to improvise a bit in the early scenes, which I believe helps sell the audience on the camaraderie these guys have, thus making their deaths all the more painful.
The not so secret weapons of this movie are, of course, Ridley Scott and Ms. Weaver herself. In my correct opinion, Scott made one of, if not the scariest film of all time with Alien. By choosing to use silence and taking time to set up the characters and the threat, he manages to build a sense of dread and suspense that runs through to the very last frame. My body is literally tense during the entire viewing time. It makes for an exhausting experience, but one I gladly endure, as horror and sci-fi just don't get better than this.
It's incredible that an entire franchise ended up being built around Ripley. In this first entry, you could argue that there really isn't a lead character, which increases the threat that truly nobody could survive. However, Ripley makes her mark as a badass early on, when she ignores her commanding officer's order to let them in when a fellow crew member has been attacked by an alien. Ripley knows protocol is to quarantine said crew for at least 24 hours so as not to risk the rest of the crew. Now, if things had gone her way, there would be no movie. Still, it's an important moment for the character, and for the audience as well. We know she's right. Her decision makes sense, and thus we are able to believe in her ability to out smart the alien in the end.
Seriously guys, I realize this isn't the most amazing analysis of Alien around, but if you haven't experienced this film yet please do so immediately. Your movie loving mind will be changed forever.
Obviously, this viewing was in anticipation of Prometheus. I may not be seeing it as soon as I hoped, as Men in Black III seems to be holding on to most IMAX screens for another week or so, and I really want to wait for that because I want the absolute best picture and sound as well as great 3D presentation since that is the way Ridley meant for the film to be seen. Rest assured, whenever I see it I will come here and discuss.
Before that though, I should be able to squeeze in a few more movies for My Mission, so until then dudes. Suck it.
Wednesday, May 30, 2012
Today I start out My Mission with the director's cut of Kingdom of Heaven.
I actually bought this dvd on a bit of a whim. I had seen the theatrical cut and found it quite boring. I'm not sure I actually finished it. But I had heard the directors cut was a massive improvement, so when I saw it at a decent price a few years ago I thought "fuck it", and finally 5 years or so later I put it in and man I gotta say, this movie is better than Gladiator.
Whoa. Whoa. Calm down. I still love Gladiator. I mean, that movie fucking rules. It's rousing and violent in all the right ways, with a commanding performance from the Crowe. But this version of Kingdom of Heaven has bigger ideas and themes, not to mention rich direction from Ridley that ranks it amongst his best films. Aside from Orlando Bloom, I'd also say that there is an overall better cast here than in Gladiator. Again, not that anyone was bad in that film, but with Liam Neeson, Eva Green, Jeremy Irons and a literally unrecognizable Edward Norton all giving their all for Mr. Scott, it's easier to see how this movie rises above that other sword and sandal epic.
Coming back to Bloom for a moment, he is no way bad, and honestly handles himself quite nicely, but put him next to any of the talent listed above and he immediately seems like a lesser actor. Still, it doesn't hurt the movie much and I would be curious to see how he would have fared if a few more director's of Ridley's caliber had taken a chance on him as well.
If you saw the original as I did, give this version a shot. It really is great. I actually wish I had more time to expand on here ( and shit, maybe I will tomorrow) but I got movies to watch today.
Next up is the mind fuck of Being John Malkovich. This movie has been on Netflix instant for a while now, but I knew one day I would own it so I put off watching it. Finally, the gods over at criterion released a wonderful blu ray version of the film which I picked up earlier this month.
This is a movie that takes me back to a time when I was really discovering some good fucking movies. 1999 brought us The Matrix, Magnolia, Fight Club, The Sixth Sense, Toy Story 2, American Beauty, The Green Mile and about a dozen other magnificent flicks. This isn't my favorite movie of that period, but it sure as hell is the most creative and ambitious.
The cast is all great, particularly John Cusack and Cameron Diaz. It's been a long while since Cusack has been in something this great, and honestly it appears as though he's mostly given up trying, but watching him here playing sad and dopey puppeteer Craig Schwartz reminds me just how good he can be, especially with dark comedy. Same goes for Diaz. Unlike Cusack, I always find her to at least be engaging with whatever material she's working with, but rarely does she choose material as good and unglamorous as this. This same year she starred in Any Given Sunday, another movie that gave her a great showcase other than the sweet, bubbly personality that shot her to fame in There's Something About Mary and I really hope we can see a return to form for her.
Of course, special mention has to go to Malkovich himself, who allows his past and personality to be completely ravished here, all in the name of film. There are a number of ways they could of gone with in terms of Being (insert name here), but I'm glad they chose him. Such a weird, wonderful movie.
Full disclosure, these viewings have been split over two days because after Being John Malkovich yesterday, I had a beer and had a grave desire to watch True Blood. So there.
So today I started again with Primal Fear, one of the many legal thrillers to come out of the 90s, but more importantly, includes the film debut of one Mr. Edward Norton.
On the surface, this is a pretty by books lawyer film, with corruption, sex, priests and court scenes a plenty. But it's the performances that help this one stand out. Richard Gere has always been dependable, never phoning it in even if the some of the films he appeared were questionable, and here he is extremely charismatic as a hotshot defense attorney. Laura Linney, Francis McDormand, Andre Bauer, John Mahoney and Alfrie Woodard are also peppered throughout the cast and each making their presence felt.
It's Norton who steals the show though. I won't spoil it if you haven't seen it, but he plays a fine line here, and the fact that it's his first role is remarkable. Definitely deserving of the Oscar nomination he received. Of course, the reveal isn't quite dramatic as it was in 1996, but the performance stands, especially that final scene with him and Gere. Mmm, mmm. nothing like a 90s courtroom drama to waste the day away.
Alright guys, that's it for now. It will be a couple of days before I do this again. Sometime next week I reckon. I promise this though, Alien will be viewed soon. Like tomorrow or the next soon, hopefully. Until then, suck it.
I actually bought this dvd on a bit of a whim. I had seen the theatrical cut and found it quite boring. I'm not sure I actually finished it. But I had heard the directors cut was a massive improvement, so when I saw it at a decent price a few years ago I thought "fuck it", and finally 5 years or so later I put it in and man I gotta say, this movie is better than Gladiator.
Whoa. Whoa. Calm down. I still love Gladiator. I mean, that movie fucking rules. It's rousing and violent in all the right ways, with a commanding performance from the Crowe. But this version of Kingdom of Heaven has bigger ideas and themes, not to mention rich direction from Ridley that ranks it amongst his best films. Aside from Orlando Bloom, I'd also say that there is an overall better cast here than in Gladiator. Again, not that anyone was bad in that film, but with Liam Neeson, Eva Green, Jeremy Irons and a literally unrecognizable Edward Norton all giving their all for Mr. Scott, it's easier to see how this movie rises above that other sword and sandal epic.
Coming back to Bloom for a moment, he is no way bad, and honestly handles himself quite nicely, but put him next to any of the talent listed above and he immediately seems like a lesser actor. Still, it doesn't hurt the movie much and I would be curious to see how he would have fared if a few more director's of Ridley's caliber had taken a chance on him as well.
If you saw the original as I did, give this version a shot. It really is great. I actually wish I had more time to expand on here ( and shit, maybe I will tomorrow) but I got movies to watch today.
Next up is the mind fuck of Being John Malkovich. This movie has been on Netflix instant for a while now, but I knew one day I would own it so I put off watching it. Finally, the gods over at criterion released a wonderful blu ray version of the film which I picked up earlier this month.
This is a movie that takes me back to a time when I was really discovering some good fucking movies. 1999 brought us The Matrix, Magnolia, Fight Club, The Sixth Sense, Toy Story 2, American Beauty, The Green Mile and about a dozen other magnificent flicks. This isn't my favorite movie of that period, but it sure as hell is the most creative and ambitious.
The cast is all great, particularly John Cusack and Cameron Diaz. It's been a long while since Cusack has been in something this great, and honestly it appears as though he's mostly given up trying, but watching him here playing sad and dopey puppeteer Craig Schwartz reminds me just how good he can be, especially with dark comedy. Same goes for Diaz. Unlike Cusack, I always find her to at least be engaging with whatever material she's working with, but rarely does she choose material as good and unglamorous as this. This same year she starred in Any Given Sunday, another movie that gave her a great showcase other than the sweet, bubbly personality that shot her to fame in There's Something About Mary and I really hope we can see a return to form for her.
Of course, special mention has to go to Malkovich himself, who allows his past and personality to be completely ravished here, all in the name of film. There are a number of ways they could of gone with in terms of Being (insert name here), but I'm glad they chose him. Such a weird, wonderful movie.
Full disclosure, these viewings have been split over two days because after Being John Malkovich yesterday, I had a beer and had a grave desire to watch True Blood. So there.
So today I started again with Primal Fear, one of the many legal thrillers to come out of the 90s, but more importantly, includes the film debut of one Mr. Edward Norton.
On the surface, this is a pretty by books lawyer film, with corruption, sex, priests and court scenes a plenty. But it's the performances that help this one stand out. Richard Gere has always been dependable, never phoning it in even if the some of the films he appeared were questionable, and here he is extremely charismatic as a hotshot defense attorney. Laura Linney, Francis McDormand, Andre Bauer, John Mahoney and Alfrie Woodard are also peppered throughout the cast and each making their presence felt.
It's Norton who steals the show though. I won't spoil it if you haven't seen it, but he plays a fine line here, and the fact that it's his first role is remarkable. Definitely deserving of the Oscar nomination he received. Of course, the reveal isn't quite dramatic as it was in 1996, but the performance stands, especially that final scene with him and Gere. Mmm, mmm. nothing like a 90s courtroom drama to waste the day away.
Alright guys, that's it for now. It will be a couple of days before I do this again. Sometime next week I reckon. I promise this though, Alien will be viewed soon. Like tomorrow or the next soon, hopefully. Until then, suck it.
Thursday, May 24, 2012
Alright dudes, another day another dollar. Er, well, more movies. Whatever.
I started out with The Killer Inside Me starring Casey Affleck, Jessica Alba and Kate Hudson. Affleck plays a deputy in a small west texas town who gets involved in bribes, sex, masochism, and of course, murder.
Between this and The Assassination of Jesse James by the Coward Robert Ford, Affleck has pretty much perfected playing a true creep. To say that he in unsettling here would be a bit of an understatement. There's a moment where his character just happens to be beating a woman to death, quite slowly, and while he does it he makes sure to tell her how sorry he is and that he loves her. So yes, that's creepy, but the matter of factness in his voice is what really gets me. Affleck has an inherent nice guy quality, which makes him perfect in a role like this. He's proven himself time and again, and I hope he continues to make interesting choices like this.
As for Alba and Hudson, both are quite good. Alba in particular shows chops here that were previously unseen. She finally goes beyond just being a pretty face in the frame and gets to dig deep. It's not an earth shattering performance, but shows that she can do more than previously thought. Hudson is good as well, though it's a tiny part. She never quite took advantage of her Almost Famous momentum, which is a shame. Hopefully a few smart choices like this and we can see a comeback for her.
All in all a pretty creepy movie. Strong direction and great casting choices peppered throughout make it an interesting journey in the mind of a killer.
Next up is AMERICA! or as most people know it, A Few Good Men, the 90s military courtroom drama starring CRUISE, Demi Moore, BACON and Jack Nicholson.
I'll be honest, when I bought this movie however many years ago, it was only because it had CRUISE in it. I went through a period around 19 years old where if I saw a movie that was reasonably priced and had CRUISE in it, I bought it, regardless of how I felt about the film.
Yes, I have seen A Few Good Men before, but I was probably 6 or 7 and had no real memory of it other than the very famous battle of wills between CRUISE and Nicholson at the end. Now since this is 90s CRUISE, it just happens that this movie is pretty damn entertaining. CRUISE was at the beginning of his hot streak that lasted almost 20 years when this movie came out, so of course I love it.
This is Hollywood filmmaking made with the broadest strokes possible. Big names, equally big characters, drama, tension...montages. Everything a great court thriller needs. On top of all this, the script was written by Aaron Sorkin, who also wrote The Social Network and many, many other great movies and shows. As always, he gives his actors great dialogue to chew and they all step up to bat. CRUISE is especially on top of his movie star game here. Ripping the dialogue with glee and having an absolute blast, he really hits his home run when playing against Nicholson, who obviously fucking rules. Seriously, that last scene is electric, and it's all because of CRUISE, Nicholson, and Sorkin's script. Great, great, great.
The film has one fairly major flaw though; it's score. Most 90s films feel dated just cause, but this score sounds like it's from an 80s teen scream schlock fest, or worse, lifetime movie of the week. It honestly brings the film down an entire level. No matter though, CRUISE still CRUISED it.
Finally, we end the night with Cinderella Man, a true story of boxing legend James Braddock and his rise and fall and rise in Depression era New Jersey from Oscar winners Ron Howard, Russell Crowe blah blah blah. Look, describing this movie makes me kind of hate it. It sounds manipulative and cliched, and honestly it is, but shit, man. It works.
Asshole or not, Russell is an incredible actor and Howard can be a great director. Also, this true story that Hollywood just loves to share happens to be really uplifting. I know, I know. I'm eating right out of those bastards hands, but c'mon, I dare you not to goosebumps every time Russell wins a fight.
Maybe not as good as their previous film A Beautiful Mind, though equally as manipulative, Crowe and Howard make a great team and make really enjoyable movies together.
I don't really have much else to say about this one. I love it, but it tends to leave the mind fairly quickly after viewing it. Take that as you will.
Well, it will be a few days before I do this again. Some time next week I believe, although I plan to watch Alien before then in anticipation of Prometheus and I think I'll post something about that here. So until then, suck it.
I started out with The Killer Inside Me starring Casey Affleck, Jessica Alba and Kate Hudson. Affleck plays a deputy in a small west texas town who gets involved in bribes, sex, masochism, and of course, murder.
Between this and The Assassination of Jesse James by the Coward Robert Ford, Affleck has pretty much perfected playing a true creep. To say that he in unsettling here would be a bit of an understatement. There's a moment where his character just happens to be beating a woman to death, quite slowly, and while he does it he makes sure to tell her how sorry he is and that he loves her. So yes, that's creepy, but the matter of factness in his voice is what really gets me. Affleck has an inherent nice guy quality, which makes him perfect in a role like this. He's proven himself time and again, and I hope he continues to make interesting choices like this.
As for Alba and Hudson, both are quite good. Alba in particular shows chops here that were previously unseen. She finally goes beyond just being a pretty face in the frame and gets to dig deep. It's not an earth shattering performance, but shows that she can do more than previously thought. Hudson is good as well, though it's a tiny part. She never quite took advantage of her Almost Famous momentum, which is a shame. Hopefully a few smart choices like this and we can see a comeback for her.
All in all a pretty creepy movie. Strong direction and great casting choices peppered throughout make it an interesting journey in the mind of a killer.
Next up is AMERICA! or as most people know it, A Few Good Men, the 90s military courtroom drama starring CRUISE, Demi Moore, BACON and Jack Nicholson.
I'll be honest, when I bought this movie however many years ago, it was only because it had CRUISE in it. I went through a period around 19 years old where if I saw a movie that was reasonably priced and had CRUISE in it, I bought it, regardless of how I felt about the film.
Yes, I have seen A Few Good Men before, but I was probably 6 or 7 and had no real memory of it other than the very famous battle of wills between CRUISE and Nicholson at the end. Now since this is 90s CRUISE, it just happens that this movie is pretty damn entertaining. CRUISE was at the beginning of his hot streak that lasted almost 20 years when this movie came out, so of course I love it.
This is Hollywood filmmaking made with the broadest strokes possible. Big names, equally big characters, drama, tension...montages. Everything a great court thriller needs. On top of all this, the script was written by Aaron Sorkin, who also wrote The Social Network and many, many other great movies and shows. As always, he gives his actors great dialogue to chew and they all step up to bat. CRUISE is especially on top of his movie star game here. Ripping the dialogue with glee and having an absolute blast, he really hits his home run when playing against Nicholson, who obviously fucking rules. Seriously, that last scene is electric, and it's all because of CRUISE, Nicholson, and Sorkin's script. Great, great, great.
The film has one fairly major flaw though; it's score. Most 90s films feel dated just cause, but this score sounds like it's from an 80s teen scream schlock fest, or worse, lifetime movie of the week. It honestly brings the film down an entire level. No matter though, CRUISE still CRUISED it.
Finally, we end the night with Cinderella Man, a true story of boxing legend James Braddock and his rise and fall and rise in Depression era New Jersey from Oscar winners Ron Howard, Russell Crowe blah blah blah. Look, describing this movie makes me kind of hate it. It sounds manipulative and cliched, and honestly it is, but shit, man. It works.
Asshole or not, Russell is an incredible actor and Howard can be a great director. Also, this true story that Hollywood just loves to share happens to be really uplifting. I know, I know. I'm eating right out of those bastards hands, but c'mon, I dare you not to goosebumps every time Russell wins a fight.
Maybe not as good as their previous film A Beautiful Mind, though equally as manipulative, Crowe and Howard make a great team and make really enjoyable movies together.
I don't really have much else to say about this one. I love it, but it tends to leave the mind fairly quickly after viewing it. Take that as you will.
Well, it will be a few days before I do this again. Some time next week I believe, although I plan to watch Alien before then in anticipation of Prometheus and I think I'll post something about that here. So until then, suck it.
Tuesday, May 22, 2012
My Mission
Sup.
Today I have once again started going through some of the dvds and blu rays that I have yet to watch since I purchased them. Now, let me be clear here, I have seen these films, but I have not physically put them in the blu ray player. About a year ago when I realized how many this applied to, I decided to make it my mission to watch every single one of them. It's been slow going, but here I am, one year of college under my belt and a summer full of nothing ahead me. So here we go.
First up is The Godfather, Part II. I had only seen this once in its entirety before, so it was actually a pretty fresh viewing. What else can I say that hasn't already been said? This is a true masterpiece of film-making. Epic in every way, spanning 60 years of the Corleone history, expertly edited by director Coppola. Of course there is also the ridiculous cast. Pacino. Duvall. Keaton. Even a few small bits from future greats Harry Dean Stanton and shlock film-maker Roger Corman.
But of course, for me, this film belongs to De Niro as a young Vito Corleone ascending to the throne as a man of the people as well as a man of violence, when necessary. De Niro is simply astonishing, commanding respect the instant he appears onscreen. Even if he hadn't gone on to work with Scorsesi his legend would have been solidified with this role. Aside from The Deer Hunter, I think this may be my favorite De Niro role.
But again, I can't really say anything new about this one, except to say that if you haven't seen it, do so. Now.
Next up is Rain Man.
Shit. I love me some Cruise. No matter the era of Cruise, I love Cruise. 80's Cruise isn't the best Cruise, but because there is no bad Cruise, 80s Cruise is still great and Rain Man is no exception.
While I can't really agree with a Best Picture Oscar in 1988, I can definitely understand the huge box office the movie earned. A true crowd pleaser about yuppie Cruise who finds out about his older autistic brother after his estranged father dies and leaves the family fortune to said brother. In true hollywood fashion, Cruise is forced to get to know his brother in order to claim some of the cash.
This movie is ridiculously dated. The score, the clothes. The hair. The fucking hair. It was a hard decade for such things, but even with the unintentionally silly aspects, Rain Man works because Hoffman and Cruise are amazing together. In the beginning Cruise is a true ass-hole, who at first only takes his brother for selfish reasons. But once he starts to shine to the Hoff, I couldn't help but be drawn in. Hell, I even got a little teary-eyed at the end when *SPOILER ALERT* Cruise admits his true affection for his brother. Seriously though, Cruise and Hoffman are truly affecting and completely make the movie. Definitely a worthy addition to the land of Cruise.
We continue this journey with Speed, the best "Die Hard on a _____" rip-off there is. This is a flick I've seen dozens of times, but somehow still packs a hefty wallop, not to mention a ridiculous pace. I mean, I pressed play, looked at my watch and realized 45 minutes had already passed.
This next statement may upset you, but I truly believe Keanu Reeves has never been better than he is here. I know, you probably never thought Keanu was good in anything, even though I've countered that argument a time or two right here on this mind map of mine. Let's be honest though, he fits this part like a glove. Smart, tough, and very action capable ( a fact that he would solidify just a few short years later ), there might have been plenty of other actors who could have done this part, but none would have brought as much fun to it as Reeves did.
Oh yea, Dennis Hopper rules.
Finally, I tapped the evening off with The Grey, Joe Carnahan's tale of survival starring Liam Neeson. This movie fucking rules. It's not exactly the wolf-punching extravaganza the trailers promised, but still, there's plenty to love. Neeson is kicking ass better than ever, and here he is actually given one of his best dramatic roles in years. Yes, Taken was a blast, but that was a pretty straight forward action flick. With The Grey though, director Carnahan has made something more than just a man vs wolves adventure. He slowly reveals the movie to be about living life while you can, even if you can't imagine going on any further.
I know it sounds a little preachy, but trust me, its invigorating and exciting. I hope Carnahan sticks to movies like this and Narc. I love Smokin' Aces and The A-Team, but he seems to be at his best with smaller budgets and bigger ideas. Who knew?
Alright dudes, that's it for tonight. Tomorrow I plan on drinking and maybe watching Jersey Shore after work, but Thursday I hope to do another marathon. If so, I will definitely come here to share.
Until then, suck it.
Today I have once again started going through some of the dvds and blu rays that I have yet to watch since I purchased them. Now, let me be clear here, I have seen these films, but I have not physically put them in the blu ray player. About a year ago when I realized how many this applied to, I decided to make it my mission to watch every single one of them. It's been slow going, but here I am, one year of college under my belt and a summer full of nothing ahead me. So here we go.
First up is The Godfather, Part II. I had only seen this once in its entirety before, so it was actually a pretty fresh viewing. What else can I say that hasn't already been said? This is a true masterpiece of film-making. Epic in every way, spanning 60 years of the Corleone history, expertly edited by director Coppola. Of course there is also the ridiculous cast. Pacino. Duvall. Keaton. Even a few small bits from future greats Harry Dean Stanton and shlock film-maker Roger Corman.
But of course, for me, this film belongs to De Niro as a young Vito Corleone ascending to the throne as a man of the people as well as a man of violence, when necessary. De Niro is simply astonishing, commanding respect the instant he appears onscreen. Even if he hadn't gone on to work with Scorsesi his legend would have been solidified with this role. Aside from The Deer Hunter, I think this may be my favorite De Niro role.
But again, I can't really say anything new about this one, except to say that if you haven't seen it, do so. Now.
Next up is Rain Man.
Shit. I love me some Cruise. No matter the era of Cruise, I love Cruise. 80's Cruise isn't the best Cruise, but because there is no bad Cruise, 80s Cruise is still great and Rain Man is no exception.
While I can't really agree with a Best Picture Oscar in 1988, I can definitely understand the huge box office the movie earned. A true crowd pleaser about yuppie Cruise who finds out about his older autistic brother after his estranged father dies and leaves the family fortune to said brother. In true hollywood fashion, Cruise is forced to get to know his brother in order to claim some of the cash.
This movie is ridiculously dated. The score, the clothes. The hair. The fucking hair. It was a hard decade for such things, but even with the unintentionally silly aspects, Rain Man works because Hoffman and Cruise are amazing together. In the beginning Cruise is a true ass-hole, who at first only takes his brother for selfish reasons. But once he starts to shine to the Hoff, I couldn't help but be drawn in. Hell, I even got a little teary-eyed at the end when *SPOILER ALERT* Cruise admits his true affection for his brother. Seriously though, Cruise and Hoffman are truly affecting and completely make the movie. Definitely a worthy addition to the land of Cruise.
We continue this journey with Speed, the best "Die Hard on a _____" rip-off there is. This is a flick I've seen dozens of times, but somehow still packs a hefty wallop, not to mention a ridiculous pace. I mean, I pressed play, looked at my watch and realized 45 minutes had already passed.
This next statement may upset you, but I truly believe Keanu Reeves has never been better than he is here. I know, you probably never thought Keanu was good in anything, even though I've countered that argument a time or two right here on this mind map of mine. Let's be honest though, he fits this part like a glove. Smart, tough, and very action capable ( a fact that he would solidify just a few short years later ), there might have been plenty of other actors who could have done this part, but none would have brought as much fun to it as Reeves did.
Oh yea, Dennis Hopper rules.
Finally, I tapped the evening off with The Grey, Joe Carnahan's tale of survival starring Liam Neeson. This movie fucking rules. It's not exactly the wolf-punching extravaganza the trailers promised, but still, there's plenty to love. Neeson is kicking ass better than ever, and here he is actually given one of his best dramatic roles in years. Yes, Taken was a blast, but that was a pretty straight forward action flick. With The Grey though, director Carnahan has made something more than just a man vs wolves adventure. He slowly reveals the movie to be about living life while you can, even if you can't imagine going on any further.
I know it sounds a little preachy, but trust me, its invigorating and exciting. I hope Carnahan sticks to movies like this and Narc. I love Smokin' Aces and The A-Team, but he seems to be at his best with smaller budgets and bigger ideas. Who knew?
Alright dudes, that's it for tonight. Tomorrow I plan on drinking and maybe watching Jersey Shore after work, but Thursday I hope to do another marathon. If so, I will definitely come here to share.
Until then, suck it.
Thursday, May 17, 2012
The Avengers
Before I begin, I feel as though I must confess that I'm a DC man, through and through. Batman and Superman are the end all be all of superheroes in my correct opinion. Unfortunately, DC films have been all over the place since the likes of 1978's Superman and a few good to great Batman films. Not that Marvel's track record has been perfect, but since Iron Man in 2008, they have done an incredible job at building a shared movie-verse with five different movies all with the intent to lead into this years The Avengers.
Think about that for a second. 4 years, 5 movies, and boom, the biggest superhero movie of all time (notice I didn't say best). The mere fact that Marvel was able to make it to The Avengers at all is an achievement in and of itself, but that they actually made a great fucking movie is incredible ( I could have said Marvelous, but I wanted to spare you).
Just about everything in this movie is spot on. The action is epic, the humor is plentiful and hilarious, and the character work is exceptional. Director Joss Whedon brings the earth's mightiest heroes together in a way that seems effortless, making sure every character ( that matters) gets their time to shine.
I know there were a few worry-warts out there who were worried that this was basically going to be Iron Man and Friends, and while RDJ is definitely featured prominently, this is really Captain America's movie. He doesn't get more screen time per se, but the filmmakers made sure to put in some extra care into Cap's transition to modern day as well as his role as leader of The Avengers. Speaking of, the film did a great job of showing the conflict that is had between such giant characters, with Steve Rogers always being the glue that barely holds them together.
As I said before, RDJ has plenty to do here, giving some of the best one-liners Stark has had so far, but he also makes Iron Man's transition into a team player believable, a crucial objective given two films were dedicated to the characters' insistence on being a one man army.
Oddly enough, the film's dark horse is Mark Ruffalo's Bruce Banner. Ruffalo brings a quiet confidence to the character that we haven't seen on the big screen yet. Finally, Banner truly comes to terms with his alter-ego which is a welcome change to the usual moping and self-pitying previously portrayed in other installments. Don't get me wrong though, I still really like The Incredible Hulk and Norton's performance, but Ruffalo really makes the character his own and I for one hope to see him pop up in Iron Man 3 even if its only as Banner.
Of course, you can't talk about Banner without talking about 'the other guy' as he's referred into the film. This is the Hulk we've been waiting for. A true rage monster, going after whoever and whatever is in his way. Ruffalo is the first actor to play both sides of Banner, as he performed motion-capture as Hulk, and its a vast improvement on previous incarnations. Not only is the technology better, but the personality is hilariously realized by Whedon and Ruffalo in a way that only the comics had done before. Easily the best part of the movie.
Black Widow is also given much better material here than in Iron Man 2, which isn't too surprising since Whedon is obviously known for writing strong female characters, and Johansson acquits herself accordingly. Even Hawkeye gets a few moments here and there, and I hope that if either of them get their own movie, the other is featured prominently.
Honestly, if there was a character who the shafted a little bit I'd say it's Thor. Hemsworth once again brings great authority and humor to the role, and the scenes between him and Loki are especially good, but Thor never really gets that one "Holy Shit!' moment that everyone else does. Having said that though, he still has plenty to do, particularly a great fight with Iron Man and Captain America.
Last, but not least, there's Loki, played by Tom Hiddleston. I love Tom Hiddleston. Between this, and other films such as Midnight in Paris and War Horse, he has proven to be an extremely charismatic performer and he is a blast here. He relishes the part, and that fun is shared with the audience. Brilliantly though, he doesn't let you forget how that deep down he is just a son and brother who feels abandoned, and will let nothing stop him in his quest for vengeance. I seriously hope he has an equally big part in Thor 2.
Overall, The Avengers is rousing and exciting in every way it should have been. I hope Whendon returns for the sequel, as I feel he really is the one who can juggle a group of characters like this. This is a flick that is going to be hard to beat this summer, though I have a feeling Nolan won't go out without a fight.
Well dudes, summer is here and I don't plan on doing much, which hopefully means I jump back into My Mission of watching all dvds and blu rays that I have yet to watch. I plan to start around the 21st or so, so head back here and give me a look see. Until then, suck it.
Think about that for a second. 4 years, 5 movies, and boom, the biggest superhero movie of all time (notice I didn't say best). The mere fact that Marvel was able to make it to The Avengers at all is an achievement in and of itself, but that they actually made a great fucking movie is incredible ( I could have said Marvelous, but I wanted to spare you).
Just about everything in this movie is spot on. The action is epic, the humor is plentiful and hilarious, and the character work is exceptional. Director Joss Whedon brings the earth's mightiest heroes together in a way that seems effortless, making sure every character ( that matters) gets their time to shine.
I know there were a few worry-warts out there who were worried that this was basically going to be Iron Man and Friends, and while RDJ is definitely featured prominently, this is really Captain America's movie. He doesn't get more screen time per se, but the filmmakers made sure to put in some extra care into Cap's transition to modern day as well as his role as leader of The Avengers. Speaking of, the film did a great job of showing the conflict that is had between such giant characters, with Steve Rogers always being the glue that barely holds them together.
As I said before, RDJ has plenty to do here, giving some of the best one-liners Stark has had so far, but he also makes Iron Man's transition into a team player believable, a crucial objective given two films were dedicated to the characters' insistence on being a one man army.
Oddly enough, the film's dark horse is Mark Ruffalo's Bruce Banner. Ruffalo brings a quiet confidence to the character that we haven't seen on the big screen yet. Finally, Banner truly comes to terms with his alter-ego which is a welcome change to the usual moping and self-pitying previously portrayed in other installments. Don't get me wrong though, I still really like The Incredible Hulk and Norton's performance, but Ruffalo really makes the character his own and I for one hope to see him pop up in Iron Man 3 even if its only as Banner.
Of course, you can't talk about Banner without talking about 'the other guy' as he's referred into the film. This is the Hulk we've been waiting for. A true rage monster, going after whoever and whatever is in his way. Ruffalo is the first actor to play both sides of Banner, as he performed motion-capture as Hulk, and its a vast improvement on previous incarnations. Not only is the technology better, but the personality is hilariously realized by Whedon and Ruffalo in a way that only the comics had done before. Easily the best part of the movie.
Black Widow is also given much better material here than in Iron Man 2, which isn't too surprising since Whedon is obviously known for writing strong female characters, and Johansson acquits herself accordingly. Even Hawkeye gets a few moments here and there, and I hope that if either of them get their own movie, the other is featured prominently.
Honestly, if there was a character who the shafted a little bit I'd say it's Thor. Hemsworth once again brings great authority and humor to the role, and the scenes between him and Loki are especially good, but Thor never really gets that one "Holy Shit!' moment that everyone else does. Having said that though, he still has plenty to do, particularly a great fight with Iron Man and Captain America.
Last, but not least, there's Loki, played by Tom Hiddleston. I love Tom Hiddleston. Between this, and other films such as Midnight in Paris and War Horse, he has proven to be an extremely charismatic performer and he is a blast here. He relishes the part, and that fun is shared with the audience. Brilliantly though, he doesn't let you forget how that deep down he is just a son and brother who feels abandoned, and will let nothing stop him in his quest for vengeance. I seriously hope he has an equally big part in Thor 2.
Overall, The Avengers is rousing and exciting in every way it should have been. I hope Whendon returns for the sequel, as I feel he really is the one who can juggle a group of characters like this. This is a flick that is going to be hard to beat this summer, though I have a feeling Nolan won't go out without a fight.
Well dudes, summer is here and I don't plan on doing much, which hopefully means I jump back into My Mission of watching all dvds and blu rays that I have yet to watch. I plan to start around the 21st or so, so head back here and give me a look see. Until then, suck it.
Wednesday, May 9, 2012
My school paper on why Live Free or Die Hard should have been rated R
This past semester at Wake Tech Community College, I took an argumentative writing course. One of the papers we had to write was an historical argument, where you had to argue that a certain major event, such as dropping the bomb on Japan, should have happened, should not have happened, or should have happened differently.
I chose to write about the rating of Live Free or Die Hard and why it should have been rated R. I actually didn't get a very good grade on the paper, mostly due to errors in the MLA format and some present/past tense issues (though I did pass). Even so, I think it's a good paper and have decided to share it here, because let's be real, that shit should have been R.
-Sidenote- I just copied and pasted from my word document, and the transition made the format a little screwy, but whatever.
I chose to write about the rating of Live Free or Die Hard and why it should have been rated R. I actually didn't get a very good grade on the paper, mostly due to errors in the MLA format and some present/past tense issues (though I did pass). Even so, I think it's a good paper and have decided to share it here, because let's be real, that shit should have been R.
-Sidenote- I just copied and pasted from my word document, and the transition made the format a little screwy, but whatever.
The Rating of Live Free or Die Hard
In June 2007, the film Live Free or Die Hard, the fourth entry in the popular action
franchise, was released and carried a PG-13 rating from the Motion Picture Association of
America (MPAA) as opposed to the R rating all previous entries had earned. Twentieth Century
Fox, the film studio that produced the movie, made the rating switch in an attempt to broaden the
audience and hopefully earn a greater profit. However, with a softer rating came a softer movie,
thereby undercutting the meaning of the title itself. Instead of going for the easy dollar, the
studio should have put its trust in the Die Hard brand that was already well established and gone
with the R rating that audiences had come to expect from the franchise.
While the first three Die Hard films vary in terms of overall quality, one of the things
all three got right was the portrayal of main character John McClane as played by actor Bruce
Willis. In those films, McClane is an ordinary guy, or everyman, who was put in extraordinary
situations, and unlike other action heroes from the time, there was no special circumstance to
who he was as a character. His wife wasn’t killed in a car accident causing him to become
suicidal and labeled a lethal weapon by his reluctant, about to retire partner nor was he a
mercenary stuck in a Central-American jungle being hunted by a predator from another planet.
He was simply a New York police officer visiting his estranged wife in Los Angeles with the
hope of getting back together. That is, until terrorists take over the building and McClane is
forced to take them out one by one. No matter how far-fetched the situation might be, it was his
reactions to the situation that resonated with audiences. When he got hit, he fell. When he got
shot, he bled. When he got angry, he cursed. And because these things happened to McClane
quite often, those films were rated R. In Live Free or Die Hard though, when McClane gets hit,
he barely falls. When he gets shot, he barely bleeds. When he gets angry, he certainly doesn’t
curse. The PG-13 rating simply cannot allow any of these things to be very extreme, or as one
might say, hard. Why, then, risk a proven formula?
According to BoxOfficeMojo.com, a website that tracks how much money films make in
their domestic and worldwide theatrical run, Live Free or Die Hard had an opening weekend of
$33 million on its way to just over $134 million by the end of its domestic run, both of which
were higher than all previous entries in the franchise. Also, according to RottenTomatoes.com, a
website that averages the positive and negative reviews of the nation’s critics for any given
movie, Live Free or Die Hard received an 82% rating, second only to the original Die Hard
which received an impressive 94% rating. Obviously, with a new franchise high in terms of
gross not only domestic but also worldwide, plus a very warm critical reception, the PG-13
rating had done exactly what Twentieth Century Fox had wanted it to do, broaden the appeal
and maximize profit.
If one were to truly compare all four films financially though, one would have to take
into account inflation of ticket prices over the years. In 1988, when the original film was
released, it grossed $83 million domestically, or $158 million if adjusted for today’s ticket
prices, per BoxOfficeMojo.com. In 1990, when Die Hard 2 was released, it grossed $117 million
domestically, or $217 million if adjusted. Finally, in 1995 when Die Hard with a Vengeance
was released, it grossed $100 million, or $180 million if adjusted, meaning that Live Free or Die
Hard actually sold fewer tickets than any other film in the franchise. Could the studio have
scared off even the most die-hard Die Hard fans with the PG-13 rating? Film critic, author, and
self-proclaimed Die Hard enthusiast Vern, in his book “Yipee Ki-Yay Moviegoer”: Writings on
Bruce Willis, Badass Cinema and Other Important Topics says, “As long as there is a chance of a
dishonorable PG-13, please refer to this one as Die Soft, Die Limp, Die Weak, Die Feeble, Die
Fragile, Die Compromised, Die in a Puddle Of Your own Urine Afraid of Facing the
Consequences of Being a man, etc” (387). In early 2012, Live Free or Die Hard even ended up
being chosen as number eleven in the online article “ Movies Ruined By Not Being Rated R” on
the entertainment website UGO.com. The author of the list, Evan Saathoff, points out, “When a
franchise's most recognizable calling card is an expletive, it seems obvious that a PG-13 rating
would be off the table.” Even those fans who weren’t completely dissatisfied with the movie,
still found it hard to get past the rating. Vern, in his official review of the film on movie website
Ain’tItCoolNews.com admitted, “But I am relieved to be able to tell you that, despite
everything going against it, LIVE FREE OR DIE HARD is a pretty damn
entertaining movie. It could and should be harder.” Overall, it was the character
of McClane himself who fans felt had suffered the most with the softer rating.
With the more appealing and friendly action, the character was reduced to an
invincible superhero sliding down the side of a jet wing onto a collapsing bridge
rather than the everyman who was forced to walk across broken glass while
barefoot and actually suffer the consequences that the audience was first
introduced to in the original film.
Even with minor critical acclaim and impressive box office, which has actually
led to the making of a fifth entry due to be released in theaters February 2013, one
can’t help but wonder how much more success the film would have had with the
franchises’ much more traditional and fan pleasing R rating.
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