I went back and forth between wanting to and not wanting to see Warrior. When I first saw the trailer, it looked a little cheesy. But I loved the cast, and shit, I love a good sports movie. And for whatever reason, when the trailer was first released I was seeing an extremely high number of movies in the theater at the time and saw that trailer at every single one. I just got sick of it. It's not a bad trailer by any means, but after seeing it so many times I just let it get to me and threw the movie to the bottom of my must see list.
When it finally came out and got great reviews not only from critics but audiences alike, I still couldn't drag myself to the theater. Having finally watched it the other week, I wish I could go back and slap myself for waiting this long to see such a great movie.
On the surface, there really isn't much new Warrior brings to the table, aside from the MMA aspect. Of course, it's unfair to judge this movie without scratching the surface, especially since director/co-writer Gavin O'Conner has carefully disguised a heartbreaking family drama as a 'Rocky' like underdog story.
And that's what really made this movie for me. We get to spend over an hour with the characters before the main fighting event the movie is based around. Tom Hardy and Joel Edgerton each prove themselves a force in the ring in the film's many fight scenes, but it's the moments in between where these guys really get to me. Both guys have very different, yet very similar reasons for entering the tournament, and all the time spent exploring these reasons makes it extremely difficult to choose one to root for. They are both flawed men, but as we come to learn they are both just trying to do right for the ones they love.
Nick Nolte and Jennifer Morrison offer fine supporting work as the alcoholic father who drove the family apart and Edgerton's wife, respectively. Morrison's character in particular stood out to me. Katy and myself are in no way in a similar situation as Edgarton and Morrison are in this film, but every time they were on screen I found myself that much more enthralled. I think the longer I'm married the more I realize how much it means to me, and seeing these two people push through such hard times together really spoke to me.
As for the actual fights themselves, O'Conner puts you in the ring in a way that's not distracting. You can always tell what's going on, who's who, and most of all how you feel each and every hit. Almost the entire last hour of the movie is fighting, so it was crucial that with each new fight came something different. Some are long, some are short, but they are always exciting.
I'm not an MMA fan by any means. Hell, I'm not a sports fan by any real means, but Warrior takes it time and lets us get to know these characters and get invested in them, so that when the time comes we want what they want, making it damn near impossible not to get caught up in the sport aspect of it.
For whatever reason, Warrior did not catch fire with audiences, which surprises me since it's such a feel good movie. Maybe they were fatigued from family sports dramas with The Fighter. Either way, even if you are barely wanting to see this movie, give it a shot. And I dare you not to get choked up at the end, I dare you.
Suck it.
Saturday, January 28, 2012
Thursday, January 26, 2012
Haywire
I know I said I would talk about War Horse and Warrior, and I will. I'll also try to fit in something about Moneyball which I just saw as well, but right now I got Haywire on my mind.
I'm always down for Soderbergh. Even with his most commercial movies, he insists on doing something different. He's done comedy, drama, thriller, experiemental, documentary, and now with Haywire, he's made his first straight-up action flick. It's not the best or most exciting action movie out there, but then that's not what Soderbergh is trying to do. He set out to make a lean, mean, and surprisingly quiet action movie.
He also set out to introduce the world to Gina Carano, a female MMA fighter whom Soderbergh randomly saw on TV during a fight one night and decided that she should have her own movie. OK, a lot more decision making went into to than just that, but still, that's the jist. As it turns out, Carano is a real find. Not only can she kick complete ass onscreen, but she didn't embarrass herself while acting next to guys like Michael Douglas, Michael Fassbender and Ewan McGregor. There were a few moments here and there where it felt like she was just reciting dialogue, but again, that's why Soderbergh got some major players to help pick up the slack.
One thing that really surprised about Haywire, though, was how loose it feels. Which, admittedly, shouldn't really be a surprise at all considering its a Soderbergh movie. But I couldn't help but compare this to the Ocean's films. Not the comedic aspect obviously, but the long zooms and soft jazzy score help give it a much more entertaining quality to it.
In terms of action, Soderbergh went realistic and surprisingly quiet. All the fights are rough, and all the fights are short. Carano's character is the ultimate operative whose goal in any fight is to end it, and end it quick. Not only does Soderbergh just set the camera down and let the action play out, but he does it in a relatively quiet manner. When a punch lands, it's not overdone. We feel it not because we hear it, but because we can see it and we can believe it.
I have to admit I was expecting something a little more experimental when I walked into the theater, although not for any good reason. As always though, Soderbergh delivered something unexpected, which is why I keep seeing his movies, and why you should too.
I have the weekend off, so no excuses. War Horse, Warrior, and Moneyball this weekend. Suck it.
I'm always down for Soderbergh. Even with his most commercial movies, he insists on doing something different. He's done comedy, drama, thriller, experiemental, documentary, and now with Haywire, he's made his first straight-up action flick. It's not the best or most exciting action movie out there, but then that's not what Soderbergh is trying to do. He set out to make a lean, mean, and surprisingly quiet action movie.
He also set out to introduce the world to Gina Carano, a female MMA fighter whom Soderbergh randomly saw on TV during a fight one night and decided that she should have her own movie. OK, a lot more decision making went into to than just that, but still, that's the jist. As it turns out, Carano is a real find. Not only can she kick complete ass onscreen, but she didn't embarrass herself while acting next to guys like Michael Douglas, Michael Fassbender and Ewan McGregor. There were a few moments here and there where it felt like she was just reciting dialogue, but again, that's why Soderbergh got some major players to help pick up the slack.
One thing that really surprised about Haywire, though, was how loose it feels. Which, admittedly, shouldn't really be a surprise at all considering its a Soderbergh movie. But I couldn't help but compare this to the Ocean's films. Not the comedic aspect obviously, but the long zooms and soft jazzy score help give it a much more entertaining quality to it.
In terms of action, Soderbergh went realistic and surprisingly quiet. All the fights are rough, and all the fights are short. Carano's character is the ultimate operative whose goal in any fight is to end it, and end it quick. Not only does Soderbergh just set the camera down and let the action play out, but he does it in a relatively quiet manner. When a punch lands, it's not overdone. We feel it not because we hear it, but because we can see it and we can believe it.
I have to admit I was expecting something a little more experimental when I walked into the theater, although not for any good reason. As always though, Soderbergh delivered something unexpected, which is why I keep seeing his movies, and why you should too.
I have the weekend off, so no excuses. War Horse, Warrior, and Moneyball this weekend. Suck it.
Saturday, January 21, 2012
The Girl with the Dragon Tattoo.
It's been a few weeks since I've seen David Fincher's version of The Girl with the Dragon Tattoo, and for the life of me I haven't really been able to come up with something to say about it, good or bad.
And let me add that it's not because I've been lazy this time, I just have a really whatever feeling about this movie.
I haven't seen the original version, who knows if I ever will, so I can't compare the two. But I can compare it to other Fincher films. I know that seems unfair, but come on, Fincher has done this territory before, and he's done it far better. Se7en and Zodiac are brilliant serial killer films, with Fincher making each of them brilliant and unique in completely different ways that make them all the more impressive.
With Tattoo though, there's mostly a 'been there, done that' vibe that I just couldn't shake. I don't really think it's Fincher's fault per se, as it's absolutely gorgeous to look at and the two leading performances from Daniel Craig and Rooney Mara were both top notch, but the source material as a whole just isn't bringing anything new to the table. Mara's character Lizbeth is without a doubt an interesting one, and perhaps the sequels focus on her more, and if that's the case I definitely wouldn't mind revisiting this world with these actors and hopefully Fincher at the helm as well.
It's hard to say I don't like a David Fincher movie. And honestly, it's not that I didn't like this movie, it's really not bad at all, but at this point watching a director of Fincher's degree put out something that's so middle of the road is frustrating.
I know I should say more, but honestly, I just can't do it. Take that as you will.
I've seen a few more movies this week, most notably War Horse and Warrior, both of which were fantastic and both I'll be talking about here within the next few days. I know it's well into the new year but I'd still like to post my top ten list for 2011 at some point. There are still a few more movies I need to see, like Moneyball, The Ides of March, 50/50 and Cowboys and Aliens. All of which I have lined up in my Netflix queue. The goal is to have the list ready right around Oscar time. I know you can't wait.
So until next time dudes, suck it.
And let me add that it's not because I've been lazy this time, I just have a really whatever feeling about this movie.
I haven't seen the original version, who knows if I ever will, so I can't compare the two. But I can compare it to other Fincher films. I know that seems unfair, but come on, Fincher has done this territory before, and he's done it far better. Se7en and Zodiac are brilliant serial killer films, with Fincher making each of them brilliant and unique in completely different ways that make them all the more impressive.
With Tattoo though, there's mostly a 'been there, done that' vibe that I just couldn't shake. I don't really think it's Fincher's fault per se, as it's absolutely gorgeous to look at and the two leading performances from Daniel Craig and Rooney Mara were both top notch, but the source material as a whole just isn't bringing anything new to the table. Mara's character Lizbeth is without a doubt an interesting one, and perhaps the sequels focus on her more, and if that's the case I definitely wouldn't mind revisiting this world with these actors and hopefully Fincher at the helm as well.
It's hard to say I don't like a David Fincher movie. And honestly, it's not that I didn't like this movie, it's really not bad at all, but at this point watching a director of Fincher's degree put out something that's so middle of the road is frustrating.
I know I should say more, but honestly, I just can't do it. Take that as you will.
I've seen a few more movies this week, most notably War Horse and Warrior, both of which were fantastic and both I'll be talking about here within the next few days. I know it's well into the new year but I'd still like to post my top ten list for 2011 at some point. There are still a few more movies I need to see, like Moneyball, The Ides of March, 50/50 and Cowboys and Aliens. All of which I have lined up in my Netflix queue. The goal is to have the list ready right around Oscar time. I know you can't wait.
So until next time dudes, suck it.
Sunday, January 15, 2012
The Descendants
The Descendants is the best OK movie I've seen all year.
Well, let me explain. The Descendants is better than OK. There are a lot of really good things about it, particularly George Clooney and both young actresses who play his daughters. But as a whole, the film is just kind of there, never really reaching the emotional level that I've come to expect from Alexander Payne.
Maybe I was expecting more than I should have, but for me, this movie is just there. And for a movie that's dealing with family, marriage, cheating and perhaps most importantly, how to deal with tragedy, I expect to have more of a reaction.
I can't quite put my finger on it either. There are a number of very real and honest moments in the film, all of which Clooney nails, but something is lacking. It may have something to do with the fact that Clooney and his family are all very rich, and one of the big problems he is dealing with is whether or not to hold onto a huge piece of land in the middle of Hawaii or sell it and make a crap load of money. I don't know about you, but I just cannot relate to such a misfortune.
To be fair, the movie never rubs the characters good fortune in our face, but it gave me just enough of a disconnect that I could not find myself getting into the film as much as I wanted to.
The Descendants is not a bad movie but any means, but I cannot for the life of me figure out why so many are insisting its one of the year's best.
Well, let me explain. The Descendants is better than OK. There are a lot of really good things about it, particularly George Clooney and both young actresses who play his daughters. But as a whole, the film is just kind of there, never really reaching the emotional level that I've come to expect from Alexander Payne.
Maybe I was expecting more than I should have, but for me, this movie is just there. And for a movie that's dealing with family, marriage, cheating and perhaps most importantly, how to deal with tragedy, I expect to have more of a reaction.
I can't quite put my finger on it either. There are a number of very real and honest moments in the film, all of which Clooney nails, but something is lacking. It may have something to do with the fact that Clooney and his family are all very rich, and one of the big problems he is dealing with is whether or not to hold onto a huge piece of land in the middle of Hawaii or sell it and make a crap load of money. I don't know about you, but I just cannot relate to such a misfortune.
To be fair, the movie never rubs the characters good fortune in our face, but it gave me just enough of a disconnect that I could not find myself getting into the film as much as I wanted to.
The Descendants is not a bad movie but any means, but I cannot for the life of me figure out why so many are insisting its one of the year's best.
Saturday, January 7, 2012
Young Adult
Young Adult is the second collaboration between director Jason Reitman and write Diablo Cody, their first being the divisive Juno.
I have seen Juno twice, albeit not since it was originally released. Even after all this time, I can't quite figure out how I feel about the movie. On one hand, the dialogue at times was excruciating, so much so that anyone defending it by arguing that's just how teens talk today sent me into a blinding rage. I blamed Cody. On the other hand though, there are some genuinely fucked up things that happen in that movie, things that are dealt with in a very realistic and honest way. Some of this is due to Reitman's deft direction, but it was Cody who laid the groundwork.
I'd have to see the film again before I could try and figure out what my final opinion of it and Cody's effort is, but I can definitely tell you that after viewing Young Adult, I will be keeping a close eye on all her future projects from this point on.
The film opens with a wordless introduction to Mavis, played by Charlize Theron, showing her going through what appears to be her morning routine. Wake up face down and hungover, chug diet coke straight from the bottle, do a half ass workout with a Wii, watch The Kardashians and eventually sit down to read emails and maybe do some work.
It feels as though Cody went out of her way to prove that her Oscar win wasn't a fluke and that she has more in her than just witty and insane dialogue( though there are a few moments where she allows a few choice teen phrases to pop up to amusing effect). The good news is that she succeeds, almost overwhelmingly so. Mavis is, in a word, a wreck. Completely self-obsessed and bordering on alcoholism, Mavis receives a slight slap to the face when she receives a mass email from her high school boyfriend announcing the birth of his child. Convinced that he is miserable, Mavis takes it upon herself to go back to her hometown and save her former love from misery, no matter the cost.
Theron has already proven her Oscar win for Monster was deserved a few times over, but here she gets the chance at another kind of monster in Mavis, giving her just the right amount of bitchiness and believability without making her a cartoon. What's even more impressive is that Theron has the balls to play a character so utterly unlikeable. Mavis truly has no redeemable qualities, and in the end doesn't even learn anything or make any kind of huge change, and Theron relishes it. It's rare nowadays to see an honest to god movie star make such a move. Don't get me wrong, there are plenty of movie stars who are still giving great performances, but few give off such a sense of 'I don't give a fuck' as Theron is here. Truly refreshing.
Praise also has to be given to Patton Oswalt, who plays Theron's crippled former class mate who is the only one who tries even a little bit to convince Mavis that something is seriously wrong with her. Oswalt has slowly but surely been delivering great performances for years now, especially with Big Fan, and here's hoping Young Adult enables him even more chances.
The only thing that doesn't stand out about Young Adult is Jason Reitman's direction. That's not a diss though. Reitman understands that the script and cast have done a lot of the work for him, so he carefully and quietly guides the story to its end, unafraid to let the movie go to the dark places it does and willing to let everyone else take all the credit.
As a Jason Reitman film, I have to say I enjoyed Up in the Air and Thank You for Smoking quite a bit more. But as a Diablo Cody and Charlize Theron movie, I really liked it. I'm especially excited to see what Cody does with her Evil Dead script given how dark and funny her work here is.
So there is one down. I've also seen The Decendants and The Girl with the Dragon Tattoo so I'll try to get something up here for both of those before the weekend is done.
So, until then, suck it.
I have seen Juno twice, albeit not since it was originally released. Even after all this time, I can't quite figure out how I feel about the movie. On one hand, the dialogue at times was excruciating, so much so that anyone defending it by arguing that's just how teens talk today sent me into a blinding rage. I blamed Cody. On the other hand though, there are some genuinely fucked up things that happen in that movie, things that are dealt with in a very realistic and honest way. Some of this is due to Reitman's deft direction, but it was Cody who laid the groundwork.
I'd have to see the film again before I could try and figure out what my final opinion of it and Cody's effort is, but I can definitely tell you that after viewing Young Adult, I will be keeping a close eye on all her future projects from this point on.
The film opens with a wordless introduction to Mavis, played by Charlize Theron, showing her going through what appears to be her morning routine. Wake up face down and hungover, chug diet coke straight from the bottle, do a half ass workout with a Wii, watch The Kardashians and eventually sit down to read emails and maybe do some work.
It feels as though Cody went out of her way to prove that her Oscar win wasn't a fluke and that she has more in her than just witty and insane dialogue( though there are a few moments where she allows a few choice teen phrases to pop up to amusing effect). The good news is that she succeeds, almost overwhelmingly so. Mavis is, in a word, a wreck. Completely self-obsessed and bordering on alcoholism, Mavis receives a slight slap to the face when she receives a mass email from her high school boyfriend announcing the birth of his child. Convinced that he is miserable, Mavis takes it upon herself to go back to her hometown and save her former love from misery, no matter the cost.
Theron has already proven her Oscar win for Monster was deserved a few times over, but here she gets the chance at another kind of monster in Mavis, giving her just the right amount of bitchiness and believability without making her a cartoon. What's even more impressive is that Theron has the balls to play a character so utterly unlikeable. Mavis truly has no redeemable qualities, and in the end doesn't even learn anything or make any kind of huge change, and Theron relishes it. It's rare nowadays to see an honest to god movie star make such a move. Don't get me wrong, there are plenty of movie stars who are still giving great performances, but few give off such a sense of 'I don't give a fuck' as Theron is here. Truly refreshing.
Praise also has to be given to Patton Oswalt, who plays Theron's crippled former class mate who is the only one who tries even a little bit to convince Mavis that something is seriously wrong with her. Oswalt has slowly but surely been delivering great performances for years now, especially with Big Fan, and here's hoping Young Adult enables him even more chances.
The only thing that doesn't stand out about Young Adult is Jason Reitman's direction. That's not a diss though. Reitman understands that the script and cast have done a lot of the work for him, so he carefully and quietly guides the story to its end, unafraid to let the movie go to the dark places it does and willing to let everyone else take all the credit.
As a Jason Reitman film, I have to say I enjoyed Up in the Air and Thank You for Smoking quite a bit more. But as a Diablo Cody and Charlize Theron movie, I really liked it. I'm especially excited to see what Cody does with her Evil Dead script given how dark and funny her work here is.
So there is one down. I've also seen The Decendants and The Girl with the Dragon Tattoo so I'll try to get something up here for both of those before the weekend is done.
So, until then, suck it.
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