Inception
rating: *****
review: Christopher Nolan achieves his non-Batman trademark film with this mind-bending thriller packed with an all-star cast that helped reintroduce Tom Hardy.
Robin Hood
rating: ****
review: Dismissed as Ridley Scott and Russell Crowe rehashing their Gladiator collaboration, it feels for me like as authentic a version of the legend as we're likely to get.
I Love You, Phillip Morris
rating: ****
review: In hindsight a movie that stands as Jim Carrey's last stand as a lead actor with the ability to call his own shots, and a worthy addition to his string of surreal blending of comedy and drama, following The Truman Show and Eternal Sunshine of the Spotless Mind.
Remember Me
rating: ****
review: Robert Pattinson's first stab at a lead acting performance in Hollywood is a worthy addition to the troubled youth genre, and a keen and unexpected look at 9/11.
The Other Guys
rating: ****
review: Will Ferrell and Mark Wahlberg are a great comedic pairing (better here, perhaps than their two subsequent Daddy's Home movies), and also Adam McKay preparing for his later career.
Harry Potter and the Deathly Hallows, Part 1
rating: ****
review: The part with Harry, Ron & Hermione setting out on their own and finding the world even more bewildering than Hogwarts.
Wall Street: Money Never Sleeps
rating: ****
review: Oliver Stone right at the tail-end of still being taken seriously, at least getting to expand on one of his own previous statements, and making the most of it.
The Losers
rating: ****
review: A great action ensemble, featuring Idris Elba, Chris Evans, Jeffrey Dean Morgan, Zoe Saldana, and Jason Patric, with the kind of flair Robert Rodriguez previously brought to the movies.
True Grit
rating: ****
review: The definitive screen version of the story.
Clash of the Titans
rating: ****
review: Back when Sam Worthington was still a thing, he got to do a lot of interesting stuff, like this remake, immortalized by Liam Neeson uttering, "Release the kraken!"
Ondine
rating: ****
review: This quiet Colin Farrell drama proves you don't have to be flashy in order to do fantasy.
Somewhere
rating: ****
review: Sofia Coppola doesn't get near enough attention for the quality she consistently delivers in her movies, which cover a broad range of tones. This is another subdued study from 2010.
Get Him to the Greek
rating: ****
review: A rare instance of a breakout character from a movie (in this case, Aldous Snow from Forgetting Sarah Marshall) getting his own spinoff. The music's the best part!
Scott Pilgrim vs. the World
rating: ****
review: Based on the comic books, I've always described this as the geek version of (500) Days of Summer.
Valentine's Day
rating: ****
review: An ensemble romantic comedy packed with stars and memorable moments.
Cairo Time
rating: ****
review: A rare spotlight role for Alexander Siddig.
The Last Airbender
rating: ****
review: Considered emblematic of M. Night Shyamalan's fall from grace and loathed by fans of the original cartoons, it's good fun all the same.
Despicable Me
rating: ****
review: A perfect animated vehicle for Steve Carell. Debut of the Minions!
Iron Man 2
rating: ****
review: Somewhat universally considered among the worst of the MCU movies, it's actually among my favorites, a rare reflective entry. Plus the debut of Black Widow!
The Next Three Days
rating: ***
review: A minor Russell Crowe entry from when his career was treading water.
You Will Meet a Tall Dark Stranger
rating: ***
review: A minor Woody Allen ensemble pleasure.
The A-Team
rating: ***
review: Joe Carnahan's stab at the mainstream doesn't get the full pleasure of his wild impulses.
Hereafter
rating: ***
review: Clint Eastwood's stab at artful.
Winter's Bone
rating: ***
review: Jennifer Lawrence discovered! Otherwise a movie experience improved upon by the later Mud.
Unstoppable
rating: ***
review: Chris Pine gets upstaged by the train.
The Social Network
rating: ***
review: I'm more interested in it for the supporting performances of Andrew Garfield and Armie Hammer than following the activities of a self-centered jerk.
Machete
rating: ***
review: Robert Rodriguez seizes an opportunity provided by Grindhouse, but doesn't quite hit his Desperado/Once Upon a Time in Mexico/Sin City heights.
The Fighter
rating: ***
review: Christian Bale steals the movie as the far more interesting junkie brother.
Black Swan
rating: ***
review: Darren Aronofsky tends to get carried away with his fever dreams.
Shutter Island
rating: ***
review: Sort of like a version of Christopher Nolan that leans too heavily into expected territory.
How to Train Your Dragon
rating: ***
review: I know that it's based on a series of books, but it really feels as if this one's hurt by the existence of sequels.
Percy Jackson & the Olympians: The Lightning Thief
rating: ***
review: This is another one that's hurt by the existence of subsequent material.
Tron Legacy
rating: ***
review: All brilliant style that overpowers the story.
The Town
rating: ***
review: I appreciate how it revived Ben Affleck's career, but I guess I just ended up caring more about his brother Casey's Boston crime drama, Gone Baby Gone.
The Warrior's Way
rating: ***
review: I like to think of it as a kind of Pirates of the Caribbean in the old west, with a random South Korean inserted instead of Jack Sparrow.
Devil
rating: ***
review: M. Night Shyamalan's comeback bid actually kind of began with this, which he executive produced.
Death at a Funeral
rating: ***
review: Hilarious ensemble comedy.
Cop Out
rating: ***
review: I don't care if Kevin Smith hated making it, I loved watching it.
The Bounty Hunter
rating: ***
review: Hollywood in its early attempts at what to do with Gerard Butler post-300, in an unlikely romantic comedy that just made critics wary of Butler's manly persona uncomfortable (the stupid twats).
The Book of Eli
rating: ***
review: Here's an example of a twist ending that kind of diminishes the impact of the movie as a whole; learning that Denzel Washington was blind from the start would've made it much more interesting.
The Sorcerer's Apprentice
rating: ***
review: I wish Disney were still trying to do stuff like this (obviously an attempt to capture some of the Harry Potter magic) and not just buying everyone else's stuff. It gave Nicolas Cage something interesting to do that didn't make him look nuts.
The Prince of Persia: The Sands of Time
rating: ***
review: It's basically Gemma Arterton's movie.
The Wolfman
rating: ***
review: I think they overthought what was a dynamite concept in and of itself: Benicio del Toro in the iconic horror role.
Megamind
rating: ***
review: This is what Despicable Me looks like if it played too close to convention.
RED
rating: ***
review: Kind of wastes the premise and cast.
Salt
rating: ***
review: Kind of wastes an interesting character by throwing Angelina Jolie into having to deny allegations; Atomic Blonde later did this a lot better.
Alice in Wonderland
rating: ***
review: Overwhelming spectacle.
Shrek Forever After
rating: ***
review: The series had officially overstayed its welcome.
Jonah Hex
rating: ***
review: I'm a big Josh Brolin fan, so would probably watch it again for that reason alone. Probably missing the right balance for an odd comic book character like this.
Takers
rating: ***
review: Idris Elba's other action ensemble would've benefited from leaning more heavily on Paul Walker's Fast & Furious past (and future).
Tangled
rating: ***
review: Disney just before it figured out the Frozen formula.
Gulliver's Travels
rating: ***
review: The Jack Black version, which is a Jack Black version.
The Twilight Saga: Eclipse
rating: The one where Jacob is a creep again because Edward came back.
Knight & Day
rating: **
review: Tom Cruise and Cameron Diaz both seem like they weren't quite ready to make this one.
Skyline
rating: **
review: A kind of minor Independence Day.
Predators
rating: **
review: I'm not hugely sure why this is an ongoing franchise.
The Disappearance of Alice Creed
rating: **
review: It's a shame Gemma Arterton had to make stuff like this at the same time her Hollywood career was taking off.
Toy Story 3
rating: *
review: I know that this one's kind of universally beloved, but I find it to be a pointless rehash
The King's Speech
rating: *
review: A shameless act of Oscars pandering.
Stone
rating: *
review: A career low for Edward Norton.
Green Zone
rating: *
review: A career low for Matt Damon, Hollywood thinking it had defined the Iraq War.
Diary of a Wimpy Kid
rating: *
review: I'm not hugely sure why this feel-bad series of books happened, or why the movies happened.
Saturday, April 27, 2019
Redbox! (a look ahead)
Here's what I've got ahead in Redbox movies:
- Can You Ever Forgive Me? (2018) - Bridesmaids had the effect of instantly making a new star out of Melissa McCarthy, who seized the opportunity with a string of big hits. It's also given her the chance to make stuff like this, which I'm glad to see happened.
- Once Upon a Deadpool (2018) - The family-friendly cut of Deadpool 2; I was pleased to find a DVD release of it (stores stock the Blu-ray version). Glad this happened, too.
- The Girl in the Spider's Web (2018) - A second US movie finally happened. I was annoyed that Rooney Mara didn't get to reprise the role, but then I'm also a reader who's enjoyed the post-Larsson books. Lisbeth Salander's cultural impact seems to have dimmed considerably, but I still treasure her. So, I'm glad this movie happened, too.
- The Magnificent Seven (2016) I remember being underwhelmed by it in theaters, but am still interested enough to give it another chance. Even if seems to have been conceived as a mainstream Hollywood version of a Quentin Tarantino movie (which has also happened with Murder on the Orient Express, which echoes The Hateful Eight), which in this case is Django Unchained, it still gives Denzel Washington one of his more interesting recent roles (he and Liam Neeson seem to be going after stock movies a little too often these days), and it's got Chris Pratt in a featured role as well, and that's too interesting a career for me to ignore.
- Mary Queen of Scots (2018) It's got Margot Robbie, and Saoirse Ronan, who finally interested critics with a movie (Lady Bird) I have no interest in, of course. Being a fan of Yorgos Lanthimos fan, I've already seen the other 2018 women-in-a-historical-setting-are-rivals movie The Favourite. Figure this one will be less quirky (which is not a dig against Favourite; it's good quirky!).
- The Sisters Brothers (2018) I begin to understand how cult movies happen, in that they have to be ignored initially. So I'm glad I'm attuned to movies with that kind of potential, like this. I also happen to have a thing for westerns, thanks to my dad, so I'm always on the lookout.
- Skyscraper (2018) - Being a pro wrestling fan, I was happy to see Dwayne Johnson's movie career happen, and for it to subsequently become a rousing success. I don't try to see all of his material, but I like to watch the ones where he's doing something interesting. This one, for instance, features (for him) a more grounded character.
Redbox!
My obsession the past few years has been getting cheap movies from Redbox. I did the same sort of thing from actual video rental stores when they still existed, so I'm glad Redbox has continued the tradition. Sometimes I buy movies just because they're cheap and look interesting. Here's a look at some that I bought in recent months (and have gotten around to watching):
- Annihilation (2018) - This was a much-buzzed-about movie last year that I found less interesting than others, notable mostly for its female cast than for the cheap horror thrills that pad out the story. It's like the B-movie version of Arrival.
- Ant-Man and the Wasp (2018) - Unlike a lot of MCU fans, I consider Ant-Man a huge highlight of the series. This was one of the two entries released between Avengers: Infinity War and Avengers: Endgame (meant to write up something about Captain Marvel but I've been a bad blogger lately), and it's got just about everything going for it. One of my favorite MCU movies.
- Darkest Hour (2017) - Gary Oldman as Winston Churchill isn't the only reason to watch this, but the sheer audacity of Churchill's existence itself, in an age that still wants us to believe personality trumps policy (or indeed has anything at all to do with it). To watch British officials try and weasel their way out of WWII (which in hindsight is unthinkable) is itself worthy of documenting.
- I Kill Giants (2017) - Based on a comic book (basically the reason the girl wears those rabbit ears), this is a low-impact version of the brilliant A Monster Calls.
- Passengers (2016) - You can always tell when there's a push against a movie, and there was a massive push against Passengers, I think mostly to try and derail Chris Pratt's popularity at the box office (this is an era that seems hell-bent on destroying the idea of movie stars). I don't give a shit what people say about it (the whole notion that it's unintentionally creepy can only be defended by people who haven't actually seen it), it's a good movie.
- Paul, Apostle of Christ (2018) - The hook of this one was that it was Jim Caviezel's return to biblical filmmaking (following, of course, The Passion of the Christ, needlessly dismissed as controversial despite being a seminal work of movie art), depicting the early Christian era. I confess to not having properly watched this one yet.
- Teen Titans Go! to the Movies (2018) Unlike the increasingly spastic cartoon series from which it derives, the movie mostly restrains itself as one long in-joke that's a fine commentary on our superhero-saturated movie era.
- Terminal (2018) - I got this one mostly because I've become interested in Margot Robbie's career but also because it's a rare recent film appearance of Mike Myers (who's indeed, based on an incomplete viewing, an expected highlight).
- Woman Walks Ahead (2017) - What has continuously confounded me is how Jessica Chastain can be the best actress of her generation and be so consistently overlooked. She gives yet another compelling performance in this one, a historical drama based on true events (any disputes about its accuracy only serves to confirm the maxim that ought to exist about not taking all your historical facts from movies), an unexpected relationship between a widow and Sitting Bull. Sam Rockwell, also always worth following, provides a fine supporting role.
- The Yellow Birds (2017) - An Iraq War drama with some of the best young actors working today (Alden Erhenreich, Tye Sheridan, Jack Huston), deserves to be considered among the classics of its genre.
Thursday, January 10, 2019
Preliminary listing of favorite 2018 films
1. Isle of Dogs - I've gushed about this before; it's a brilliant, complete package of casting, storytelling, and moviemaking flare.
2. The Death of Stalin - I love that it's a challenge. I love that it takes a nightmare scenario concerning a regime that couldn't be less likely to be the subject of a movie like this, and completely turns it on its head. This is the textbook definition of farce, the opposite of what it seems it should be, and in that way illuminates the conditions and personalities with exquisite perfection.
3. Fantastic Beasts: Crimes of Grindelwald - After Goblet of Fire, I think this is about as perfect a cinematic experience from the world of Harry Potter that has yet appeared.
4. The Old Man & the Gun - A truly elegiac farewell to Robert Redford.
5. Damsel - A gloriously subversive western.
6. Gringo - A farce of a different variety than Death of Stalin, but even more delirious, if that's even possible.
7. Super Troopers 2 - I'm not actually even that big a fan of the first one, so much a fan of Broken Lizard in general. But lampooning Canadians and America's current reputation helps elevate the material.
8. Widows - Moreso than BlacKkKlansman, I think this one nails the complexities of race relations in modern America.
9. Solo: A Star Wars Movie - I'm that rare fan who loved this one.
10. Dark Crimes - Fascinating performance from Jim Carrey.
Final results may vary. I've yet to see some heavy hitters, like The Other Side of the Wind and The Favourite. Since it'll be getting a North American release in 2019, I'm not sure where The Man Who Killed Don Quixote will fall, but I remain confident that the journey will have been worth it.
2. The Death of Stalin - I love that it's a challenge. I love that it takes a nightmare scenario concerning a regime that couldn't be less likely to be the subject of a movie like this, and completely turns it on its head. This is the textbook definition of farce, the opposite of what it seems it should be, and in that way illuminates the conditions and personalities with exquisite perfection.
3. Fantastic Beasts: Crimes of Grindelwald - After Goblet of Fire, I think this is about as perfect a cinematic experience from the world of Harry Potter that has yet appeared.
4. The Old Man & the Gun - A truly elegiac farewell to Robert Redford.
5. Damsel - A gloriously subversive western.
6. Gringo - A farce of a different variety than Death of Stalin, but even more delirious, if that's even possible.
7. Super Troopers 2 - I'm not actually even that big a fan of the first one, so much a fan of Broken Lizard in general. But lampooning Canadians and America's current reputation helps elevate the material.
8. Widows - Moreso than BlacKkKlansman, I think this one nails the complexities of race relations in modern America.
9. Solo: A Star Wars Movie - I'm that rare fan who loved this one.
10. Dark Crimes - Fascinating performance from Jim Carrey.
Final results may vary. I've yet to see some heavy hitters, like The Other Side of the Wind and The Favourite. Since it'll be getting a North American release in 2019, I'm not sure where The Man Who Killed Don Quixote will fall, but I remain confident that the journey will have been worth it.
Saturday, January 5, 2019
2019: The Year Ahead
(All releases dates subject to change.)
The Upside (1/11)
Starring Kevin Hart, Bryan Cranston & Nicole Kidman, one of those life-affirming movies that looks like it's also a lot of fun.
Glass (1/18)
M. Night Shyamalan completes a trilogy begun with Unbreakable and Split.
The Kid Who Would Be King (1/25)
The trailer instantly intrigued me.
What Men Want (2/8)
Apparently if someone were to star in the reverse of the Mel Gibson flick, it's Taraji P. Henson, who's beginning to look like she can do anything.
Alita: Battle Angel (2/15)
And hopefully this Robert Rodriguez flick is released this year!
Fighting with My Family (2/15)
Dwayne Johnson has a small role in which he gets to reprise his wrestling persona on film.
Captain Marvel (3/8)
The future of the MCU might hinge on this.
Dumbo (3/29)
This latest Disney live action remake costars Colin Farrell, which makes it an automatic watch for me.
Shazam! (4/5)
Believe it or not, but the title superhero of this one was also known as Captain Marvel until recently.
Pet Sematary (4/5)
Still haven't seen It, but Stephen King has been one of Hollywood's favorite writers for years, with sometimes brilliant results. This looks like one of those.
Breakthrough (4/12)
Directed by Roxann Dawson, whose own breakthrough was in Star Trek: Voyager, as an actor, but she's been working steadily for years behind the camera. This appears to be her biggest project to date.
Under the Silver Lake (4/19)
Featuring Andrew Garfield.
High Life (4/19)
The latest from Robert Pattinson.
Avengers: Endgame (4/26)
Technically the fourth Avengers flick, but really the culmination of every MCU movie to date.
Pokémon: Detective Pikachu (5/10)
Ryan Reynolds seems to have found another perfect showcase.
John Wick: Chapter 3 (5/17)
The more of these that're made, the more I think I ought to be watching them.
Aladdin (5/24)
Another live action Disney remake I'm interested in mainly for one actor, in this case Will Smith.
Ad Astra (5/24)
It's been far too long since Brad Pitt had something interesting to do.
Brightburn (5/24)
A horror version of Man of Steel.
Dark Phoenix (6/7)
The latest and probably last X-Men flick from Fox Studios.
Men in Black: International (6/14)
Reinvention of one of my favorite franchises, which seems to have done it right.
Shaft (6/14)
Samuel L. Jackson gets so few spotlights, it's always worth celebrating.
Toy Story 4 (6/21)
I'm the only person on the planet who didn't like Toy Story 3. I hope this one's better.
Ford v. Ferrari (6/28)
Pitting Christian Bale against Matt Damon? Yes please!
Spider-Man: Far From Home (7/5)
I greatly preferred the Andrew Garfield interpretation to Tom Holland's first crack. Hopefully this one's better.
Stuber (7/12)
Dave Bautista in his biggest starring role to date.
Once Upon a Time in Hollywood (7/26)
Tarantino is a perennial threat for directing my favorite movie of the year.
Hobbs & Shaw (8/2)
The Fast & Furious spinoff featuring Dwayne Johnson & Jason Statham.
The New Mutants (8/2)
A Fox X-Men spinoff.
Dora the Explorer (8/2)
Featuring Temuera Morrison, Benicio Del Toro & Michael Pena.
Artemis Fowl (8/9)
One of the many characters who sought to cash in on Harry Potter's success, coming to film much later than the others. We're about to see whether or not that was a good thing.
Boss Level (8/16)
New from Joe Carnahan! Featuring Mel Gibson!
Angel Has Fallen (8/23)
Another third in a series I have yet to see.
Joker (10/4)
Joaquin Phoenix in his highest profile role since Gladiator. An absolute must-see.
Gemini Man (10/4)
New from Ang Lee.
The Woman in the Window (10/4)
New from Joe Wright.
Zombieland 2 (10/11)
Never really expected to see this happen.
A Beautiful Day in the Neighborhood (10/18)
Seems like a perfect role for Tom Hanks, right?
Sonic the Hedgehog (11/8)
The latest voiceover performance from Jim Carrey.
Margie Claus (11/15)
Melissa McCarthy ought to get an evergreen out of this one.
Frozen 2 (11/22)
Huge expectations song-wise for this one.
Knives Out (11/29)
New from Rian Johnson, featuring Daniel Craig and Chris Evans.
Star Wars: Episode IX (12/20)
The conclusion to the sequel trilogy.
And as always, I don't know when or if I'll get to see all these, and what I might add along the way. You never know!
The Upside (1/11)
Starring Kevin Hart, Bryan Cranston & Nicole Kidman, one of those life-affirming movies that looks like it's also a lot of fun.
Glass (1/18)
M. Night Shyamalan completes a trilogy begun with Unbreakable and Split.
The Kid Who Would Be King (1/25)
The trailer instantly intrigued me.
What Men Want (2/8)
Apparently if someone were to star in the reverse of the Mel Gibson flick, it's Taraji P. Henson, who's beginning to look like she can do anything.
Alita: Battle Angel (2/15)
And hopefully this Robert Rodriguez flick is released this year!
Fighting with My Family (2/15)
Dwayne Johnson has a small role in which he gets to reprise his wrestling persona on film.
Captain Marvel (3/8)
The future of the MCU might hinge on this.
Dumbo (3/29)
This latest Disney live action remake costars Colin Farrell, which makes it an automatic watch for me.
Shazam! (4/5)
Believe it or not, but the title superhero of this one was also known as Captain Marvel until recently.
Pet Sematary (4/5)
Still haven't seen It, but Stephen King has been one of Hollywood's favorite writers for years, with sometimes brilliant results. This looks like one of those.
Breakthrough (4/12)
Directed by Roxann Dawson, whose own breakthrough was in Star Trek: Voyager, as an actor, but she's been working steadily for years behind the camera. This appears to be her biggest project to date.
Under the Silver Lake (4/19)
Featuring Andrew Garfield.
High Life (4/19)
The latest from Robert Pattinson.
Avengers: Endgame (4/26)
Technically the fourth Avengers flick, but really the culmination of every MCU movie to date.
Pokémon: Detective Pikachu (5/10)
Ryan Reynolds seems to have found another perfect showcase.
John Wick: Chapter 3 (5/17)
The more of these that're made, the more I think I ought to be watching them.
Aladdin (5/24)
Another live action Disney remake I'm interested in mainly for one actor, in this case Will Smith.
Ad Astra (5/24)
It's been far too long since Brad Pitt had something interesting to do.
Brightburn (5/24)
A horror version of Man of Steel.
Dark Phoenix (6/7)
The latest and probably last X-Men flick from Fox Studios.
Men in Black: International (6/14)
Reinvention of one of my favorite franchises, which seems to have done it right.
Shaft (6/14)
Samuel L. Jackson gets so few spotlights, it's always worth celebrating.
Toy Story 4 (6/21)
I'm the only person on the planet who didn't like Toy Story 3. I hope this one's better.
Ford v. Ferrari (6/28)
Pitting Christian Bale against Matt Damon? Yes please!
Spider-Man: Far From Home (7/5)
I greatly preferred the Andrew Garfield interpretation to Tom Holland's first crack. Hopefully this one's better.
Stuber (7/12)
Dave Bautista in his biggest starring role to date.
Once Upon a Time in Hollywood (7/26)
Tarantino is a perennial threat for directing my favorite movie of the year.
Hobbs & Shaw (8/2)
The Fast & Furious spinoff featuring Dwayne Johnson & Jason Statham.
The New Mutants (8/2)
A Fox X-Men spinoff.
Dora the Explorer (8/2)
Featuring Temuera Morrison, Benicio Del Toro & Michael Pena.
Artemis Fowl (8/9)
One of the many characters who sought to cash in on Harry Potter's success, coming to film much later than the others. We're about to see whether or not that was a good thing.
Boss Level (8/16)
New from Joe Carnahan! Featuring Mel Gibson!
Angel Has Fallen (8/23)
Another third in a series I have yet to see.
Joker (10/4)
Joaquin Phoenix in his highest profile role since Gladiator. An absolute must-see.
Gemini Man (10/4)
New from Ang Lee.
The Woman in the Window (10/4)
New from Joe Wright.
Zombieland 2 (10/11)
Never really expected to see this happen.
A Beautiful Day in the Neighborhood (10/18)
Seems like a perfect role for Tom Hanks, right?
Sonic the Hedgehog (11/8)
The latest voiceover performance from Jim Carrey.
Margie Claus (11/15)
Melissa McCarthy ought to get an evergreen out of this one.
Frozen 2 (11/22)
Huge expectations song-wise for this one.
Knives Out (11/29)
New from Rian Johnson, featuring Daniel Craig and Chris Evans.
Star Wars: Episode IX (12/20)
The conclusion to the sequel trilogy.
And as always, I don't know when or if I'll get to see all these, and what I might add along the way. You never know!
Saturday, November 24, 2018
Damsel (2018)
rating: ****
the story: In the Old West, a young man goes on a quest to rescue the love of his life.
review: I've been a fan of Robert Pattinson since he showed up for a minor role in Harry Potter and the Goblet of Fire (2005). He later made his name in the Twilight movies, and has been working steadily in low profile starring roles ever since. With last year's Good Time, Pattinson started receiving some critical appreciation. He's become a kind of new Leonardo DiCaprio, whom he most closely resembles in style in Damsel, although his role choices have started to look a lot like the young Brad Pitt. Little wonder that he's gone in either direction; hard to find any actors with more interesting careers than theirs, in an era that has increasingly challenged the continued validity of the lead actor concept.
Damsel seems to have confounded most viewers. Is it meant to be a straight western? If so, why is Pattinson so buggy in the lead role? Or is it supposed to be a farce? Then why all the nasty violence? This ain't exactly Deadpool. So what's the deal?
A damn fine piece of filmmaking, one of the more interesting efforts I've seen in recent years. Directors David(who doubles as one of the main characters, a parson who's consistently in way over his head) and Nathan Zellner have no previous widely-known films under their belts (I know movies pretty well; their work seems to have fallen in the extremely limited release realm before Damsel), but their work here is a true revelation. Beautiful cinematography on top of everything else, it's their storytelling that most singles them out.
And what exactly is the story of Damsel? Because about halfway through, it completely switches tracks! Pattinson's character is dead, and everything the story had suggested about him turns out to be false, and...we're never really given clarification. It ends up being about Mia Wasikowska's "damsel" as she struggles to reclaim her sanity. Pattinson shows up out of nowhere, suddenly less a daring-do romantic hero and more a psychotic murderer, who kills her husband before committing suicide once it becomes clear he never really had Wasikowska's heart...Yeah!
It seems to be completely nuts. But in such a good way! The lack of answers actually works in Damsel's favor, ambiguity that's far too rare in mainstream movies (unless you're Christopher Nolan). Pattinson is positively magnetic in his role, seems to have been positively born to play it. Wasikowska, who has yet to have been fully embraced by critics despite years of excellent work, more than carries the movie in his absence. If this is an experience that confounds viewers, it's also one that is difficult to ignore, and hopefully helps everyone involved attract greater notice in the future.
Of course, Damsel gets a lot of extra credit for me from the opening sequence with Robert Forster, who's somehow never gotten the attention he deserved from his rediscovery in Jackie Brown (1997), where he effortlessly commands the screen with his unique charisma. Yeah, his presence also helps set the tone for this one.
But the movie itself is so peculiarly compelling, that Damsel ought to at least earn a cult following. It's like Seth MacFarlane's post-modern western A Million Ways to Die in the West (2014), but as a true work of art.
the story: In the Old West, a young man goes on a quest to rescue the love of his life.
review: I've been a fan of Robert Pattinson since he showed up for a minor role in Harry Potter and the Goblet of Fire (2005). He later made his name in the Twilight movies, and has been working steadily in low profile starring roles ever since. With last year's Good Time, Pattinson started receiving some critical appreciation. He's become a kind of new Leonardo DiCaprio, whom he most closely resembles in style in Damsel, although his role choices have started to look a lot like the young Brad Pitt. Little wonder that he's gone in either direction; hard to find any actors with more interesting careers than theirs, in an era that has increasingly challenged the continued validity of the lead actor concept.
Damsel seems to have confounded most viewers. Is it meant to be a straight western? If so, why is Pattinson so buggy in the lead role? Or is it supposed to be a farce? Then why all the nasty violence? This ain't exactly Deadpool. So what's the deal?
A damn fine piece of filmmaking, one of the more interesting efforts I've seen in recent years. Directors David(who doubles as one of the main characters, a parson who's consistently in way over his head) and Nathan Zellner have no previous widely-known films under their belts (I know movies pretty well; their work seems to have fallen in the extremely limited release realm before Damsel), but their work here is a true revelation. Beautiful cinematography on top of everything else, it's their storytelling that most singles them out.
And what exactly is the story of Damsel? Because about halfway through, it completely switches tracks! Pattinson's character is dead, and everything the story had suggested about him turns out to be false, and...we're never really given clarification. It ends up being about Mia Wasikowska's "damsel" as she struggles to reclaim her sanity. Pattinson shows up out of nowhere, suddenly less a daring-do romantic hero and more a psychotic murderer, who kills her husband before committing suicide once it becomes clear he never really had Wasikowska's heart...Yeah!
It seems to be completely nuts. But in such a good way! The lack of answers actually works in Damsel's favor, ambiguity that's far too rare in mainstream movies (unless you're Christopher Nolan). Pattinson is positively magnetic in his role, seems to have been positively born to play it. Wasikowska, who has yet to have been fully embraced by critics despite years of excellent work, more than carries the movie in his absence. If this is an experience that confounds viewers, it's also one that is difficult to ignore, and hopefully helps everyone involved attract greater notice in the future.
Of course, Damsel gets a lot of extra credit for me from the opening sequence with Robert Forster, who's somehow never gotten the attention he deserved from his rediscovery in Jackie Brown (1997), where he effortlessly commands the screen with his unique charisma. Yeah, his presence also helps set the tone for this one.
But the movie itself is so peculiarly compelling, that Damsel ought to at least earn a cult following. It's like Seth MacFarlane's post-modern western A Million Ways to Die in the West (2014), but as a true work of art.
Friday, November 23, 2018
Heat (1995)
rating: ****
the story: An epic showdown between cop and criminal.
review: Long billed as the long-awaited pairing of Robert De Niro and Al Pacino onscreen together (they previously both appeared in Godfather Part II, but in separate sequences), Heat is actually an embarrassment of riches, in hindsight, full of actors who would populate the big and small screens for years to come. And it's arguably the predecessor to The Dark Knight in terms of action movies.
Here's the talent assembled for Heat: De Niro, Pacino. Val Kilmer and Natalie Portman. Amy Brenneman, Ashley Judd. Jon Voight (who like Kilmer sports long hair for the movie). Tom Sizemore. Mykelti Williamson, who the year previous had his breakthrough appearance as Bubba in Forrest Gump, and would later play another cop in the underappreciated TV gem Boomtown. Dennis Haysbert, years before playing a president in 24, or helping us be in good hands with All-State. Danny Trejo. William Fichtner, who still has yet to be properly noticed. Wes Studi, Hank Azaria, Xander Berkeley (who also later appeared in 24). And Jeremy Piven, another talent who deserves much greater recognition for his screen presence.
And they're all here! Just spending the time enjoying them make their appearances, large and small, is worth watching this one.
Of course, it circles back to De Niro and Pacino. De Niro is in subdued mode, not the outsize gangster he is in Scorsese movies but more as he appears in Tarantino's Jackie Brown, two years later. Pacino, as he often does, chews a lot of scenery, but when it counts, he matches De Niro's mood, and it's everything you always heard Heat was. These are screen giants, and their epic showdown is exactly what it was always supposed to be.
But Michael Mann, who made his name in television, including Miami Vice (which he later adapted to the big screen in the same mold as Heat), isn't merely interested in acting. He's got a big action movie in mind, in the kind of scope he basically perfects, in the years before superheroes came to dominate the genre, in the years after the '80s saw them dominated by action stars. This is an experience that crosses all boundaries.
And yeah, it's exactly the kind of experience that Christopher Nolan later duplicated for The Dark Knight. The hype and magnetism of Heath Ledger's Joker was what everyone talks about, but Nolan was the first director since Mann to nail this kind of action movie. And at its heart, Dark Knight is more this kind of action movie than it is a superhero movie, and I think that's what Nolan realized, and was going for, and what audiences liked so much about it, too.
If Heat doesn't get talked about enough these days as a milestone of the '90s, and filmmaking in general, it's because it's remembered now for the De Niro/Pacino pairing, and the fact that after this their careers were never quite the same again. De Niro reached a dramatic peak, and went in the direction of comedy, and Pacino became dismissed for what's since become best illustrated by Nicolas Cage, the idea that acting style is suddenly a crime, where the idea of movie stars has slipped by the wayside. Which is ironic, as the dawn of the modern blockbuster begins with a movie where the acting is, distractedly, the whole point, by observers who can't quite keep the whole scope of the experience in mind.
the story: An epic showdown between cop and criminal.
review: Long billed as the long-awaited pairing of Robert De Niro and Al Pacino onscreen together (they previously both appeared in Godfather Part II, but in separate sequences), Heat is actually an embarrassment of riches, in hindsight, full of actors who would populate the big and small screens for years to come. And it's arguably the predecessor to The Dark Knight in terms of action movies.
Here's the talent assembled for Heat: De Niro, Pacino. Val Kilmer and Natalie Portman. Amy Brenneman, Ashley Judd. Jon Voight (who like Kilmer sports long hair for the movie). Tom Sizemore. Mykelti Williamson, who the year previous had his breakthrough appearance as Bubba in Forrest Gump, and would later play another cop in the underappreciated TV gem Boomtown. Dennis Haysbert, years before playing a president in 24, or helping us be in good hands with All-State. Danny Trejo. William Fichtner, who still has yet to be properly noticed. Wes Studi, Hank Azaria, Xander Berkeley (who also later appeared in 24). And Jeremy Piven, another talent who deserves much greater recognition for his screen presence.
And they're all here! Just spending the time enjoying them make their appearances, large and small, is worth watching this one.
Of course, it circles back to De Niro and Pacino. De Niro is in subdued mode, not the outsize gangster he is in Scorsese movies but more as he appears in Tarantino's Jackie Brown, two years later. Pacino, as he often does, chews a lot of scenery, but when it counts, he matches De Niro's mood, and it's everything you always heard Heat was. These are screen giants, and their epic showdown is exactly what it was always supposed to be.
But Michael Mann, who made his name in television, including Miami Vice (which he later adapted to the big screen in the same mold as Heat), isn't merely interested in acting. He's got a big action movie in mind, in the kind of scope he basically perfects, in the years before superheroes came to dominate the genre, in the years after the '80s saw them dominated by action stars. This is an experience that crosses all boundaries.
And yeah, it's exactly the kind of experience that Christopher Nolan later duplicated for The Dark Knight. The hype and magnetism of Heath Ledger's Joker was what everyone talks about, but Nolan was the first director since Mann to nail this kind of action movie. And at its heart, Dark Knight is more this kind of action movie than it is a superhero movie, and I think that's what Nolan realized, and was going for, and what audiences liked so much about it, too.
If Heat doesn't get talked about enough these days as a milestone of the '90s, and filmmaking in general, it's because it's remembered now for the De Niro/Pacino pairing, and the fact that after this their careers were never quite the same again. De Niro reached a dramatic peak, and went in the direction of comedy, and Pacino became dismissed for what's since become best illustrated by Nicolas Cage, the idea that acting style is suddenly a crime, where the idea of movie stars has slipped by the wayside. Which is ironic, as the dawn of the modern blockbuster begins with a movie where the acting is, distractedly, the whole point, by observers who can't quite keep the whole scope of the experience in mind.
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