I mean honestly, I didn’t need any more information after the fight at the beginning. But yes, this is from the co-director of JOHN WICK. It’s based on a graphic novel, adapted by Kurt Johnstad, who I think did a good job on the 300 movies. And kudos for noting Charlize’s Academy Award after showing her kick a dude down some stairs. I got high hopes.
Posts Tagged ‘Charlize Theron’
I’m about 13 years late on this one, but it turns out there’s a reason Charlize Theron got an Oscar for MONSTER. Jeez. Playing Aileen Wuornos, “the first female serial killer,” she not only transforms herself, she transforms Wuernos.
That first part got all the attention. Theron was a well known actress by that point, but in movies like 2 DAYS IN THE VALLEY, THE DEVIL’S ADVOCATE, REINDEER GAMES and THE ITALIAN JOB her acting chops usually took back seat to her hotness. Here she wore fake teeth, bleached her eyebrows and had her skin looking freckled and rough, a pretty decent likeness of the real woman and (though it looks natural in the movie) extreme enough to get a bunch of attention. I actually think the most drastic part is the hair, though. The way the movie tells it she has the hair of a butch lesbian before she even discovers that she is one.
This is a love story. Aileen, going by Lee, decides rather than kill herself one rainy day she’ll take her last five bucks to a bar and get a beer. And this lonely young woman Selby (Christina Ricci, CASPER) approaches her, talks to her, buys her a pitcher. Aileen protests at first – “What is this, a gay place?” she had snorted to the bartender earlier – but she can’t really pass up a person being nice to her. Too rare. (read the rest of this shit…)
SPOILER WARNING. I mean, I can’t stop you from reading this, but I’m not being careful about spoilers because for crying out loud see this movie IMMEDIATELY. Quit your job if necessary.
Usually if you’re still watching a movie for the first time, it’s kinda premature to start thinking “this is a masterpiece.” Not so with MAD MAX: FURY ROAD. It’s part 4 in an old series, but it truly feels like an entirely new type of movie. It is thrilling, explosive, inventive action at its most pure and relentless, yet it manages to weave a moving and powerful story around and within and through the hundreds of spectacular stunts. As he has in each successive MAD MAX movie, director George Miller re-invents his post-poxyclipstic world with even more ornate detail and flair than before, unfolding a fantasy world as teeming with weird characters and happenings as the whole HOBBIT trilogy without ever dumping a bunch of exposition on us. He explains what we need to know economically, mostly visually, and leaves the rest for us to daydream about.
This is a movie that will transform people’s brains. It just might be the most elaborate action movie ever made, both in the complexity of the stunt sequences and in the meticulous design of the people and things in it. Now the cars aren’t just cool and beat up, they’re built from unlikely combinations of multiple vehicles piled on top of each other, covered in spikes, flame throwers, animal skulls and creepy doll heads, with weapons hidden inside and out and half naked goons climbing all over them firing guns and throwing spears and bombs. Steering wheels are removable, heavily decorated and carry some sort of religious significance. One character pulls his off and holds it aloft during a chase to show that he’s ready to die. (read the rest of this shit…)
15 MINUTES is a transitional Robert De Niro thriller bridging the Everybody Respects Robert De Niro era with the Robert De Niro Is a Guy Who Stars In DTV Movies With 50 Cent one. Here De Niro plays Detective Eddie Flemming, famous NYC supercop who steps on the toes of younger hot shot Fire Marshal Jordy Warsaw (Ed Burns in a practice run of his sidekick character in ALEX CROSS) when both report to the scene of a deadly apartment fire.
Eddie is famous for being on the tabloid show Top Story, where he lets the host, Robert Hawkins (Kelsey Grammer, Cheetos*), follow him on busts, so everybody treats him like a rock star and it pisses Warsaw off. But he really has been around the block and has alot of wisdom to share, so it’s a buddy movie where they butt heads but then he unexpectedly goes out on a limb for the kid and sort of mentors him and what not. All that type of stuff.
But also this is a satire about this crime celebrity culture, that’s what that title’s about. Back in the late ’80s, early 2000s we were very concerned about tabloid news shows and their morbid obsession with O.J. Simpson, the Menendez Brothers and etc., so here is a movie coming years after after MAN BITES DOG, SERIAL MOM, NATURAL BORN KILLERS, SCREAM, etc., and hitting at kind of an embarrassingly obvious target in my opinion. But it does get a little bit of novelty by framing it as the American dream, showing a crime spree committed by two European immigrants (introducing Karel Roden and Oleg Taktarov) who have come to America seeking opportunity. Well, actually to collect their share of the money from a bank robbery, which it turns out their buddy already spent while they were in prison. Whoops. Sorry fellas.
By the way I wonder if they ever met Yuri Boyka in prison? (read the rest of this shit…)
More than a decade after he almost started filming it with Mel Gibson, we finally have a trailer for George Miller’s return to the world of flipping cars and weirdo punk savages. Honestly I almost teared up watching this. Ladies and gentlemen, this is what we’re fighting for.
My thoughts can best be expressed in punctuation.
This is the third time I’ve seen PROMETHEUS. I saw it twice in the theater. It’s one of the most divisive movies in the history of outlawvern.com comments, and I wanted to see how it played after sleeping on it for a while. I still like it and think that its great filmatism overcomes its underlying stupidity. But I’ve got a few new thoughts on it.
We’ve discussed alot of unscientific things these scientists on the Prometheus do, but one I don’t remember thinking about before is that they’re totally jumping to this conclusion that humans were engineered. All they’re going on is the “DNA match,” that “their genetic material predates ours,” but doesn’t that seem more like we evolved from them than they purposely created us? I guess they’re going on the cave paintings, which they assume were made by the Engineers and did in fact lead them to this planet. But I don’t know, I don’t feel like this Engineer theory has been adequately proven. (read the rest of this shit…)
In the story of Snow White, if you remember, the huntsman is the guy who the evil queen sends to bring Snow White out into the woods and murder her. He’s gonna do it, ’cause work is work, but then he looks at her and falls in love with her beauty or is touched by her innocence or what have you and he just doesn’t have the stomach to, you know, cut open her stomach. (If she was ugly this would be a shorter tale). The Queen wants to know for sure the girl is dead but probly thinks it would be rude to make this guy haul back the whole body, so as a compromise she asks him to bring back some organs (lungs and liver in the original, heart in the Disney version) so he carves up a pig and brings her impostor parts.
In this new movie-fication of the story the huntsman (Chris THOR Hemsworth) has to go find Snow White (Kristen PANIC ROOM Stewart) in the woods and bring the heart back to the Queen (Charlize Theron) because she needs it to magically stay young forever. He doesn’t know who the girl is and there’s not much tension like he’s really gonna kill her, he just doesn’t do it and then they travel on one of those slow, boring fantasy journeys occasionally enlivened by monster appearances. No pigs are harmed.
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Okay, we’ve had high hopes for this movie for a long time. We’ve tried to avoid finding out too much about it. We have a sense of trust because of its connection to an all-time great movie by this same director but we also hope this is gonna be something new we’ve never seen before. So it has this weird combination of known quantity and total mystery.
Well, it’s a little more familiar than I was hoping but I also think you should just see it fresh so come on man, don’t read this review until you’ve already seen it. This is gonna be all SPOILERS.
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You know how sometimes you’re watching a movie and you feel like you don’t like the character as much as you’re supposed to? They’re meant to be relatable but you just think they’re an asshole? Well, YOUNG ADULT is the rare case where I felt like I liked the protagonist more than I was probly supposed to. Mavis Gary (Charlize Theron) is a real selfish asshole, she’s trying to do something crazy and unethical that could ruin people’s lives. So I felt kinda guilty about how much I liked and related to her. (read the rest of this shit…)
In the popular song and cartoon RUDOLPH THE RED-NOSED REINDEER, “reindeer games” are the fun group activities that all the popular reindeers enjoy but Rudolph is excluded from due to his low social caste. In the movie REINDEER GAMES the character “Monster” (Gary Sinise) uses it as a synonym for “funny business,” something that he threatens Rudy (Ben Affleck) not to participate in. This misuse of Christmas terminology doesn’t bother Rudy or probly occur to him, but it does bug him when Clarence Williams III keeps referring to “Santa’s dwarves.” So he does have a certain amount of respect for Christmas tradition.
REINDEER GAMES is not a Christmas movie in the sense that it’s about Christmas, or about somebody coming to a realization about the meaning of Christmas, at least not a very convincing one. But I can guarantee you this much: it takes place in December, with a heist planned for Christmas Eve, and with the participators all dressed as Santa Claus. So there are some discussions of cranberries and what not. Maybe a mention of sugar plums, I can’t remember for sure. (Have you ever had sugar plums? They’re actually really fuckin good. I wish I knew a place that sold them. I might have visions of them dancing in my head now that I remembered them.)
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