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Posts Tagged ‘Margot Robbie’

Bombshell

Wednesday, March 11th, 2020

During my annual Oscar-bait viewing I was scared away from multi-nominee (best actress, best supporting actress, best makeup and hair) BOMBSHELL, about the Roger Ailes sexual harassment scandal at Fox News, when my friend Matt Lynch tweeted that it was “worse than VICE!” That was an effective and immediate optimism killer. Now that it’s on video though I gave it a shot and I don’t agree, it’s not nearly as obnoxious or frustrating as VICE. But what good does that do to me when it’s not very good either?

Three great actresses play three Fox News employees with their own little stories. Two are playing known real life TV personalities. All three are blonde. Charlize Theron (REINDEER GAMES) plays Megyn Kelly, the star of her own show who was held out as the smart and independent woman at Fox because a couple she noted Trump’s sexism a couple times during the 2016 election. Of couse she also did the same bullshit as every other jerk on that network (about the only example in the movie is her crusade against non-white depictions of Santa Claus).

Theron, one of my favorite working actors, captures Kelly’s demeanor well, and at times the makeup job is uncanny. But I kept thinking “Who does her accent remind me of?” and once I realized it was Mira Sorvino in ROMY AND MICHELE’S HIGH SCHOOL REUNION I couldn’t unthink it. (read the rest of this shit…)

Birds of Prey

Friday, February 14th, 2020

BIRDS OF PREY AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN is the movie that says “Okay, we fucked up that SUICIDE SQUAD movie, but Margot Robbie was great as Harley Quinn, right? Didn’t we kinda have something there?” And the answer is yes and yes, so luckily they gave her another movie. It’s the second feature for director Cathy Yan, whose 2018 debut DEAD PIGS takes place in Shanghai but stars Zazie Beetz. She obviously has Robbie’s pre-existing character and David Ayer’s SUICIDE SQUAD sensibilities to build off of here, but I think she makes it distinct – it feels to me like a studio hiring a promising new director to do her thing, not to follow instructions.

Formerly the abused girlfriend/sidekick of The Joker, this is the story of Harley’s life after breaking up with him. No longer enjoying the immunity provided by association with a famous psychopath boyfriend, Harley gets herself into trouble with various factions including but not limited to the gang run by Roman “Black Mask” Sionis (Ewan McGregor, MILES AHEAD, JANE GOT A GUN), police detective Renee Montoya (Rosie Perez, DANCE WITH THE DEVIL, Widows), somebody she punched in a roller derby bout (stuntwoman Keisha Tucker), and somebody who blames her for his face being tattooed like a clown and can’t fucking believe it when she doesn’t remember what he’s mad about (Matthew Willig, FULL CONTACT [1993], 3 FROM HELL). (read the rest of this shit…)

Once Upon a Time… in Hollywood

Wednesday, July 31st, 2019

THIS IS A FREE RANGE SPOILER REVIEW. THE SPOILERS ARE NOT KEPT IN CAGES. THEY JUST RUN ALL OVER THE PLACE, INCLUDING THE FIRST COUPLE SENTENCES. SEE THE MOVIE FIRST.

ONCE UPON A TIME… IN HOLLYWOOD is an odd and beautiful movie from… Quentin Tarantino. It’s undeniably one that only he could or would make – it’s even in his now-trademark ‘wish-fulfilling rewrite of a historical atrocity’ mode – but it’s different. It’s not as mean and angry as the last three, or as carefully plotted as any of them. It’s sort of a hang out movie, a day-in-the-life of two friends, and a gentle tale of surviving a mid-life crisis, wrapped in a love letter to Los Angeles of the late ’60s, and to the then-fading leading men of the ’50s, with a chaser of gruesome violence. The fun kind, though. The cathartic kind.

Throughout his career, Tarantino has shown his affinity for cool shit like spaghetti westerns, blaxploitation movies, kung fu and crime novels. Here’s where he says “Fuck it, I also like old cowboy shows and procedurals and stuff.” When the guy who makes film exhibition and criticism a major element of his WWII epic does one that’s actually about the Hollywood film industry, obviously he’s gonna go buck wild. The amount of detail he puts into the fictional career of TV star Rick Dalton (Leonardo DiCaprio, two episodes of The New Lassie) – to the point of needing a narrator to talk us through each entry from his Rome period – reaches the level of sci-fi world building. And of course Tarantino, being Tarantino, gives us a soundtrack that drips the sixties without one whiff of Creedence, Dylan, the Doors or Hendrix. Admittedly “Mrs. Robinson” is in there somewhere, but he leans more Deep Purple, Vanilla Fudge and Paul Revere & the Raiders. One of the few I knew was the Neil Diamond song. (read the rest of this shit…)

I, Tonya

Tuesday, January 16th, 2018

From the naming convention that brought you I, ROBOT and I, FRANKENSTEIN comes I, TONYA. I, Vern, was concerned about this one from the second the production company logos started. Obviously I’m all for movies kicking off with a blast of funk, but I couldn’t see how such music represented Tonya Harding, the scandal-scarred bad girl of Olympic figure skating, icon of early ’90s teased bangs, discussed in this movie as going to a Richard Marx concert, disparaged for her allegedly low class music choices in competitions (“Sleeping Bag” by ZZ Top), declaring herself a redneck, marrying a white man who wears a turtleneck under a cardigan.

Okay, they got a Chicago song on there, I buy that. But Violent Femmes? Siouxsie and the Banshees covering Iggy Pop? And yes, there’s a prominent use of “Spirit in the Sky.” All movies that aspire to hipness have “Spirit in the Sky.”

Throughout the movie these wall-to-wall needle drops never said to me “This is the soul of Tonya Harding,” but instead “Guys, this is like BOOGIE NIGHTS! This is like GOODFELLAS! Right Guys? It’s like Scorsese!” An Entertainment Weekly  interview with music supervisor Susan Jacobs confirms that she sees it as “the soundtrack of AMERICAN HUSTLE or a Scorsese film.” She says they chose ’70s and early ’80s music because “there’s a warmth to the ’70s that does not exist to the ’80s and ’90s.” Sorry Richard Marx.

It’s a small thing. Most people shouldn’t care. But it felt false to me, and kept me a little skeptical. (read the rest of this shit…)

Suicide Squad

Monday, August 8th, 2016

tn_suicidesquadFor many years, Warner Brothers had pretty good luck making Batman and Superman movies. With SUPERMAN: THE MOVIE they pretty much invented the comic book movie. With BATMAN they reinvigorated it. Sure, there were those Joel Schumacher movies that put the whole venture in peril, but then they took the genre to the next level when they let Christopher Nolan start over and do his very successful and influential trilogy. They’ve had more hits than misses, I think.

But now the rival Marvel Comics company has their whole interconnected movie universe thing, and everybody’s gonna be jealous of their neighbor’s sports car, I guess, so WB is trying to do one of those for DC Comics. So far this has caused excitement followed by disappointment.

But the upside is that because they’re desperate to show off all these characters they own they went for the cool idea of SUICIDE SQUAD, a comic where a bunch of the villains from other comics are taken out of prison and forced on dangerous missions for the government, DIRTY DOZEN or Snake Plissken style. Popular bad guy characters are able to be enjoyed as anti-heroes, and get some amount of redemption for that time when they tried to rob a bank but the Flash caught them or whatever. The movie version is written and directed by David Ayer. That’s the guy who used to be known for writing TRAINING DAY, but more recently he’s come into his own as a writer/director with END OF WATCH, SABOTAGE and FURY. He can also brag that he has a writing credit on THE FAST AND THE FURIOUS. (read the rest of this shit…)

The Legend of Tarzan

Wednesday, July 13th, 2016

tn_legendoftarzanI’ve said it before and I’ll say it again: THANK YOU studios for continuing to make these expensive old-timey adventure character movies even though they are always financially disastrous. I for one appreciate the gesture!

Of this type of movie, Gore Verbinski’s THE LONE RANGER is far and away the most entertaining and masterful. THE LEGEND OF TARZAN is closer to the level of the last major Edgar Rice Burroughs adaptation, Andrew Stanton’s JOHN CARTER. It’s a little slicker than that one, but also a little more normal since it takes place on Earth with Earth type animals. Yet it’s not what I expected at all. It knows that you already know the basics about Tarzan, so it tries to walk that delicate line of giving you a different spin without sacrificing the classic Tarzan shit you expect. It also tries to capture some of the feel of stories written a hundred years ago while looking at matters of race, gender and culture with today’s eyes. And it does these things fairly successfully.

In the opening we meet Leon Rom (Christoph Waltz, INGLOURIOUS BASTERDS, THE GREEN HORNET), a cruel Belgian mercenary searching for the fabled diamonds of Opar, and Mbonga (Djimon Hounsou, AMISTAD, LARA CROFT: TOMB RAIDER: THE CRADLE OF LIFE), a menacing cheetah-masked Chief willing to trade the diamonds for the capture of his greatest enemy, name-withheld-but-cut-to-the-title-THE-LEGEND-OF-TARZAN®. (read the rest of this shit…)