There’s this weird psychological thing about the availability of movies. I looked at IMDb and determined that I’ve seen every Coen Brothers movie since THE HUDSUCKER PROXY in the theater, most of them probly on the first day or opening weekend. That’s thirteen films over a period of 24 years. But when THE BALLAD OF BUSTER SCRUGGS went straight to Netflix I let it sit there for more than two months before I finally got to it. Because, you know, every weekend I wanted to go see WIDOWS or CREED II or on and on, and I rented THE FOREIGNER I needed to watch that and return it and then I wanted to watch some Christmas horror, that was more timely, that had a sell by date. I procrastinate more when it feels like it’s accessible at any moment between now and the day whatever black magic they’ve been using to stay in business wears out.
I bring this up to explain how surprised I am at myself for seeing an article mentioning the release date of the Netflix original CLOSE and realizing it had gone up 18 minutes ago and then spontaneously actually watching it. I sorta did that for THE NIGHT COMES FOR US too, but that came with the pedigree of HEADSHOT. This one I had seen a trailer and knew Noomi Rapace (THE GIRL WITH THE DRAGON TATTOO, PROMETHEUS, PASSION, DEAD MAN DOWN, THE DROP) was a badass in it so it seemed like some DTV shit I could get behind. (read the rest of this shit…)
Hello everyone. I don’t think it would be appropriate to discuss the sequel that Ridley Scott decided to make to PROMETHEUS until we first bow our heads in a moment of silence for the completely insane one we imagined when PROMETHEUS ended with Shaw in a stolen Engineer ship carrying a severed robot head on an impossible mission to stick her foot up the ass of the Space Jockeys on their home turf.
PROMETHEUS 2
b. June 8, 2012 – d. May 19, 2017
R.I.P. the way better movie in our minds. Gone too soon. Sleep well my sweet baby prince.
Instead of that legendary greatness we have something pretty good: ALIEN: COVENANT, a hybrid between what-people-expect-in-an-ALIEN-sequel and weirdo-philosophizing-PROMETHEUS-shit. Scott, with returning cinematographer Darius Wolski (CRIMSON TIDE, DARK CITY), gives us another gorgeous-looking sci-fi horror, this time with a script by John Logan (THE LAST SAMURAI) and Dante Harper that’s not as outwardly dunderheaded as PROMETHEUS at its worst, though not as imaginative as it at its best. It starts out with circa 1979 pacing (very effective) but eventually throws a modern amount of frantic action at the screen (pretty enjoyable too).
There’s something I love about a movie where English Tom Hardy, Swedish Noomi Rapace and Belgian Matthias Schoenaerts play Brooklyn neighborhood folks. It’s this international cast, directed by Michaël R. Roskam (who previously did the “Best Foreign Language Film” Academy Award nominee BULLHEAD starring Schoenaerts) but there’s still a theme of characters having to correct each other’s ignorant statements about nationalities and languages: no, those gangsters aren’t from Russia, they’re from Chechnya. And you call them Chechens, not “Chechnyans.” And the language they speak in Brazil is called Portueguese, not Brazilian.
Rapace actually doesn’t put alot of effort into hiding her real accent, but Hardy, being Tom Hardy, throws himself into the task head long, especially in his occasional voiceover narration. He loves to mumble and slur, and to be funny-dumb, but also intelligent-inarticulate. As good as he is at playing eloquent snobs I suspect he has way more fun playing louts like this. (read the rest of this shit…)
Holy shit, Brian De Palma made a new movie. It’s a remake of the 2010 French thriller LOVE CRIME, but it’s still a new Brian De Palma movie. Rachel McAdams from MEAN GIRLS plays Christine, a grown-up mean girl high up in an advertising firm. Isabelle (Noomi Rapace, DEAD MAN DOWN) has a big career opportunity coming to Christine’s place to work on a smart phone campaign. She’s nervous but they get along well. Christine seems to be a cool boss and collaborator until she brazenly takes credit for the ad that Isabelle came up with and created entirely without her. Even worse she convinces Isabelle that it was okay to do that to her because they’re a team and one’s success makes the whole team look good or some bullshit like that. (read the rest of this shit…)
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…)
Nothing has changed since yesterday. I’m still against WWE Studios flying their prestigious banner above movies starring non-wrestlers. But I gotta admit that DEAD MAN DOWN is probly the best movie they’ve had their initials on so far. It stars Crusher Colin Farrell, Notorious Noomi Rapace and Terrence Dastructshon Howard in a moody revenge romance. (The token actual wrester is somebody named Wade Barrett as some character called “Kilroy.”) I think the movie it reminded me of most is LEON, but it’s a little more downbeat, and no uncomfortable underage business. But that’s a pretty abstract comparison, I don’t even know what it is that connects them. This is the rare movie that feels like it doesn’t really follow an existing template. Or if it does it’s a bunch of different templates collaged together in a weird way that’s hard to recognize. (read the rest of this shit…)
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. (read the rest of this shit…)
You remember Lisbeth Salander (Noomi Rapace), the girl with the dragon tattoo, also previously the one who played with fire? Well now she is the girl who kicked the hornet’s nest. Not literally. The first title was literal only, second was both literal and figurative, this one only figurative – there are no bees or insects of any kind involved in this plot. But man, this girl really kicked the hornet’s nest, they’re coming after her.
But I feel it is only fair to point out that the title is in the past tense. She already kicked the hornet’s nest in part 2, and already got stung (SPOILER: she got shot three times, including in the head. This one opens with her being airlifted to the hospital.) Although I enjoyed seeing the girl again this is the least exciting of the three movies by far. (read the rest of this shit…)
After THE GIRL WITH THE DRAGON TATTOO I was real excited to see what would happen in the next installment. The second one starts with a flashback to the Netherlands in the 17th century. Scarlett Johansson plays a maid who goes to work for the famed painter Vermeer (Colin Firth). He finds out she’s interested in art so he starts teaching her how to mix paints. I really wasn’t sure what this had to do with Lisbeth Salander and I was kind of bored so I turned off THE GIRL WITH THE PEARL EARRING and skipped to THE GIRL WHO PLAYED WITH FIRE. (read the rest of this shit…)
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There’s this weird psychological thing about the availability of movies. I looked at IMDb and determined that I’ve seen every Coen Brothers movie since THE HUDSUCKER PROXY in the theater, most of them probly on the first day or opening weekend. That’s thirteen films over a period of 24 years. But when THE BALLAD OF BUSTER SCRUGGS went straight to Netflix I let it sit there for more than two months before I finally got to it. Because, you know, every weekend I wanted to go see WIDOWS or CREED II or on and on, and I rented THE FOREIGNER I needed to watch that and return it and then I wanted to watch some Christmas horror, that was more timely, that had a sell by date. I procrastinate more when it feels like it’s accessible at any moment between now and the day whatever black magic they’ve been using to stay in business wears out.
More like ALIEN: LOVIN’INT, am I right?
There’s something I love about a movie where English Tom Hardy, Swedish Noomi Rapace and Belgian Matthias Schoenaerts play Brooklyn neighborhood folks. It’s this international cast, directed by Michaël R. Roskam (who previously did the “Best Foreign Language Film” Academy Award nominee BULLHEAD starring Schoenaerts) but there’s still a theme of characters having to correct each other’s ignorant statements about nationalities and languages: no, those gangsters aren’t from Russia, they’re from Chechnya. And you call them Chechens, not “Chechnyans.” And the language they speak in Brazil is called Portueguese, not Brazilian.
Holy shit, Brian De Palma made a new movie. It’s a remake of the 2010 French thriller LOVE CRIME, but it’s still a new Brian De Palma movie. Rachel McAdams from MEAN GIRLS plays Christine, a grown-up mean girl high up in an advertising firm. Isabelle (Noomi Rapace, 
Nothing has changed since yesterday. I’m still against WWE Studios flying their prestigious banner above movies starring non-wrestlers. But I gotta admit that DEAD MAN DOWN is probly the best movie they’ve had their initials on so far. It stars Crusher Colin Farrell, Notorious Noomi Rapace and Terrence Dastructshon Howard in a moody revenge romance. (The token actual wrester is somebody named Wade Barrett as some character called “Kilroy.”) I think the movie it reminded me of most is 
You remember Lisbeth Salander (Noomi Rapace), the girl with the dragon tattoo, also previously the one who played with fire? Well now she is the girl who kicked the hornet’s nest. Not literally. The first title was literal only, second was both literal and figurative, this one only figurative – there are no bees or insects of any kind involved in this plot. But man, this girl really kicked the hornet’s nest, they’re coming after her.
After THE GIRL WITH THE DRAGON TATTOO I was real excited to see what would happen in the next installment. The second one starts with a flashback to the Netherlands in the 17th century. Scarlett Johansson plays a maid who goes to work for the famed painter Vermeer (Colin Firth). He finds out she’s interested in art so he starts teaching her how to mix paints. I really wasn’t sure what this had to do with Lisbeth Salander and I was kind of bored so I turned off THE GIRL WITH THE PEARL EARRING and skipped to THE GIRL WHO PLAYED WITH FIRE.
