KNIGHT AND DAY is that action/comedy/romance deal that came out this summer, one of two or three that were about a guy who’s secretly a government agent taking a girl on an unexpected adventure involving guns and crashing vehicles. Of those, this is the one where it’s Tom Cruise and Cameron Diaz. It’s called KNIGHT AND DAY because Cruise’s character takes a little toy of a knight from the airport gift shop to hide something in, and also because it turns out his last name is Knight, and the ‘Day’ comes from Cameron Diaz because she’s playing a young Sandra Day O’Connor. Well, okay, I made up that last part, or at least if it’s true it isn’t made very clear in the movie. Actually there’s no reason for the ‘Day,’ I don’t think they got that far when they were proofreading the title.
I know nobody had very high hopes for this one, but I kind of figured it would be okay just because it’s James Mangold, director of WALK THE LINE. Not a visionary by any stretch of the imagination, and not to brag but I am a visionary so my imagination stretches really far. But he’s usually a decent director and not known for this type of thing, so it seemed potentially interesting I thought. Incorrectly.
(read the rest of this shit…)
Is it just me, or do some of these movie titles start to blend in together after a while? The ones I have trouble with are: I’M STILL HERE, I’M NOT THERE, LET ME IN, and NEVER LET ME GO. Well, now that I’ve actually seen one of these maybe I’ll remember which one that is and it’ll help me straighten out which is which between the other ones by narrowing the choices a little. I hope so, because I’m not sure what else I got out of this one, exactly. I mean, I got something, I think. Just a something that’s hard to identify.
I’ve been writing Expendables-related reviews for weeks because to me that was the movie event of 2010. That’s just the way I was raised. But according to The Internet the most important and historic release last weekend, possibly this year, possibly in our lifetime, most likely within this epoch, and almost for sure within whatever is a hundred times bigger than six epochs, or at least since KICK ASS… is this movie for the youths called SCOTT PILGRIM VS. THE WORLD. It’s based on a comic strip of some kind, which explains why it’s so historically inaccurate. They don’t even mention the Mayflower once, and it’s a total whitewash of what we did to the Native Americans. To be fair it does take place in Toronto. Maybe their pilgrims were different, I don’t know that much about it. 
To celebrate the release of my new review book that’s named after Bruce Willis it’s only appropriate that I review a Bruce movie I never reviewed before. And by far the most requested title in that category is the notorious-flop-turned-minor-cult-movie HUDSON HAWK.
A couple weeks ago the United States Congress finally squeaked through the Baby-Steps To Health Care Reform legislation, a bill that does several good things such as not allowing insurance companies to refuse coverage to people because of a pre-existing condition, giving tax credits to small businesses that provide health insurance for their employees, and letting kids in their twenties stay on their parents’ insurance a couple more years than before. Unfortunately, too many Democrats are in the pocket of the insurance companies and they were too insistent on bending over backwards to find every possible compromise that could conceivably tickle the fancy of a Republican (a year long torture session that netted them a grand total of zero Republican votes) so the reforms aren’t as strong as most people would like. 
It might be hard for some of you youths to believe, but there was a time when our boy Bruce
As a Chris Tucker fan in a white-people-heavy part of the country I too often find myself defending the kind-of-funniness of RUSH HOUR. I don’t love the movie or anything (MONEY TALKS is the real classic) but I have to admit that every time I come across it on TV I find myself laughing at the shit Chris Tucker says and saying, “I forgot how funny this was.”
I was looking through my notebook tonight and I found a review of THE LONG KISS GOOD NIGHT that I apparently never posted. It’s kind of like finding a dime under the couch.
I laughed the first time I saw this DVD cover, Christian Slater with a combover and nerd glasses beneath that title, and clutching a bunch of dynamite. But I thought it was a serious movie. It turns out it’s a bit of a dark comedy and since it’s the only other movie from Frank Cappello, director of AMERICAN YAKUZA and NO WAY BACK, I decided to give it a shot.
BRINGING OUT THE DEAD is Martin Scorsese at his most nightmarish and hallucinogenic, a movie almost entirely in helicopters-overhead-paranoid-end-of-GOODFELLAS mode. That’s ’cause it’s about night shift EMT workers, which I think we can safely assume is probly a pretty stressful job. The movie is written by Paul Schrader based on one of those “this job is fucked and we’re all on drugs” type exposes, like 
