Scott Cooper is an actor-turned-writer/director who seems slightly under the radar to me. He made a splash with CRAZY HEART ten years ago, a movie that somehow seems overshadowed by Jeff Bridge’s Oscar-winning performance in it (and that I thought of a few times watching A STAR IS BORN). His followup, the gloomy crime drama OUT OF THE FURNACE (2013), teamed him with Christian Bale (POCAHONTAS) for the first time, and I have to admit that I have not seen his poorly reviewed BLACK MASS (2015). But he didn’t write that one. I only watch the ones he directs and writes, obviously.
2017’s HOSTILES (based on a manuscript written by Donald E. Stewart [JACKSON COUNTY JAIL, DEATHSPORT, THE HUNT FOR RED OCTOBER, PATRIOT GAMES, CLEAR AND PRESENT DANGER] in the ’80s) reteamed him with Bale for what might be categorized as a Real Serious Western – the kind where the director is hesitant to call it a western (“I don’t think in terms of genre… If anything it’s a psychological western in the vein of Anthony Mann…I don’t think it’s a western, it has more in common with Joseph Conrad or Larry McMurtry or Louis L’Amour” he told Moviemaker) and you want to grab them and tell them “all right cool it buddy, just admit you made a really good western.” (See also THE REVENANT.)
But I guess I sort of get it. A completely traditional western is not very marketable in this day and age. Most people don’t really want the genre without a little bit of a new spin on it, and HOSTILES has one. (read the rest of this shit…)
For 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…)
WINDTALKERS is an American John Woo picture that I kinda hated at the time. I can prove it: here’s my review. But I watched it again and although I don’t really disagree with anything I said in that review, now I think it’s okay. Maybe this is because I watched the director’s cut, which is longer and more violent, like a real John Woo movie. Maybe it’s because I came to it with different hopes and expectations, having already not liked it. Or maybe it’s because I’ve grown and changed as a person and movie watcher since the last time. I suspect it’s a combination of all three.
This is Woo’s WWII movie, which makes sense because it’s about male bonding through violence, but also the evil of endless violence, and also a pretty invisible minority (the Navajo) reaching across cultural lines to achieve a common goal, much like Woo making movies in Hollywood. (read the rest of this shit…)
COWBOYS AND/OR ALIENS starts out great. Daniel Craig wakes up with an apparent gunshot wound and a weird metal device locked to his wrist. He doesn’t remember who he is or what the fuck happened. He does remember how to fight, though, so when some guys try to rob him he kicks their asses, steals their clothes TERMINATOR style and heads into town. (And all this without talking.)
Other than that metal thing it plays as a straight western for a while. Paul Dano is a crazy asshole who terrorizes the town, shooting his guns off and demeaning innocent people because his dad (Harrison Ford) is the cattle baron and he thinks he can get away with anything. But when he picks out Craig, a random bystander, to flip some shit at, he finds himself crashing nose-first against a wall of badass. This stranger doesn’t know who the little shit is and can’t pretend to be scared of him, so he knocks him on his ass. In the scuffle the kid accidentally shoots a deputy, a crime the sheriff can’t overlook despite who his daddy is, so they both get arrested, to be transferred to federal custody the next day. (read the rest of this shit…)
The fabulous Vern sent in his thoughts on FLAGS OF OUR FATHERS. His reviewis rather long, so I’ll get out of the way and let him speak for himself.
Here’s Vern…
Well, shit. I feel like an asshole giving a room-temperature review to my man Clint Eastwood’s long awaited WWII drama. Because Clint is the best. If there was some reason why the entire human race had to be destroyed except for one movie star, and I had to choose who it would be, I would choose Clint. I don’t care if he’s old, he’s the number one Badass Laureate of all time. He’d make a damn good last representative of our species, and he could still take on the vampires pretty good I think. But despite (and partly because of) my great respect for the man, I gotta be honest: I don’t consider this a great movie. (read the rest of this shit…)
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Recent commentary and jibber-jabber
Muh on Darkman: “This ia a pretty great movie, and interesting to see the helicopter scene being like crazy Jackie Chan stuff…if you’ve…” Jan 26, 07:00
Muh on The Gift (2000): “Leaving aside her filmography, which is a mix of popular stuff and dramas…Blanchette wouldn’t have seemed lost amid a crowd…” Jan 26, 06:34
Skani on The Gift (2000): “My sense of her is that she is not a snob and is game to do goofy things (THOR, INDY…” Jan 26, 04:34
Pacman2.0 on The Gift (2000): “I said “site” rather than “sight”, like all philistines.” Jan 26, 01:06
Pacman2.0 on The Gift (2000): “Not me. I can’t deny Blanchette’s talent, but mere site of the name makes me drowsy. Even in good films,…” Jan 26, 00:58
Skani on The Gift (2000): “Yeah, Muh, I feel about the same way. Stone is a fine actress, I just didn’t love her for the…” Jan 25, 18:57
Muh on The Gift (2000): “I thought Sharon Stone was fine, okay, not horrible…but Blanchett would have been awesome.” Jan 25, 15:26
Skani on The Gift (2000): “Have not seen this in probably 15+ years, but I LOVED it when it came out. Some seriously fucking creepy…” Jan 25, 15:00
CJ Holden on The Gift (2000): “Pacman: THE WATCHER started out with Keanu agreeing to do a cameo in a friend’s directorial debut (he was originally…” Jan 25, 13:35
burningambulance on The Gift (2000): “I have never seen this movie. In fact, I have barely even read anything about it (I know it exists…” Jan 25, 13:05
psychic_hits on The Gift (2000): “Another great Keanu performance (and all-around incredible movie) is MY OWN PRIVATE IDAHO. Peter Travers, though? That guy sucked.” Jan 25, 12:25
JJ on The Gift (2000): ““And I couldn’t hammer the audience. I couldn’t punish them in the way they deserved to be punished.” I think…” Jan 25, 11:30
Pacman2.0 on The Gift (2000): “THE WATCHER was, if I recall correctly, a literal contractual obligation on Keanu’s part. It’s not great, but a pretty…” Jan 25, 11:06
Muh on The Gift (2000): “In terms of Raimi’s three more “normal” movies, this is actually my favorite. I love the atmosphere and the characters.…” Jan 25, 10:11
Daniel Strange on The Gift (2000): “I really like THE GIFT a lot. And it’s one of my go-to movies in a discussion of great movie…” Jan 25, 09:18
VERN’S “I RECOMMEND THE SHIT OUT OF THIS PRODUCT” CORNER:
Scott Cooper is an actor-turned-writer/director who seems slightly under the radar to me. He made a splash with CRAZY HEART ten years ago, a movie that somehow seems overshadowed by Jeff Bridge’s Oscar-winning performance in it (and that I thought of a few times watching A STAR IS BORN). His followup, the gloomy crime drama OUT OF THE FURNACE (2013), teamed him with Christian Bale (POCAHONTAS) for the first time, and I have to admit that I have not seen his poorly reviewed BLACK MASS (2015). But he didn’t write that one. I only watch the ones he directs and writes, obviously.
For 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 
WINDTALKERS
Merrick here…
