First thing I want to say is that I’ve been calling this movie “Oppy” while having no idea that it’s what everyone calls him in the movie. I guess it’s just the natural, instinctive nickname that comes to mind for J. Robert Oppenheimer, even before “J.R.”
Second thing I want to say is that I was so wrong about the phenomenon of OPPENHEIMER! I had been confused as to why people were talking about it as a sure-thing blockbuster smash, but here I am finally having seen it after 3 weeks of sold out shows at the Imax. I had to give in and buy the tickets a week in advance, and the show did sell out in the same theater that never filled up for DEAD RECKONING, JOHN WICK 4, CREED III, DIAL OF DESTINY, etc. There’s lots of hype about it being shot for Imax format, and this is is the only full Imax format screen in the state, so that’s important context. But still – a 3-hour R-rated drama about a scientist selling out every show every day for weeks? Just because Christopher Nolan directed it? Hooray for the auteur theory! (read the rest of this shit…)
LEON (THE PROFESSIONAL) sums up Luc Besson pretty good, doesn’t it? He’s creepy about young women. Also, he’s really good at putting them in cool, stylish action roles. His latest in that vein, ANNA, came out this summer with little fanfare (or box office), at least partly because Besson had recently been accused of rape. Maybe it deserved to fail. But for whatever it’s worth it’s a solid movie full of what he does well.
It actually has alot in common with ATOMIC BLONDE. A beautiful bisexual spy (well, assassin in this case) double and triple crosses her way through end-of-the-Cold-War European intrigue with a twisty plot and a couple of long, impressive fight sequences. Charlize and her action and David Leitch’s intoxicating colors and music are more my speed, but ANNA has the advantage of being real complicated without being hard to follow. It’s a satisfying tale. (read the rest of this shit…)
Git ‘r dun, kirk! Well dun, kirk. Done ‘n dunk, kirk. What have you dun, kirk!? You know you dun kirked up, don’t you? You know that, right?
DUNKIRK is Mr. Christopher Nolan’s WWII (World War 2) movie, a sweeping epic in visual terms but kind of an intimate story; a historic event depicted through the perspectives of three groups of lightly developed characters. I saw it in Imax, and I’d guess 98% of the movie fills the entire gigantic screen from top to bottom. They cropped it briefly inside a small boat (probly didn’t want gigantic closeups) but otherwise your field of vision is filled with sky, sand, water, helmets, bodies, smoke. And Hans Zimmer’s stress-inducing score frequently mimics a ticking stopwatch as we watch these thousands of British soldiers trapped on a beach in France waiting to see whether they’re gonna be miraculously rescued or bombed to shit.
Nolan gotta be Nolan, so he gave a simple story a uniquely tricky structure. He intercuts between the soldiers on the beach, some citizens in a small boat and a few pilots in the sky, but titles tell us that their stories encompass one week, one day and one hour, respectively. You never feel like you’re skipping around in time, but it’s an illusion, a timeline repeatedly expanding and contracting until it gets to the end. (read the rest of this shit…)
The best way to explain the genius of INCEPTION is just to describe what’s going on at the climax. The main characters are all asleep on a jet, dreaming that they’re in a van that’s crashed and is falling off a bridge. All but the driver, Dileep Rao, are asleep and are also in a dream-within-a-dream where they’re tied together floating weightlessly in an elevator. Joseph Gordon Levitt is preparing to wake them up, the rest are asleep and in a dream-within-a-dream-within-a-dream-within-a-dream about blowing up a snowy fortress. But Leonardo DiCaprio and Ellen Page are asleep there because they’re actually in a dream-within-a-dream-within-a-dream-within-a-dream where Leo is making the emotional decision to leave behind a SOLARIS-type living memory of his dead wife Marion Cotillard to go into a limbo to rescue his client, Ken Watanabe, who has lived a whole life there and is now an old man and forgets that he’s not in reality, because time passes at a different pace within each of these worlds. And there is a decades long slowed down music cue that tells Leo the van in the first dream is about to hit the water and wake them all up.
And here’s the kicker: all of this was understandable even on the first viewing for knuckleheads like me and the millions of people who made it a huge hit summer movie. I mean, you don’t have to like it, but it takes a silly motherfucker to deny the accomplishment of making such an effective mainstream thriller out of a concept this complicated. (read the rest of this shit…)
Yeah, SUNSHINE is still good. It’s kinda like ALIEN but with a (SPOILER) naked crazy dude instead of an alien. Like the alien the crazy naked dude is sneaking around unseen for most of the movie, but a naked dude is harder to pull off special effects-wise than an alien so you never do see him clearly. The camera and editing program start freaking out every time he shows up, like he’s giving off some kind of interference.
A crazy naked dude doesn’t have a projectile mouth, he doesn’t have acid blood. But he’s just as unexpected on a ship with only a few crew members. And he knows how to stab people. In a way he could be more dangerous than an alien because he knows how the ship works and intentionally tries to sabotage their mission. (read the rest of this shit…)
With the release of this movie I’d say there’s now officially a subgenre of sci-fi movies about the angst of long distance space travel. Two of my favorite movies ever – 2001 and ALIEN – are in this category. There’s also DARK STAR, a predecessor to ALIEN and an inspiration to this movie (one of the characters is even named Pinback after Dan O’Bannon’s character in that movie). I also liked the remake of SOLARIS, but I still gotta see the original one. Rounding out the category now there’s Danny Boyle’s SUNSHINE.
This one takes place sometime in the future, but probaly not too long in the future. The main difference between then and now: the sun is dying. Pretty shitty. Humanity came up with a plan where they sent a spaceship called The Icarus which would set off a bomb that would reignite the sun. But that ship was a bunch of slackers or something so nobody heard from them again. This is the story of the Icarus II, where they decided to use up Earth’s resources to make the last possible bomb that they could use to try to relight that bitch. (read the rest of this shit…)
Under normal circumstances Wes Craven’s new picture RED EYE would be nothing special. But his last one was that horrible werewolf travesty called CURSED so this is sort of an event. Wes Craven made a movie and it’s kind of good.
I believe this is a first for Wes Craven: not a horror movie, and yet not about a white lady teaching inner city kids to play violin. What it is is a suspense thriller type deal that takes place on a plane. It is the first in the slew of plane-fear-sploitation movies that I guess are inevitable both in the aftermath of 9-11 and in the leadup to SNAKES ON A PLANE. (read the rest of this shit…)
Ahoy, squirts! Quint here… Now, of the three main editors of the Movie News of AICN, only one hasn’t seen this movie yet… Yeah, me. So, who’s the one dealing with all these spoiler-ific reviews? Yeah, me… At least I was having fun running around Chicago’s dastardly and evil O’Hare airport, missing connections and having good times while the Austin screening of BATMAN BEGINS was rolling… Anyway, this is all to say that I haven’t seen the movie. I didn’t read the script. I want there to be some surprises in the movie for me, so I haven’t read any of the below reviews. I’m sure they’re great, but I’m gonna be selfish on this one. If BB’s as good as everyone and their mother is saying it is, I want to be as fresh as possible come next week. So, be warned. There could be tons of spoilers below.
We have a couple regulars to start off. Our main man Vern and Ghostboy. Vern is first up to bat! ZING! He also has some personal information to share with his mass of fans! Enjoy!
I got two thrilling stories for you today boys. First up is my review of this new Batman picture. Second is an unrelated, earth shattering movie scoop that you have not seen on access hollywood, E.T. – The Entertainment Tonight, the Michael Jackson trial re-enactments, or any of those shows. Possibly it was in some newspaper column in a city called Rochester, but I have not confirmed that yet. Anyway enough preamble let’s get down. (read the rest of this shit…)
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Recent commentary and jibber-jabber
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LEON
Git ‘r dun, kirk! Well dun, kirk. Done ‘n dunk, kirk. What have you dun, kirk!? You know you dun kirked up, don’t you? You know that, right?
With the release of this movie I’d say there’s now officially a subgenre of sci-fi movies about the angst of long distance space travel. Two of my favorite movies ever – 2001 and ALIEN – are in this category. There’s also DARK STAR, a predecessor to ALIEN and an inspiration to this movie (one of the characters is even named Pinback after Dan O’Bannon’s character in that movie). I also liked the remake of SOLARIS, but I still gotta see the original one. Rounding out the category now there’s Danny Boyle’s SUNSHINE.
Under normal circumstances Wes Craven’s new picture RED EYE would be nothing special. But his last one was that horrible werewolf travesty called CURSED so this is sort of an event. Wes Craven made a movie and it’s kind of good.
SPOILER ALERT !!
