"KEEP BUSTIN'."

Posts Tagged ‘David Harbour’

No Sudden Move

Wednesday, September 29th, 2021

Like many citizens of the world, I love most of Steven Soderbergh’s movies. Still, the nature of streaming services and the lack of urgency their releases seem to inspire in my brain have left me behind in his return-from-retirement period. I haven’t seen the basketball one, the app one, the laundromat one, surely others.

But my favorite Soderberghs are the crime ones: #1 OUT OF SIGHT, #2 THE LIMEY, #3 the OCEAN’S series. And there was another one about a lady beating people up that I raved about for ten years, but that’s on hiatus for a while. These are all very different from each other in most respects other than quality. But his most recent one was released straight to Home Box Office Maximum and although this review is very late I actually managed to watch that one right away. And I loved it.

NO SUDDEN MOVE is another new mode of Soderbergh crime picture. Maybe it’s closest to THE LIMEY in tone: serious, with a high level of tension, but plenty of dry, dark, odd humor coming out of the characters and situations. Set in Detroit in 1956, it’s the story of small time criminal Curt Goynes (Don Cheadle, THE METEOR MAN), recently out due to overcrowding, still disgraced in the underworld after whatever the fiasco was that got him busted. So it’s either real lucky or awfully damn suspicious that someone he doesn’t know – white middle man Doug Jones (Brendan Fraser, MONKEYBONE) – is offering him five grand for what’s described as “a simple babysitting job” that will take three hours of his time. He doesn’t have to know he’s in a movie to have a pretty good hunch it’ll end up being more complicated than that. (read the rest of this shit…)

Black Widow

Thursday, July 22nd, 2021

Poor Scarlett Johansson. After 8 movies appearing as Natasha “Black Widow” Romanoff in a supporting or cameo role, across 11 years (lengthened by global catastrophe related delays), her Marvel super spy character finally gets to star in her own movie… and it’s only okay. I mean I enjoyed watching it and I’ll say some nice things about it, but I can’t deny it lacks the kick of most Marvel movies without being different enough from them to feel like its own thing. Maybe this would’ve been cool if it was the one they made early on with plans to improve on the formula in subsequent adventures, but instead they made it after the character has been killed off and Johansson is presumably ready to move on with her life. If this is all she gets in the end I almost wish Emily Blunt had stuck with the role (she was cast but couldn’t get out of GULLIVER’S TRAVELS!) so Scarlett would’ve had more time to do her more adventurous roles like UNDER THE SKIN, LUCY, MARRIAGE STORY, JOJO RABBIT and hell, I’ll even say GHOST IN THE SHELL. More problematic, but more interesting.

The good news for people who like Marvel but get overwhelmed keeping track of all the shit is that this one is low on continuity and tie-ins. It references the basic Black Widow backstory and I don’t remember what that’s all about, but I didn’t feel like I missed anything important. It takes place however many movies ago when she’s been set up and is on the run, so that eliminates most “what does this mean for the larger Marvel universe?” concerns. (It also makes me realize how much more attached I am to Star Wars than the MCU: Star Wars makes me say, “Ah, this must be not long after Order 66, interesting,” and the MCU makes me say, “It’s after CAPTAIN AMERICA: CIVIL WAR – who gives a shit?” I treat Marvel more like the serials Star Wars was emulating – on to the next chapter, no time to look back. But I’m sure there’s a whole generation who feel differently.) (read the rest of this shit…)

Extraction

Monday, April 27th, 2020

EXTRACTION seems to be getting good promotion as far as non-awards-contender-made-for-Netflix movies go. And there aren’t movie theaters at the moment anyway, so it was the hot movie to see this weekend. I’m glad they figured out a way to get people interested – I’ve been anticipating it for a while, but “it’s the first movie directed by the stuntman who did the action direction for ATOMIC BLONDE and WOLF WARRIOR II” maybe doesn’t have the same currency with normal people as it does for me.

Sam Hargrave has been the Captain America stunt double since the first THE AVENGERS, and a Marvel fight/stunt coordinator/second unit director since CAPTAIN AMERICA: CIVIL WAR, so he was well known to “visionary directors” Joe and Anthony Russo, who used their Marvel money to start the production company/studio AGBO. And they were wise enough to get him as director for this movie based on their 2014 graphic novel Ciudad (written with Ande Parks, adapted for the screen by Joe Russo). (read the rest of this shit…)

Hellboy (2019)

Tuesday, July 30th, 2019

I’m not gonna totally contradict the conventional wisdom that HELLBOY (2019) is bad. I kinda thought it was bad for a while. But then it sort of won me over. I had more fun than expected, and talking about it with other people made me realize that yeah, overall I think I liked it.

Yes, it’s sloppy and choppy and takes itself less seriously than I’d like. I wasn’t surprised to read that there were tensions with the producers and that director Neil Marshall (THE DESCENT, but also DOOMSDAY) didn’t have final cut. The many rock ‘n roll needledrops (including a Spanish version of “Rock You Like a Hurricane”) and electric guitars on the score by Benjamin Wallfisch (IT, SERENITY) make it seem like it’s making a joke out of folk tale stuff that I think would be much cooler if treated respectfully, and the combination of a lower budget and higher volume of digital FX than Guillermo Del Toro’s two movies make it look chintzy by comparison. But there are tons of cool monsters, funny lines, colorful bits of mythology, and a splattery, lowbrow rowdiness that’s pretty fun whether or not it’s in the Hellboy spirit. (read the rest of this shit…)