After THE FAVOURITE gave Yorgos Lanthimos success, acclaim and a game lead actress on a bigger budget than his earlier films, the director aimed those resources at a project he’d been trying to do since 2009: an adaptation of the 1992 novel Poor Things: Episodes from the Early Life of Archibald McCandless M.D., Scottish Public Health Officer by Alasdair Gray. While I’ve read that the novel is set in a realistic Victorian London, Lanthimos has turned it into a colorful (and sometimes black-and-white) gothic cartoon world, with shades of Tim Burton and Jean-Pierre Jeunet, maybe a little BABE: PIG IN THE CITY, while retaining his cock-eyed view, dark humor and fascination with chaotic people upending social mores. POOR THINGS was nominated for Oscars for best picture, director, adapted screenplay, actress, supporting actor, makeup, music, costume design, cinematography, editing and production design this morning because they heard I was posting my review today and wanted to try to capitalize on that. I’ll allow it. (read the rest of this shit…)
Posts Tagged ‘Mark Ruffalo’
THE DENTIST is a unique little horror movie about a couple of days where a guy’s life totally unravels. Dr. Alan Feinstone (Corbin Bernsen, TALES FROM THE HOOD) is an asshole from the word go – we see him berating his wife Brooke (Linda Hoffman, FACE/OFF) over a stain not coming out of one of his shirts, then forgiving her because she bought him expensive cuff links. When he catches her blowing the pool cleaner (Michael Stadvec, SOMETIMES THEY COME BACK… AGAIN, SOMETIMES THEY COME BACK… FOR MORE, SOMETIMES THEY COME BACK… TO APOLOGIZE BECAUSE THEY’VE REALLY CHANGED) he fantasizes about screaming at her and forcing her at gunpoint to bite down with her “perfect teeth.” Instead he doesn’t confront her and then completely loses his shit.
I like the messy, accidental piling up of events. There’s almost a true crime feel to it. He tries to sneak up on the homewrecker and shoot him, ends up instead shooting a neighbor’s dog that attacks him for trespassing. Ken Foree (FROM BEYOND) and Tony Noakes (BREAKAWAY) play the police detectives who circle around with the potential to catch him, but they’re investigating the killing of a pet, not a person. They’re investigating a weird, creepy thing, not knowing it’s more serious than that. (read the rest of this shit…)
THIS IS AN ALL SPOILER REVIEW. Duh.
It’s hard to review a movie like AVENGERS: ENDGAME. I don’t think there’s much point in reading about it before you’ve seen it, or in seeing it if you haven’t seen most of the IRON MAN, CAPTAIN AMERICA and AVENGERS movies, at the very least. This is a giant event movie but it’s not working on the traditional level of a movie. It’s more of a movie/comic book crossover/TV series hybrid. Some mad king becomes a show runner and spends all his nation’s capital trying to make the biggest season finale in history.
So I’m assuming you’ve seen it, and we’ll discuss some stuff about it. And the review will be as long and all-over-the-place as the movie. (read the rest of this shit…)
I’m a little behind schedule but ladies and gentleman, welcome to the final review in the Summer of ’98 series.
August 28, 1998
54 is the second of summer ’98’s competing disco movies. I’m not sure if it’s the DEEP IMPACT or the ARMAGEDDON, but it’s the not as good and not as well reviewed one. Like LAST DAYS OF DISCO it’s about a particular New York City disco in the later years, and there are conflicts between the management and staff that end with the place being raided by the IRS. But this one is in no way about yuppies, it’s based on the history of a real place, the main characters are all employees of the club, and there’s much more emphasis on the disco as a sanctuary for outcasts and misfits, so it would seem to have the potential to be BEAT STREET to LAST DAYS’s BREAKIN’.
But only the potential. Nobody seemed to take it that way.
Shane (Ryan Phillippe, SETUP) is a macho goon from New Jersey whose dreaming eyes gaze across the water to New York City like Luke Skywalker looking to the stars. He’s drawn to Studio 54 by newspaper columns about the celebrities who go there, so he perms his hair and drags his meathead buddies (including Mark Ruffalo, THE DENTIST) there with visions of Olivia Newton-John dancing in their heads, but only Shane (minus shirt) gets past the openly looks-based velvet rope elimination process.
For a second Shane seems like a Tony Manero, but he doesn’t give a shit about dancing (as in LAST DAYS, dancing is an oddly small part of the disco story). There’s a dramatic closeup of his foot hesitating to take its first step on the dance floor, but then he just goes into the crowd and yahoos for the band like he’s cheering on a football game. The looks he gets cause him to observe his surrounding and copy the other people’s moves. Then he quickly gets a job as a shirtless bus boy and doesn’t have to dance anymore. (read the rest of this shit…)
(Honestly it would be hard to spoil everything major that happens in this movie, because it’s hard to keep track of it all. But this review is loose and reckless with SPOILERS)
I learned in 2012 when THE AVENGERS came out to never underestimate Marvel. So on the third AVENGERS movie, INFINITY WAR, I figured they could pull it off – they could combine most of the main characters developed over 17 previous movies (people from the IRON MAN movies, THE INCREDIBLE HULK, the CAPTAIN AMERICA movies, the THOR movies, the AVENGERS movies, the GUARDIANS OF THE GALAXY movies, DOCTOR STRANGE, SPIDER-MAN HOMECOMING and BLACK PANTHER) into one big super hero monster mash. But back when I had first learned that lesson, when they introduced the purple CGI space monster villain Thanos after the credits, I gotta admit I was still skeptical. I didn’t know how they were gonna make that guy cool.
They did it. To me he’s their best villain outside of Killmonger. It’s a cliche to say that comic book characters are the Greek gods of the modern age, but Thanos (Josh Brolin, JONAH HEX) is the villain that most lives up to that description. In fact, one minor problem I had with the movie is that he seems so convincingly powerful I wondered what the hell the Avengers and the Guardians thought they were doing repeatedly going after him. Like, come on Star Lord (Chris Pratt, ZERO DARK THIRTY), why are you pointing a laser gun at this guy and acting like that’s gonna do anything? Are you stupid? (read the rest of this shit…)
Recently some friends and I were choosing favorites between Marvel’s three Chrises. It’s a tough call because Evans (the Captain America one) has the best Marvel series in my opinion, plus he seems like a cool guy in real life and starred in SNOWPIERCER. But Pratt (the Star Lord one) is the funniest and most down-to-earth Chris, and he has the more irreverent Marvel series. I even like his hypermasculine hold-on-I-need-to-roll-up-my-sleeves-so-you-can-see-my-forearms turn in JURASSIC WORLD.
Still, I chose Hemsworth (the Thor one) as my favorite Chris, because here is the most potentially embarrassing of the major Marvel characters, and frankly their least memorable series, but they got this Australian guy I never heard of who looks like He-Man and still was able to fuel the entire first movie on the power of his charisma. I really realized I was a fan when he did Michael Mann’s BLACKHAT. Not only is it a movie I really liked, but it was the first time in a while that one of these new guys displayed the type of manly magnetism that inspired me in the action movies of the ’80s and ’90s. I’m older than him but he made me want to grow up to slick my hair back and do hand stand pushups and read about philosophers.
So thank God his signature character Thor finally gets a movie worthy of his charms. Taika Waititi, the New Zealand writer-director best known for WHAT WE DO IN THE SHADOWS and the great HUNT FOR THE WILDERPEOPLE, completely reinvents the series as a colorful comedy much more in the vein (and sci-fi landcape) of GUARDIANS OF THE GALAXY than of the previous THORs. He quickly makes him funny, destroys his hammer, puts him on another planet and has cyborg Stan Lee cut his hair short. So it’s different. (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…)
SPOTLIGHT is another one of the best picture nominees. I’d already seen it anyway. It doesn’t seem to me like signs are pointing to it as a potential winner, but it definitely feels like your traditional perfectly-good-movie-that-wins-best-picture-and-makes-you-resent-it. Unlike BIRDMAN or ARGO it is not about actors or Hollywood, except in the sense that it allows actors to shine in a big cast with mouthfuls of dialogue. But the appeal is they get to portray professionalism, a courageous Fight Against the System, and a true story about a heavy topic: the massive cover-up of child sexual abuse among Catholic clergy.
It’s an ALL THE PRESIDENT’S MEN type deal. The Boston Globe‘s “Spotlight” team of reporters who do long-term investigative journalism sort of stumble across this thing, an old story that no one paid much attention to that has bigger implications. They talk to victims, look at records, connect the dots, do the math, and start to suspect that the atrocity is much bigger than anyone realized. If it’s 3% of priests, let’s see, how many priests are in Boston? And 3% of that is… HOLY SHIT, that’s too many molesters in my opinion.
They discover lawyers who were involved with settlements between the families and the church. The families were led to believe the church would punish the abusers and getting some money for the kid to live off of would be the best thing to do. Whoops. They just made them move and let them keep working. (read the rest of this shit…)
Disney’s Marvel’s Joss Whedon’s The Avengers in: The Age of Ultron: A Marvel Cinematic Universe Adventure 2DMonday, May 4th, 2015
THE AVENGERS PART 2 is probly the most comic bookiest comic book movie achieved by mankind so far, which is to say that most of the action scenes have like 15 different supermen and secret agents and shit flipping around shooting magic beams and power waves and explosive arrows and laser things and doing super punches and alley ooping each other and what not as they fight against an army of flying wiseass robots. There are two main characters who wear capes, one that turns into a giant monster, one that’s from a viking fantasy dimension or whatever, at least two that fly of their own accord and two using the jets on their power suits, one that moves faster than sound and another that does mind control and shoots red, uh… magic I guess?… from her hands. It’s not played exactly “gritty” but it’s not a joke either. It means it.
After writer/director Joss Whedon (SPEED)’s masterful job of combining all the different Marvel characters into one supergroup in part 1, he has an even bigger miracle to pull off, and ends up with more mixed results. Because after you’ve managed the trick of combining all these worlds and characters into one coherent movie (which honestly I didn’t believe could be done), the challenge is how do you do it again and make it seem new again and bigger this time but not worse? And the answer is “it’s hard to say.” (read the rest of this shit…)
FOXCATCHER is an eerie examination of a true story about two brothers, Mark and Dave Schultz, who won gold medals in wrestling at the 1984 Olympics and a couple years later went to live on the Pennsylvania estate of a rich guy named John E. du Pont. The guy said he was a patriot and wrestling fan and wanted to help America win again. I didn’t know what was going to happen, but you immediately get the sense – in part from the foreboding grey skies and long, dry stretches with little dialogue and no music – that it’s gonna be something bad. I felt pretty confident this would end in some sort of fucked up tragedy and not with a Survivor song playing over a freeze frame on a joyful Channing Tatum (who plays Mark) being lifted by a congratulatory crowd of sports enthusiasts.
Steve Carrell plays du Pont and he makes him very odd. He leans his head back and leaves his mouth slightly open, like he’s watching you and is perpetually about to offer an observation. He wears a comically large fake nose and a nerdily tight Team Foxcatcher sweatshirt or windbreaker. Occasionally he has lines absurd enough to be in a Will Ferrell movie: “Don’t call me Mr. du Pont. My friends call me Golden Eagle, or just Eagle.” But whatever comedy may be inherent in the role, he’s intentionally un-milking it. This is his Serious Role, his Playing Against Type, his Robin Williams in ONE HOUR PHOTO. I mean, I’m sure it’s funnier than that magician movie he did, but it’s his most dramatic, not-going-for-laughs movie, and he’s successful at being creepy in it.
(read the rest of this shit…)