Even before that fake baby in AMERICAN SNIPER, people were talking like Clint Eastwood was some confused old man who doesn’t know how to direct a movie anymore. Gotta disagree. I know I’m far from the only one who really enjoyed and was surprised by THE MULE, and now that I’ve caught up with Clint’s latest director-only drama, RICHARD JEWELL, I’m here to tell you that’s a good one too. Really good, and to me it’s by far the most compelling of what now seems to be a Real American Heroes series with SNIPER, SULLY and THE 15:17 TO PARIS*.
Okay, yeah, so there’s a part where kids drinking beer in a dorm room have a poster on the wall that says “Beer 2 Night.” Have fun with that one. I didn’t notice the fake baby before so maybe there’s some in this one, I honestly don’t care. It’s a fascinating story, it made me laugh, it moved me, it has one of if not the best lead performance of last year. My friends, I have Jewellmania. (read the rest of this shit…)
A month or two ago I saw a comedy called BOOKSMART, directed by Olivia Wilde, who I just knew as an actress from TRON: LEGACY. BOOKSMART is about two really smart, funny girls obsessed with good grades and good colleges who, on the night before graduation, try to go to a party. It’s similar to SUPERBAD in both laugh ratio and sweet emphasis on friendship, and it even stars Jonah Hill’s hilarious sister Beanie Feldstein (LADY BIRD), along with Kaitlyn Dever, who played Loretta on Justified. I really enjoyed these two characters, plus the score by Dan the Automator, and highly recommend the movie, but it’s the kind of thing I don’t really know how to write about. I don’t know how to get much mileage out of trying to explain why I think something is funny. So I just tweeted about it and left it at that, until this very paragraph.
But the same week BOOKSMART came out there was a much less jolly movie released on video starring Wilde, written and directed by first-timer Sarah Dagger-Nickson. This one is called A VIGILANTE, and she’s literally playing a vigilante. It’s an arty movie that played South by Southwest in 2018, and the title could maybe be an homage to Jacques Audiard’s A PROPHET, because that seems like sort of the category of movie they’d like to be in. But at the beginning there were logos for Emmett-Furla Productions, Saban, and Moviepass. So yeah, obviously this one I know how to write about. (read the rest of this shit…)
Paul Walker won us over while starring in his six great FAST AND FURIOUS movies, so it’s a wonder he had time to do much in between. As you saw with yesterday’s JOY RIDE review I wanted to take the occasion of our saying goodbye to Brian O’Conner to pay tribute to his work again. The trouble is I’ve already reviewed most of his starring vehicles: RUNNING SCARED, EIGHT BELOW, every FAST AND FURIOUS movie… buddy, I saw BRICK MANSIONS in the theater, that’s the type of individual you are dealing with here. Luckily I remembered there was this one based on the book The Death and Life of Bobby Z by Don Winslow, the author of SAVAGES.
BOBBY Z (released in some countries as KILL BOBBY Z or LET’S KILL BOBBY Z) is no SAVAGES, that’s for sure, but it has alot of the same elements: legendary surfer turned ultra-rich California marijuana magnate, Iraq vet turned violent criminal, crooked DEA agents, ruthless Mexican cartels, genius businessman friend turned unlikely kingpin, women scheming while taken for granted as sex objects by the empire. Walker plays the vet, Tim Kearney, a crazy long hair kicked out of the Marines for beating up an Iraqi general and turned into a lifer for three dumb strikes. Now he’s facing certain death from the Aryan Brotherhood for killing a fellow con named Mad Dog (UFC legend Chuck Liddell).
DEA Agent Tad Gruzsa (Laurence Morpheus Fishburne) offers him a crazy, convoluted deal: he looks kinda like this marijuana kingpin named Bobby Z, who cartel leader Don Huertero (Joaquim “Evil Phil Hartman” de Almeida, FAST FIVE) wants in trade for Gruzsa’s kidnapped partner. He says they don’t know the real Bobby Z is dead so if Kearney pretends to be him and successfully makes the trade the DEA will just let him go and he can try to escape from a deadly cartel or whatever but not have to go back to prison. I mean, it’s kind of the honor system I guess. If he wants to go back to prison that’s cool. (read the rest of this shit…)
HER by Spike Jonze – his fourth feature film in 14 years – is a completely unique movie. It’s a touching relationship drama mixed with light sci-fi and cultural satire that’s somehow brutally accurate and gently affectionate at the same time. It’s the story of this depressed writer Theodore (Joaquin Phoenix) who’s in the middle of a divorce, and he meets someone who he really connects with… only it’s not a person, it’s the artificially intelligent voice in his computer (Scarlett Johansson). Yeah, he thinks it’s weird at first too, but it just happens. You can’t argue with your heart I guess.
Spending his life with his operating system has its share of challenges. He has to carry a little camera around for her to see the world. It’s awkward introducing her to people. They can’t hold hands or take a picture together and when they get it on it’s basically phone sex. They’re dealing with alot of handicaps here. (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…)
Remember TRON? The 1982 live action Disney fantasy from director Steven Lisberger (ANIMALYMPICS, HOT PURSUIT) about a dude magically sucked into a video game to play frisbee and ride bikes? It’s memorable for its only-in-1982 approach to design, its one-of-a-kind black light type look, its pioneering computer effects (which still look surprisingly cool today) and a weird electronical score by Wendy Carlos (A CLOCKWORK ORANGE). The only major problem I have with it besides it being boring is the entire silly premise of a guy going inside a computer and the “programs” are alive and they battle each other.
Believe me, I’m a man who knows how to suspend the ol’ disbelief. I suspend that shit all the time. I’m about this close to banning it for life. But Jeff Bridges getting shrunk and playing games with tiny neon people who live in a city inside a computer chip is just not compatible with my brain, in my opinion.
And besides, if video games are gonna come to life then why don’t you put Pac-Man in there? I’d like to hear what Pac-Man has to say for himself.
As I sit here putting together today’s updates, it is always a bonus pleasure when Vern sends me something to post. Today is no exception.
Trust no one. Anywhere. Except Vern.
This week’s horror movie is called TURISTAS (Portuguese for ‘Hostel’). It’s another story of young good looking backpackers whose vacations go badly due to bodily mutilation, etc. A crowded bus swerves to miss some asshole kids with surfboards and falls off a cliff. Luckily everybody gets out in time. The next bus won’t be for ten hours so some of the English-speakers band together and find a cool beachfront bar where they dance, make new friends, meet women and have such a good time they decide to ditch the bus. (read the rest of this shit…)
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THANKS EVERYBODY. YOUR FRIEND, VERN
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Recent commentary and jibber-jabber
MaggieMayPie on Trigger Warning: “I watched this the weekend that REBEL RIDGE came out. I went into Netflix to watch that and I saw…” Nov 20, 20:46
Matthew B. on Trigger Warning: “Anyone get the feeling that large chunks of act three went missing here? The big confrontation with Anthony Michael Hall,…” Nov 20, 18:24
Felix Ng on Trigger Warning: “I thought this was okay as well. Like an early 2000 Van Damme DTV.” Nov 20, 13:49
Skani on Dragged Across Concrete: “Yeah, this fucking guy’s a real trip. Sounds like his words “engendered” a lot of feelings, and I won’t even…” Nov 20, 13:04
Mr. Majestyk on Dragged Across Concrete: “That’s the sad part. All the ingredients are there for something great, but Zahler’s technique just pisses it all away…” Nov 20, 12:54
Crudnasty on Dragged Across Concrete: “Majestyk – I salute you for making it to the end to confirm that the entire runtime earns your contempt,…” Nov 20, 12:34
Mr. Majestyk on Le Samourai: “I want to thank everybody for the kind words. Sometimes I doubt my role in this ecosystem, as it seems…” Nov 20, 12:04
Mr. Majestyk on Dragged Across Concrete: “Sing it, Crudnasty. This remains my least favorite movie of the 21st century. Possibly of all time. I literally sold…” Nov 20, 11:51
Crudnasty on Dragged Across Concrete: “Benefit of the doctor = benefit of the doubt Apologies for the consequences of my furious swipe texting, but this…” Nov 20, 11:34
Crudnasty on Dragged Across Concrete: “Just started watching this on a whim, based on seeing the comments pop up and having seen Cell Block 99…” Nov 20, 11:32
Skani on Dragged Across Concrete: “I defended the movie at the time, but I do think Zahler is a weird dude, and I think Mel…” Nov 20, 10:24
CJ Holden on Trigger Warning: “When it came out, I joked on social media about this being actually a standup comedy special in which Jessica…” Nov 20, 10:13
Ishmael on Ebirah, Horror of the Deep: “One thing that always amuses me about Godzilla movies is how often between films people lose track of Godzilla. The…” Nov 20, 09:19
VERN on Dragged Across Concrete: “Both the violence and the racism depicted in the movie are fictional. I did not feel it was committing acts…” Nov 20, 09:15
Even before that fake baby in AMERICAN SNIPER, people were talking like Clint Eastwood was some confused old man who doesn’t know how to direct a movie anymore. Gotta disagree. I know I’m far from the only one who really enjoyed and was surprised by THE MULE, and now that I’ve caught up with Clint’s latest director-only drama, RICHARD JEWELL, I’m here to tell you that’s a good one too. Really good, and to me it’s by far the most compelling of what now seems to be a Real American Heroes series with SNIPER, SULLY and THE 15:17 TO PARIS*.
A month or two ago I saw a comedy called BOOKSMART, directed by Olivia Wilde, who I just knew as an actress from 
Paul Walker won us over while starring in his six great FAST AND FURIOUS movies, so it’s a wonder he had time to do much in between. As you saw with yesterday’s 
HER by Spike Jonze – his fourth feature film in 14 years – is a completely unique movie. It’s a touching relationship drama mixed with light sci-fi and cultural satire that’s somehow brutally accurate and gently affectionate at the same time. It’s the story of this depressed writer Theodore (Joaquin Phoenix) who’s in the middle of a divorce, and he meets someone who he really connects with… only it’s not a person, it’s the artificially intelligent voice in his computer (Scarlett Johansson). Yeah, he thinks it’s weird at first too, but it just happens. You can’t argue with your heart I guess.
Remember TRON? The 1982 live action Disney fantasy from director Steven Lisberger (ANIMALYMPICS, HOT PURSUIT) about a dude magically sucked into a video game to play frisbee and ride bikes? It’s memorable for its only-in-1982 approach to design, its one-of-a-kind black light type look, its pioneering computer effects (which still look surprisingly cool today) and a weird electronical score by Wendy Carlos (A CLOCKWORK ORANGE). The only major problem I have with it besides it being boring is the entire silly premise of a guy going inside a computer and the “programs” are alive and they battle each other.
Hey, everyone. ”Moriarty” here.
