Don’t let the above image fool you. This is not a fun, explosive, Arnold film. When a movie trailer brags that it features the director of End of Watch and the writer of Training Day, ears perk up! So why doesn’t this film even come close to capturing the cinematic value of these two prior films?…It’s because Sabotage, the new film directed by David Ayer (Street Kings) and starring the former Governator (Collateral Damage), is a load of gruesome violence packaged into a cop drama wannabe that lacks purpose and explanation…as well as non-expletive dialogue.
Nearly a year after Ernest & Celestine screened at the 56th San Francisco International Film Festival, this charming French animated film is finally being released into U.S. theaters (in the Bay Area on 3/28). I’ve been eagerly awaiting this moment, since Ernest & Celestine was not only one of my favorite films of 2013, but also one of my favorite animated films of all time. At last year’s SFIFF, Benjamin Renner, co-director of the film, was simultaneously exhausted, excited, and relieved that the film was getting such a great response. With his friends waiting to go celebrate over a few drinks, Mr. Renner was kind enough to sit down with me at the Sundance Kabuki, just outside the auditorium where his film just finished screening, to discuss his experience…
Chad: How did you first get involved with this film?
Benjamin Renner: I started working on this when I just left school. I didn’t know anything except that it was an adaptation of the books by Gabrielle Vincent. The producer, Didier Brunner, the one who made Triplets of Belleville and Kirikou and the Sorceress, really famous in France, asked me if I could help work on this film. So I started reading the books, Ernest & Celestine, and I was so impressed by the books, the drawings, and everything. So I said, ‘I really want to work on this. Whatever position you want to give me. Even if I’m making coffee, I don’t care, it’s perfect.’ I really wanted to work on the animation, especially. So I started making him small animations. He loved it and said that I could work on the film. So that’s how I got involved. I was not a director, just a lead animator.
Viewer discretion not advised…if you’re a mature adult.
Sex education — sort of.
Let’s get this out of the way — Lars von Trier makes films that are explicit, controversial, and sad as f-ck! Some consider them pornographic, others call them gratuitous, while others call them brilliant works of art. All opinions are right because Lars von Trier’s films, above all else, invite endless interpretations, conflicting opinions, and discussions. His newest film, Nymphomaniac: Vol. I, the first part of a 4+ hour film divided into two volumes, is actually the third and final part of the “Depression Trilogy”, which includes von Trier’s prior efforts Antichrist (2009) and Melancholia (2011). These three films aren’t connected in the traditional sense of trilogies, that is to say, by story. Rather, they are tonally and thematically intertwined, each one separately exploring the worlds of sex, depression, and the multiple forms of human tragedy. Hooray! ...right? As you can imagine, these films don’t lend themselves to much mainstream appeal. In my humble critic’s opinion, they should. Well, maybe not Antichrist. But Nymphomaniac: Vol. I is a fascinating and well-rounded exploration of sexuality, identity, eroticism, youthful angst, and self-reflection, as told through a traditional biopic film structure, that invites personal introspection and a yearning to discuss these topics with others.
The Muppets make a deal with the Badguy, Dominic Badguy.
In 2011, when The Muppets resurrected the colorful bunch back into the mainstream (much thanks to Disney), it did so through a heartwarming tale that focused on the forgotten bond between humans and muppets that had been so strong for decades. The human element was a crucially strong point of emphasis. With that movie now in the rearview mirror, Muppets Most Wanted, despite the disappointing title, marks a return to the traditional form that the muppets are known for — slapstick gags, self-referential humor, and a stampede of celebrity cameos. The result is a fun explosion of muppet goofiness with catchy musical numbers, with the human characters reserved for moving the plot along, but nothing more.
Charming, crude, and rudimentary. R-U-D-I-M-E-N-T-A-R-Y.
Jason Bateman acts like a child. A naughty naughty child.
(Click here to see my video interview with Jason Bateman)
There is something delightfully sadistic about taking an innocent and formal pastime such as the national spelling bee and flipping it on its head through vulgarity and unabashed crudeness. Bad Words, which has already drawn comparisons to 2003’s Bad Santa, manages to find that coveted happy zone in which the audience can cheer on an antihero, even when the antihero engages in some truly despicable acts. Star Jason Bateman, who also makes his film directorial debut with Bad Words, knew that a relatable lead character with a story to tell (and legit motive) would be just as important to the success of the film as the level of crudeness. Hats off to Mr. Bateman for pulling it off, and it’s hard to imagine anyone else who could.
Jason Bateman makes his feature film directorial debut with the hysterically foul-mouthed Bad Words, in which he also stars as Guy Trilby, a forty-something disgruntled middle-school drop out who exploits a loophole in the rules guiding a national spelling bee in order to participate in the contest — but why? There’s more than meets the eye in this black comedy, and I sat down with Mr. Bateman to discuss how Bad Words came to be…along with some other fun stuff while witnessing firsthand his trademark dry humor:
Fasten your seat belts and put your tray tables in their full upright position…and keep your expectations grounded.
Liam Neeson has….TAKEN…off.
There are two ways to go into watching Non-Stop, the new action thriller starring the infallible Liam Neeson — 1) Expecting an intelligently crafted action film … OR … 2) Expecting an implausible and generally ridiculous action quickie that’ll keep you from being bored. Can you guess which way will result in a better time had?
As God is my witness, I’ll never listen to film score the same way again!
On Saturday, Feb. 15th, just two weeks before the 86th Academy Awards, the San Francisco Symphony hosted a night that celebrated a handful of iconic scenes from some of the very first, and most beloved, best musical score Oscar winners and nominees. Showcasing films as early as The Adventures of Robin Hood (1938) to as late as Ben-Hur (1959), the packed audience at Davies Symphony Hall marveled at fully restored 35 mm prints from six classics of cinema, including Gone with the Wind (1939), Citizen Kane (1941), An American in Paris (1951), and finally, The Wizard of Oz (1939), all the while enjoying the talented San Francisco orchestra drive through the scenes with scores ranging from bombastic to haunting to whimsical.
When I first learned of a LEGO movie, I was cautiously optimistic. I was raised on LEGO. I still vividly remember setting up Robin Hood-esque forest fortresses, flag-covered castles, and farming villages (yes, the medieval times was my go-to theme). The instructions that came with each box provided the groundwork for my imagination to later run wild. The idea of a LEGO feature film confused me, since I couldn’t conceive of a plot worthy of the great expanse of LEGO wonder. But then I saw the trailer, and it seemed to click. In a brilliant maneuver, LEGO and the filmmakers have included it all – legos from across “universes” and time periods – into a charming underdog story with a genuinely heartfelt message. The Lego Movie succeeds in its perfect execution of jam-packed jokes, self-referential humor, pop culture teases, talented voice acting, frenetic action that borders on being chaotic, and jaw-dropping animation. So yeah, it succeeds all over the place.
Explosions, superheroes, Muppets, and the Bible…hooray, kinda!
Remember the good ole’ days of Super Bowl movie trailers (~15 years ago) when there were only 2-4 of them and they were completely jaw-dropping? Armageddon and The Mask of Zorro in 1998, The Mummy and The Matrix in 1999, Gladiator in 2000. Nowadays, the internet is set ablaze with news of movie trailers set to premiere during the big game (with some premiering online before the game). Super Bowl movie ads just don’t have the ‘wow’-factor they used to. This year, more than eight movies had their trailers broadcast during the commercial breaks. It was mostly a visual feast of action/adventure fare, and most were new, aside from a few including 3 Days to Kill and Monument’s Men (which has too many ads playing currently). So, here are the cream of the crop:
Transformers: Age of Extinction No Shia? I’m game! No, seriously, we’re all fairly confident that this movie has little chance of being any better than the previous three crap-fests. That being said, Optimus Prime riding a robo-dinosaur? Again, I’m game!
