Riggan (Michael Keaton) is shadowed by his alter ego, BIRDMAN!
Much of the recent press coverage of writer/director Alejandro González Iñárritu’s new film Birdman has focused on the film’s meta aspects concerning the casting of actor Michael Keaton in the lead role as a former big screen superhero trying to restart his career. Keaton himself famously played Batman in two films over 20 years ago, only to find his star fading as new actors assumed the role. In interviews, Keaton has been asked repeatedly about being cast in a role so close to his own reality, and he has steadfastly distanced himself from speculating on any deeper meaning of the coincidence. I think it’s important, then, to look at the film on its own terms, and not just as some sort of reflection of Keaton’s career arc. And, indeed, the movie is one of the fall season’s best so far – a highly entertaining, wickedly funny, brilliant black comedy.
It’s hard to imagine much originality stemming from any new or forthcoming World War II movies. This was my thought back in 2009 before Quentin Tarantino’s Inglourious Basterds was released, offering audiences a completely new vision of the second world war and delivering never-before-seen perspectives with style. This isn’t to say that that film revitalized the genre, but it kinda did. The newest World War II tale, Fury, starring Basterds alum Brad Pitt, offers a focus we haven’t seen much of (tank vs. tank battles), but otherwise a lot of the same gruesomeness and gritty warfare and dehumanized soldiers we’ve seen before. If it weren’t for a lack of strong character development, Fury could have been a war classic. Fury is a strong entry into the World War II genre, focusing on a much-passed over yet crucial deadly type of war machine (again, tanks), yet still overtly showcasing the horrors and disturbing nature of war.
Evidently, a movie can be both completely predictable and completely enjoyable at the same time.
Melissa McCarthy sets up Bill Murray for the best line of the entire movie.
Before seeing St. Vincent, the debut feature from Theodore Melfi, I knew very little about it. I knew that Bill Murray plays a cranky old man who lives next door to a single mother, and he develops a relationship with this woman’s young son. That’s it. I knew it was an indie movie, so I predicted to anyone who’d listen that the movie would definitely have a scene featuring an indie rock song punctuating an important uplifting moment. About this, I was wrong. The song by The National, “Start a War,” is used to punctuate an emotionally sad moment. How predictable was the rest of the film, you ask?
The Best of Me offers the near-worst in its genre.
Eye candy, yes. Chemistry, no. James Marsden look-alike, absolutely not.
Take a close look at the picture above. Does Mr. Shirtless look anything like a high school version of James Marsden? If you answered ‘yes’, then this movie is absolutely the movie for you. If you answered ‘no’, then you’re completely normal and will understand what I say when I say that the part of young Dawson was completely miscast. This was the biggest failure of The Best of Me, but there were other failures as well, including a overly complicated third act. Based on the book by Nicholas Sparks (The Notebook, A Walk to Remember), The Best of Me is obviously catering to the same audiences that have contributed a whopping ton of money to previous Sparks adaptations. But this movie fails as an inspiring story and fails to provide compelling characters. I haven’t read the book so I can’t say for sure whether or not it was the source material’s fault. But either way, its unpredictability and distractions ruin the chance for emotional connectivity.
The 37th Mill Valley Film Festival wrapped up last night. The Festival screened some of this fall’s most hotly anticipated pictures: Dan Gilroy’s Nightcrawler and Damien Chazelle’s Whiplash, and many more. We gave you a look at some of the festival’s lesser known independent films, now here’s a quick look at a few of the hot titles (and Oscar bait) coming out this fall. For full festival photos and information, visit: http://mvff.com.
The Imitation Game (US/UK 2014, 113 min; English)
Cumberbatch cracks the code.
The Imitation Game is a return to the traditional period bio-dramas of yesteryear (you know, like A Beautiful Mind). It tells the story of Alan Turing, the British mathematician who cracked the German Enigma c0de during World War II, thus introducing the world to computer science while having a large impact on helping the Allied forces win the war, and who was also subsequently arrested after the war for being a homosexual. Everything about the film is rock solid, from the stalwart acting, led by a fantastic Benedict Cumberbatch as Turing, to the film’s music and set design. While many movies, dramas in particular, flounder under the weight of forced contrivances, The Imitation Game embraces and utilizes them to an entertaining degree. We’re right there cracking the code alongside Turing in this old-fashioned period drama.
Affleck, Pike anchor brilliant adaptation of best-selling novel
Ben Affleck’s Nick warily addresses a crowd gathered to help find his missing wife.
One of the most hotly anticipated movies of the fall season, Director David Fincher’s Gone Girl more than lives up to its expectations. Based on Gillian Flynn’s popular novel of the same name, and benefitting tremendously from a screenplay penned by the author herself, the film is sure to please both the book’s rabid fans as well as those fresh to the story. The picture has been heavily marketed as a crime mystery, and although it is that, it is also much, much more. In reality, Fincher and Flynn have given us a searing portrait of a marriage cleverly disguised as a taut thriller.
Adam Sandler’s Don looks for some extramarital fun in Men, Women & Children.
Jason Reitman disappointed many of his fans with his hackneyed, sugary film Labor Day last fall. Unfortunately, one year later, he still has not returned to top form. His latest effort is a heavy-handed mess of a film called Men, Women & Children, the title of which more aptly describes everyone who should avoid it.
The 37th Mill Valley Film Festival opens tonight, October 2nd, and runs until October 12th. The Festival is screening some of this fall’s most hotly anticipated pictures: Bennett Miller’s Foxcatcher (starring Steve Carrell) and Morten Tyldum’s Imitation Game (starring Benedict Cumberbatch), and so many more. But here at Spinning Platters, we thought we’d spotlight some of the lower profile films that risk being overshadowed by the bigger movies. Full schedule, tickets, and more information are available at: http://mvff.com, and be sure to check back here for more updates during the Fest.
What We Do in the Shadows (US/New Zealand 2014, 86 min; English)
The whole crew in ‘What We Do in the Shadows’
What We Do in the Shadows resembles the result of a casual joke/idea, delivered with enough informality and humor to make it more entertaining than it could’ve been — it’s one of the funniest movies of the year. The witty writing, from the comedy team behind Eagle vs Shark and The Flight of the Conchords, enables the film to break free from potential one-joke captivity, whereby the story expands the simple premise (vampire housemates) to wonderful subplots and hilarious surprises. It’s definitely a movie best experienced with an energetic crowd!
Screenings:
– Tuesday, October 7, 7:45pm, Rafael Film Center, San Rafael
– Thursday, October 9, 4:00pm, Rafael Film Center, San Rafael
The 37th Mill Valley Film Festival opens this Thursday, October 2nd, and runs until October 12th. The Festival is screening some of this fall’s most hotly anticipated pictures: Jason Reitman’s Men, Women & Children and Tommy Lee Jones’s The Homesman (opening night films); Theory of Everything (featuring Eddie Redmayne as the young Stephen Hawking); and Wild, which has already garnered much festival buzz for Reese Witherspoon’s turn as Cheryl Strayed, the author of the popular memoir of the same name. But here at Spinning Platters, we thought we’d spotlight some of the lower profile films that risk being overshadowed by the bigger movies. Full schedule, tickets, and more information are available at: http://mvff.com, and be sure to check back here for more updates during the Fest.
In Order of Disappearance (Norway/Sweden/Denmark 2014, 116 min; English, Norwegian, Swedish, and Danish with English subtitles)
Stellan Skarsgard is out for revenge.
This Scandinavian crime thriller owes a debt not only to 2011’s terrific Norwegian noir film Headhunters, but also to the American movies Pulp Fiction and Fargo in terms of its surreal, darkly comic atmosphere and chilly landscape. Norwegian director Hans Peter Moland has cast Stellan Skarsgard to great effect as a sort of Swedish Liam Neeson in full-blown action mode. A Swedish immigrant living and working in a small Norwegian town, Skarsgard’s Nils gives new meaning to his recently earned Citizen of the Year award when he single-handedly takes on both a Serbian crime syndicate and the local gangsters to avenge the death of his son, an unwitting pawn in a dangerous turf war. Indelibly drawn characters and a screenplay filled with unexpected plot turns are highlights of this edgy, well-crafted picture.
Screenings:
– Friday, October 10, 5:45pm, Rafael Film Center, San Rafael
– Sunday, October 12, 2:45pm, Cinéarts Sequoia Theater, Mill Valley
Pegg’s performance is high point of mostly unoriginal travel tale
Hector (Simon Pegg) tries to find happiness in China… will he succeed!?
Hector and the Search for Happiness is a curious movie. Based on the trailer alone, you might think you’re in for a lighthearted, feel-good, seize-the-day picture, wherein the lead character Learns and Grows by ditching his staid life in search of adventure, à la Eat, Pray, Love or last year’s The Secret Life of Walter Mitty. And you wouldn’t be entirely wrong. But the surprising thing about director Peter Chelsom’s film, based on a popular French novel by François Lelord, is that while it certainly contains its fair share of clichés and groan-inducing scenes, it is both darker and more sensitive than you might expect. Continue reading “Film Review: Hector and the Search for Happiness”
