Carell’s performance is main event in otherwise slow wrestling movie
John du Pont (Steve Carell) gives wrestler Mark Schultz (Channing Tatum) an earful.
Director Bennett Miller returns to the big screen this month with Foxcatcher, his first feature since 2011’s Moneyball. Like that film, Foxcatcher also draws its inspiration from a true-life sports story, but, ultimately, Foxcatcher is really more of a psychological character study. While it’s a compelling look at descending madness, the film proves itself a rather static, chilly narrative, albeit one with some exceptionally strong performances.
Why is Dumb and Dumber To disappointing?… Is it because the new movie has six writers instead of three like the original? Is it because the 90’s style of humor just isn’t funny anymore? Or is it that Jim Carrey and Jeff Daniels just don’t carry the same onscreen charm they did twenty years ago? None of the above (well, maybe the first one). The best aspect of Dumb and Dumber To, the highly anticipated (and worry-inducing) sequel to the Farrelly brothers’ classic side-splitting 1994 comedy, is seeing the Carrey-Daniels duo back on screen together. The worst aspect is that Peter and Bob Farrelly lost sight of their own character creations, making them more mean-spirited now rather than the lovable dimwits they were before. Dumb and Dumber To isn’t without its funny moments, and there are a few nuggets, but twenty years should have yielded a more loyal and clever return to the world of Harry and Lloyd.
I dare you not to buy an action figure or stuffed toy within the next 48 hours after seeing this film.
Before saying what Big Hero 6 is, let’s start with what it’s not. It’s not the 6th movie in a series; it’s the beginning of a new one. It’s not a Pixar movie, but John Lasseter’s involvement in it is evident from both the quality of animation and the thought put into the characters. It’s not a part of the Marvel Cinematic Universe, even though it’s based — loosely — on a Marvel comic book. It’s not necessarily a kids’ movie, although the ready-for-the-toy-store robot BayMax is going to appeal to kids … of all ages. Finally, it doesn’t take place in San Francisco; rather, in San Fransokyo. What’s that, you say?
A space opera. A sci-fi blockbuster. A heavy hitter. Just enjoy the ride.
Matthew McConaughey gives the thumbs up to space travel.
*NOTICE: Many people have tried tirelessly to avoid exposure to any spoilers or plot details (or anything, really) regarding Interstellar. I found it hard to write about Interstellar without mentioning ‘anything, really’, so be forewarned*
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.
