Never Mind Pop Film

Your Thoughts on 'Star Wars: The Phantom Menace 3-D'

2012-02-10T08:00:00.000-08:00

Jar Jar Binks debuted in magnificent 3-D this week. Love it, hate it, or somewhere in between? Leave your take in the comments below!

Review: Chronicle (***)

2012-02-08T11:29:00.002-08:00

Shoot. It has been a really long time since I had such difficulty placing a rating on a movie. Chronicle is just that kind of film. I actually, believe it or not, never even saw a trailer before going in to the theater, the poster looked intriguing and the fact that the film was Josh Trank's directorial debut was too much to pass up.

Andrew (Dan Dehaan) is an unusual and unpopular high school student with a dying mother and a drunken, abusive father. Matt (Alex Russell) is the intelligent Plato reading cousin of Andrew, who is constantly trying to get him to break out of his comfort zone and meet new people and make new friends. Steve (Michael B. Jordan) is a charming Senior running for class President, and good friends with Matt. These three high school students' lives don't seem anything but ordinary, until the arrival of a special night that changes them forever.

Matt convinces Andrew to come to a party, though when arriving Andrew does nothing but video tape the whole time. Being mistreated by several different people at the party, Andrew walks out to sit alone by a tree when he is approached by a very excited Steve, claiming that he and Matt have made an incredible discovery.

There is some sort of giant, mysterious hole in the ground, and when Andrew shines his light into it they cannot see the bottom. Well no one could live their life without going down, so it appears they have no other option but to go. As they continue down it comes to their attention that this is far more than a deep hole, it is literally a long tunnel. What next? To proceed, of course. Now this may sound like some sort of spoiler, but it isn't, I promise. There comes a room which contains a very large, alien-like thing (seriously, "thing" is about the only word in my vocabulary I knew to use at this time) and while studying it something crazier than anyone conceived possible happens. Well, that was a tad bit of an over statement, but you get the idea.

The screen cuts black, then flashes on to the next day. The three have strange telekinetic powers that only appear to be growing as days pass by. This bonds them together, making them the closest of friends, until... oh! I suppose I should just let you watch the movie!

I will say this: the first half was a heck of a lot more funny than almost ANY comedy that comes out these days. I hate how in most super hero films, when the heroes get their powers the typical reaction is "Oh... that's cool. Let me go save the world." But not here, thankfully. It's quite hilarious really, I connected so well with the characters and their responses to their incredible powers, it was a delight to watch.

Then Chronicle goes down a far different, darker path. For me it was, in a sense, like looking at a food I've never tasted and imagining what is tastes like, but when I actually put it in my mouth it is completely different. The initial shock, while not bad, is extremely hard to get over. Just be warned. In his debut Trank tries to make his mark by throwing twists, for better or for worse, he does.

But the real power, as impressive as Trank is, comes from the collaboration between the screenwriter, Max Landis, and the cast. Landis' script is fantastic, so unbelievably believable (like what I did there? Didn't think so). The cast does nothing but assist in making the screenplay come to life. The two aspects together carry the film. The best of all being Dan Dehaan's performance.

Final Word - Chronicle is not what I was expecting, that hurt it. I felt the tones were too uneven. But I cannot deny the talents here. Trank, Landis and the cast are all in their twenties, and all have bright futures ahead of them.

'Bourne Legacy' Teaser and Poster

2012-02-08T11:19:00.001-08:00

A fractured trailer for a fractured man. The marketing team for this Bourne film has been smart; no one will forget that the last Jason Bourne was Matt Damon, but there never was just one.

New 'Amazing Spider-man' Trailer

2012-02-07T13:33:00.003-08:00

New footage, same premise. Fortunately, the cast is quite good. What I'm most curious about is how they plan on blending The Lizard's story with the disappearance of Peter's parents.

BAFTA's 2012 Best Film Art

2012-02-06T11:26:00.000-08:00

Every year the British Academy of Film and Television Arts releases artist depictions of the nominated films for Best Picture. 2012's collection stands head and shoulders over recent years. Thanks to Hey You Guys, all five nominated film brochures are available online (The Artist, Drive, The Descendants, The Help and Tinker, Tailor, Soldier, Spy). Highlighted are my top three selections.

Michael Bay Wants That Oscar, People!

2012-02-06T11:00:00.000-08:00

Opportunities for Michael Bay to earn his first Oscar are dwindling with, what is presumed to be, his last Transformers film this year. Given that Transformers: Dark of the Moon faces some stiff competition this year from Rise of the Planet of the Apes and Harry Potter and the Dramatic Conclusion, Michael Bay wants to remind you who rocked your world this year. Make Michael Bay happy.

Another Year, Another Race

2012-02-02T08:00:00.000-08:00

(this post comes from Darren Mooney of The Movie Blog)

Oscar season is on us again. Although, to be fair, it's been going since at least November last year. It's something of a tradition that, the closer we get to the awards themselves, the more certain the outcome seems. To a large extent, that's still true this year. The vast majority of pundits seem to have settled on the belief that George Clooney will pick up the Best Actor award, Christopher Plummer will pick up the Best Supporting Actor award and Meryl Streep will take home her first Best Actress Oscar in quite some time. While there are those who would disagree with these assessments (for example, I think Viola Davis might pose a credible threat to Streep), those are the broadly-agreed major categories. However, the announcement of the nominees last week threw the Best Picture race into a bit of uncertainty, creating the impression that The Artist doesn't quite have the award locked down.

Again, I'm going to concede that I still think The Artist will take the award, if only based on the sheer logistics of the thing. I think that, despite being a black-and-white silent film, it has the broadest appeal of the nominees. Indeed, that may be precisely because of the same "simplicity" and "shallowness" that the inevitable backlash repeatedly brings up. If allegations of mistreatment of child actors couldn't keep Danny Boyle's Slumdog Millionaire from the award, I can't see "it's too light" keeping The Artist off the podium at the awards itself. Indeed, it's been doing very well over the course of the awards season, with the Directors' Guild Award serving as the latest feather in its cap. Honestly, I still see it winning in the Best Picture and Best Director categories.

But I'm not certain.

And that's the joy of this year's race. Up until the nominations were announced, Alexander Payne's The Descendants had been the movie's primary contender for the award. It was essentially competing as "counter-programming", a movie more typical of the Academy's tastes in recent years. It's the respected and relatively niche indie contender, of the same pedigree of recent winners like No Country for Old Men, Million Dollar Baby and even The Hurt Locker. It's a film that the Academy can award if they don't want to seem either too populist (with The Artist very well-liked, even among those who don't love it) or too nostalgic (being the strongest contender that isn't about cinema itself). It provides a nice focal point for those members who tend to steer away from the crowd-pleasing fare. Even with only five nominations, I think it has enough clout to be considered as a potential contender.

Of course, most Oscar races tend to be "two horse" races. Last year it was The Social Network against The King's Speech, while we all remember Avatar against The Hurt Locker. Personally, I never saw either race as especially close, if only because of the institution's pre-existing bias towards and against certain types of films. I think that The Descendants and The Artist is a much tighter race because they offer a fairly similar choice. Neither is especially "modern" (The Social Network as against The King's Speech) and neither is a picture in a genre the Academy dislike (Avatar was a blockbuster science-fantasy). However, even beyond that, I think the race is more interesting due to two of the other Best Picture nominees - one as a serious contender, and the other as a potential upset.

The announcement on Tuesday revealed that Martin Scorsese's Hugo had picked up twelve nominations, something which surprised me a bit. I had expected quite a few, but no more than eight, to be entirely honest. Although none of these were in the major acting categories, picking up the highest number of nominations at the ceremony does mark you out as a solid contender. Given that the highest number of nominations ever received at the awards was fourteen (for the Best Picture winners Titanic and All About Eve), that's no small accomplishment for Scorsese's film.

Statistically speaking, there's evidence to support a link between the Best Picture Award and the film with the most nominations. Looking at the last few years, The King's Speech had twelve nominations and won Best Picture. The Hurt Locker and Avatar both had the most nominations at their ceremony. Slumdog Millionaire upsets the trend, with The Curious Case of Benjamin Button having more nominations, but the previous year had There Will Be Blood and No Country For Old Men tied. I think that it's impossible to count Scorsese out. So, even with three front-runners, I think it's a tighter race than we've seen in quite some time - and I wouldn't be surprised if any of these three won. After all, we're used to a five-picture race, but with a frontrunner and somebody behind, and then the rest of the pack scatter. This is kind of exciting.

However, there's one more possible contender I refuse to count out of the race. Truth be told, I didn't even think it was in the race until the nominations were announced, and - even now - I think the chance of a Best Picture or Best Director win is small, but not outside the realm of possibility. I am talking about Tree of Life. It was a film that not only managed to surprise people with a Best Picture nomination, but surprised a lot of pundits with a Best Director nomination for Terrance Malick. It was at least as big a surprise as Extremely Loud and Incredibly Close getting a Best Picture nomination, one I can proudly say that I predicted. However, Tree of Life is a potential contender, and ELIC is not, for one simple reason.

Anybody with a grasp of the voting habits of the Academy knows that it is practically unheard of for a film to win the Best Picture award without at least a Best Director nomination. Driving Miss Daisy is the most recent example, and the other two are the very first winner (Wings) and the only film to win Best Picture without any other nominations (Grand Hotel). Incidentally, this is why I dislike the "more than five Best Picture nominees" thing, because it's the five that could win and a bunch of also rans, but I'll spare you that rant. The point is that we can, thankfully, count out ELIC at this point in the race.

On the other hand, Tree of Life came completely out of nowhere. Even the people who liked it didn't expect the Academy to like it. And the Best Director nomination indicates that they loved it. Malick is one of those directors who has been working in Hollywood for a very long time, but has never won an Oscar. The closest he came was a nomination for The Thin Red Line. While his history of being snubbed isn't nearly as controversial as the way Scorsese was treated or Christopher Nolan has been treated, it is possible that the Academy might take the opportunity to recognise him.

I admit the possibility is downright remote, but the love for the film is a big surprise. I'm happy for it, and I enjoyed it (even if I didn't love it), and I think there's no way to tell how interested or disinterested in the film the Academy actually is. It isn't as if the two leads were ever contenders for the acting awards, although both Jessica Chastain and Brad Pitt are nominated for their work elsewhere. Personally, I don't think it will happen, but I could see Malick and/or his film winning on second or third preferences if the three-way race between The Artist, Hugo and The Descendants doesn't give a clear winner on the first ballot.

All in all, I think this might be the most exciting Best Picture race in quite some time...

Bond Goes for the Kill

2012-02-01T12:09:00.001-08:00

I don't think there has ever been a Bond with facial hair has there? Either way, Bond is back and on the prowl in Shanghai. Skyfall is due to begin its worldwide roll-out later this year in the UK and Ireland on October 26th and in North America on November 9th.

(Courtesy: 007)

10 Words or Less: Man On a Ledge (2012)

2012-02-01T12:00:00.002-08:00

I wish you would step off that ledge my friend

The Year of Nostalgia

2012-01-31T17:34:00.003-08:00

Nostalgia hurts, so it came as a surprise that so many films this year were aimed at people opening old wounds and experiencing the joys of childhood again. Hugo mystified many this year and The Artist recreated a whimsical feeling in moviegoers that had gone unfelt since the likes of Charlie Chaplin and Buster Keaton. Extremely Loud and Incredibly Close made us wish for the innocence of a child before the fateful morning of September 11th. Midnight in Paris reminded us that nostalgia of an era we never lived in is just sentimentality.

But it wasn't just nostalgia for another time, it was for any semblance of normality. A return to a time when raising a family wasn't so damn hard. When your rivals couldn't simply outspend you. When your friend getting married didn't mean that she had to move away. When cinema could help audiences forget the troubles of the world. Few films have touched upon wish fulfillment in bulk the way that this year has. Even few have done so as well as Take Shelter, if there is a film that can better embody the feeling of the average family trying to pull through a recession, I never found it.

A lot has been said about 2011: that it doesn't compare with 2010's class of films; that is was weak; that it didn't have any heart. At the end of the day I would put this year up against any. It reminded us of a time we all longed for.

Colin's Top Ten

Take Shelter

Jane Eyre

Win Win
Drive

Moneyball
Hugo
The Descendants

50/50

The Guard

Bridesmaids

Not Screened
The Artist
Shame
War Horse

All 'The Dark Knight Rises' News Fit to Print

2012-01-31T13:38:00.001-08:00

Being the most anticipated film of the year comes lots of news stories. In order to avoid reader fatigue combing the posts seemed like a simpler idea. Why take up three stories what you can do with one?

The above image comes from the prologue that came out in December.

Tom Hardy on Bane and his resistance to go to a dark place to play him:

Hardy described the character as "brutal" and "heavy-handed", but "I didn't get into a dark place at all. A lot of dark characters are easy to have distance from, it's something I feel comfortable with, I suppose."

Christian Bale on his mindframe playing Bruce Wayne/Batman:

For me he is an anarchist and a free spirit. He knows that there are parallels between him and his enemies because life is never stable – you always have to fight for it. Keeping in mind that it may never be boring and that nobody is obliging you to behave like a superhero and to always have your muscles flexed and bulging.

(Courtesy: Comic Book Movies)

ArcLight Interviews: Gary Oldman

2012-01-30T17:31:00.000-08:00

Thanks to ArcLight for providing us with an insightful look at how and why Gary Oldman took on the character of George Smiley in his Academy Award nominated performance in Tinker, Tailor, Soldier, Spy.

Review: A Dangerous Method (***)

2012-01-29T18:57:00.000-08:00

With any innovative idea there are vultures surrounding them: both advocates and detractors. Success has many fathers, but failure has just one. The talking cure that Dr. Freud (Viggo Mortensen) has implemented could either bring psychoanalysis to the mainstream or destroy the reputations of them all.

Despite the good doctor's gossamer-like touch regarding sexuality, Freud could better serve other interests if he shifted his focus elsewhere. Freud, seemingly does not care enough about a patient's problems enough to obtain any actualized solutions. Jung (Michael Fassbender, in yet another solid performance) finds this unacceptable. Sexuality does not define any one person's actions consistently, he refuses to believe it.

Sabina Spielrein (Keira Knightley) could change all of that. Her psychosis is not a common one: she is excited by humiliation. Underneath this, Jung sees a kindred spirit, a woman with insights of her own. He can find a way to cure her of this "disease", but in doing so he must tread lightly. His resolve is being corrupted by Otto Gross (Vincent Cassel) a man who represses nothing. Sabina has a proposal and Jung may halt the psychoanalytic movement before it even begins.

David Cronenberg's film relies on its actors to keep the audiences' attention onscreen as A Dangerous Method does not lend itself to cinematography. A majority of the film takes place behind a desk, in armchairs, and at the dinner table. Fortunately, Knightley, Fassbender and Mortensen all give it their all.

Mortensen takes the cigar and ability to thrown battery acid onto a fresh-paint veneer like only Freud could. Fassbender—so shortly after Shame—comes to prim and proper so naturally that even the hairs on his mustache stand at attention. Watching him loosen his morality as if it were a tie is a vicarious thrill. His scenes with Knightley revel in all of the kink that fans said that Cronenberg no longer had in him.

What we indulge in may bring us to the brink and A Dangerous Method proposes that in order to live, we may have to give up it all.

Review: Red Tails

2012-01-27T11:01:00.000-08:00

It’s here! It’s finally here!

After 23 years of rejection, cinematic torture, and pure lack of interest from every conceivable motion picture studio, George Lucas’ retelling of the Tuskegee Airmen’s battle against racism and the Germans during WW II, has at last been released and is now playing at a theater near you.

The question is: is it any good?

Well, in a word … no. In a sentence … Red Tails takes a passionate and serious subject matter, glamorizes it, and then morphs the story into a unconvincing, incoherent, action frenzied mess.

Director Anthony Hemingway’s directorial debut is the type of film you want to embrace, though. It’s a feel good blockbuster that doesn’t degrade society or dismantle morals, but rather cultivates them. How unfortunate that substance is too often substituted with hyper kinetic (Lucas driven) CGI.

We pick up the story in Italy, 1944. It’s the height of WW II and a new program entitled The Tuskegee Airmen has been set in motion. Despite malicious racists in Government and all across the country, these gentlemen are the first African American pilots to fight in war.

Red Tails has no genuine main character. Naturally, we receive some more fascinating than others. Joe ‘Lightning’ Little (David Oyelowo) – an eccentric pilot who falls for a gorgeous Italian woman, starts a fight in a bar, and talks back to his superiors. And his best friend, Marty ‘Easy’ Julian (Nate Parker) – who leads the “negro” pilots into combat and his ridden with an alcohol problem.

The African American generals are played by respected actors, Terrence Howard and Cuba Gooding Jr. The former is compromising with government to allow the “negro” soldiers to fight in the air. And Gooding’s character does one thing: smoke from a Sherlock Holmes-like pipe, while strolling around the army base.

The historical narrative of these Tuskegee Airmen is bold and emotionally wrenching. George Lucas’ vision and ultimate creation of these events, is not. While the film certainly speaks to our patriotic sensibilities, delivering monologues on equality and the selflessness one must have in warfare, Red Tails does little to provoke any honest feelings. The stakes don’t feel crucial and John Ridley’s story perpetually avoids scenes that could be utilized as a springboard for emotion and deeper significance.

Instead, the films priorities lie within its visual craft. Lucas knows the sky – and understands how to create ingenious combatant action sequences. Most are first person, cutting between wide lens shots of battle and quick close ups of the pilot.

But like all momentary enjoyment, this becomes tiresome.

We’re then left with a young cast that provides – what feels like – impersonations, rather than nuanced performances. A meandering script lacking the depth of the issues that were present during the war. And to top it off, editing that leaves little room for one to care about these diligent soldiers on screen.

Signs of maturity and hope are sporadically sprinkled throughout Hemingway’s Red Tails. However, what’s more aggravating than obtaining small doses of quality during a film, is seeing a subject as vital as the Tuskegee Airmen being debased to a level of farcical entertainment.

For those truly interested in the story of these valuable individuals, check out the film entitled The Tuskegee Airmen. Directed by Robert Markowitz, made in 1995.

Hungarian 'Shame' Poster

2012-01-25T22:39:00.001-08:00

Given that Shame has played in maybe 40 theatres across the entire world, the only real look at Steve McQueen's divisive film has been at posters and trailers. Fortunately, these posters have been great. And here is the latest one coming to you all the way from Hungary.

84th Academy Awards Nominees

2012-01-24T11:10:00.000-08:00

It should be no surprise that The Artist and Hugo lead all films with eleven and ten nominations respectively. Nice surprises in Bichir and Oldman's Best Acting nods as well as The Girl with the Dragon Tattoo's technical nods and Mara for Best Actress. I would have liked to have seen one of the Michaels (Fassbender in Shame or Shannon in Take Shelter) nominated though.

Best Picture

War Horse
The Artist
Moneyball
The Descendants
The Tree of Life
Midnight in Paris
The Help
Hugo
Extremely Loud & Incredibly Close

Best Actress

Glenn Close, Albert Nobbs
Rooney Mara, The Girl With the Dragon Tattoo
Viola Davis, The Help
Meryl Streep, The Iron Lady
Michelle Williams, My Week With Marilyn

Best Actor

Demian Bichir, A Better Life
George Clooney, The Descendants
Jean Dujardin, The Artist
Gary Oldman, Tinker Tailor Soldier Spy
Brad Pitt, Moneyball

Supporting Actress

Berenice Bejo, The Artist
Jessica Chastain, The Help
Melissa McCarthy, Bridesmaids
Janet McTeer, Albert Nobbs
Octavia Spencer, The Help

Supporting Actor

Kenneth Branagh, My Week With Marilyn
Jonah Hill, Moneyball
Nick Nolte, Warrior
Christopher Plummer, Beginners
Max von Sydow, Extremely Loud & Incredibly Close

Best Director

Michel Hazanivicus, The Artist
Alexander Payne, The Descendants
Martin Scorsese, Hugo
Woody Allen, Midnight in Paris
Terrence Malick, The Tree of Life

Best Original Screenplay

Michel Hazanivicius, The Artist
Kristen Wiig and Annie Mumulo, Bridesmaids
Woody Allen, Midnight in Paris
J.C. Chandor, Margin Call
Asghar Farhadi, A Separation

Best Adapted Screenplay

Alexander Payne, Nat Faxon and Jim Rash, The DescendantsJohn Logan, HugoGeorge Clooney, Beau Willimon and Grant Heslov, The Ides of MarchSteven Zaillian, Aaron Sorkin and Stan Chervin, MoneyballBridget O'Connor and Peter Straughan, Tinker Tailor Soldier Spy

Best Foreign Feature

Bullhead
Footnote
In Darkness
Monsieur Lazhar
A Separation

Best Animated Feature

A Cat in Paris
Chico & Rita
Kung Fu Panda 2
Puss in Boots
Rango

Art Direction

The Artist
Harry Potter and the Deathly Hallows Part 2
Hugo
Midnight in Paris
War Horse

Cinematography

The Artist
The Girl With the Dragon Tattoo
Hugo
The Tree of Life
War Horse

Costume Design

Anonymous
The Artist
Hugo
Jane Eyre
W.E.

Documentary Feature

Hell and Back Again
If a Tree Falls: A Story of the Earth Liberation Front
Paradise Lost 3: Purgatory
Pina
Undefeated

Documentary Short Subject

The Barber of Birmingham: Foot Soldier of the Civil Rights Movement
God Is the Bigger Elvis
Incident in New Baghdad
Saving Face
The Tsunami and the Cherry Blossom

Film Editing

Anne-Sophie Bion and Michel Hazanavicius, The Artist
Kevin Tent, The Descendants
Kirk Baxter and Angus Wall, The Girl With the Dragon Tattoo
Thelma Schoonmaker, Hugo
Christopher Tellefsen, Moneyball

Makeup

Martial Corneville, Lynn Johnston and Matthew W. Mungle, Albert Nobbs
Edouard F. Henriques, Gregory Funk and Yolanda Toussieng, Harry Potter and the Deathly Hallows Part 2
Mark Coulier and J. Roy Helland, The Iron Lady

Music (Original Score)

John Williams, The Adventures of Tintin
Ludovic Bource, The Artist
Howard Shore, Hugo
Alberto Iglesias, Tinker Tailor Soldier Spy
John Williams, War Horse

Music (Original Song)

"Man or Muppet" from The Muppets, Bret McKenzie
"Real in Rio" from Rio, Sergio Mendes, Carlinhos Brown and Siedah Garrett

Sound Editing

Drive
The Girl With the Dragon Tattoo
Hugo
Transformers: Dark of the Moon
War Horse

Sound Mixing

The Girl With the Dragon Tattoo
Hugo
Monyeball
Transformers: Dark of the Moon
War Horse

Visual Effects

Harry Potter and the Deathly Hallows Part 2
Hugo
Real Steel
Rise of the Planet of the Apes
Transformers: Dark of the Moon

Short Film (Animated)

Dimanche/Sunday
The Fantastic Flying Books of Mr. Morris Lessmore
La Luna
A Morning Stroll
Wild Life

Short Film (Live Action)

Pentecost
Raju
The Shore
Time Freak
Tuba Atlantic

Oscar Senses Tingling, Part Three

2012-01-23T08:00:00.000-08:00

The Descendants

What it's likely to get nominated for: Best Picture, Best Director, Best Actor

What I'd like it to be nominated for: Best Picture, Best Director, Best Actor

Alexander Payne has nailed the zeitgeist of the past decade and seemingly touched off again with this new one. The tale of one man's grief while pulling his family back together was the right amount of heart without reaching into the saccharin bag that too many films resort to.

The Girl with the Dragon Tattoo
What it's likely to get nominated for: Best Actress, Editing, Score

What I'd like it to be nominated for: Best Actress, Best Director

We're in a reversal from last year where The King's Speech was almost the only feel good splendor in the field. This year Dragon Tattoo is the juxtaposed film against heart-warmers like The Artist, The Descendants, War Horse, Extremely Loud and Incredibly Close. Daring the Academy to come out of the closet regarding their genre fetishism may prove too strong to resist.

Tinker, Tailor, Soldier, Spy

What it's likely to get nominated for: Best Picture, Adapted Screenplay, Editing, Sound Mixing

What I'd like it to be nominated for: Best Actor, Cinematography

Oldman's Smiley is not going to be brash enough to leap out at Academy voters, but his performance is no less impressive. He is glib in his answers, yet earnest in finding his own. The agency is a self-contained one, made up of huddled, tweeded masses who believe themselves to be the last line between England and the Soviet Union. A feeling of paranoia expertly captured by Hoyte Van Hoytema.

The Artist
What it's likely to get nominated for: Best Picture, Best Actor, Best Supporting Actress

What I'd like it to be nominated for: Cinematography, Supporting Actress, Score

The apparent shoe-in for the awards this year, The Artist has captured the attention of critics and fans alike. Though the given favorite for the Academy's votes in most categories, the attention to detail in the cinematography in the construction of the 1920s and 1930s set design and camerawork, and the emotion portrayed in the score were undoubtedly exceptional. A nod must be given to Bérénice Bejo for her grounded and heartwarming performance as well.

Review: Haywire (***1/2)

2012-01-21T20:27:00.002-08:00

The world of espionage has changed, it is now mostly ran by private contracting firms. Firms about liability clauses and the money that comes from ignoring due diligence. Along with that sort of money comes smarmy bosses like Kenneth (a resplendently despicable Ewan McGregor). Mallory Kane (Gina Carano) is tired of Kenneth, his lackeys and his poor work ethic. Trust is a valuable commodity in her field and trust, it seems, is in short supply. So she is getting out for good. Or so she thinks.

The spy film has worn the tread off its tires and given Steven Soderbergh's propensity for add style and flair to even the stodgiest genre. Telling Mallory's story in separate pieces keeps the audience from anticipating too much of what comes ahead, but we all know this much: hell hath no fury like a woman scorned. And this woman fights; she does it because it is honest. Brutally honest. You can't fake your way through a fight and that is what Mallory has to her advantage: you can't lie or cheat your way to winning.

Soderbergh's capturing of fight sequences in Haywire is a sight to be seen. Every punch thrown sends the viewer back into his/her seat. He doesn't cut away from the action and in doing so captures what few action films do: raw intensity. The sound mixing leaves every bone-crunch, connected kick, and broken vase felt. Mallory Kane is the best at what she does and what she does is kick ass.

Featuring an Ocean's 11-level assemblage of stars like Michael Fassbender, Ewan McGregor, Antonio Banderas and Michael Douglas, Haywire's cast fires on all cylinders. Fassbender is fun to watch as always—so much in fact it is sad to see him go. But as fun as the co-stars are, this films is Carano's to lose and she ensnares the audience with each onscreen duel. There is no sequel talk for Mallory Kane and Company though there should be; betrayal has never been this much fun.

Review: The Artist (***)

2012-01-19T14:48:00.000-08:00

As a classic movie and silent film enthusiast, I felt it was my duty to go on and watch this similarly styled film. Knowing from interviews of Director Michel Hazanavicius that The Artist was filled with nods to classics like Singin' in the Rain and Citizen Kane, I was hoping to be touched by this film as I had been touched by its predecessors.

George Valentin (Jean Dujardin) is at the height of his popularity in 1927 Hollywood. Applauded both on the screen in his action films, and in front of the audience thanks to his dancing skills and pet dog's tricks, Valentin barely misses a beat when an adoring fan slips between the policeman barrier and bumps into him outside of a premiere. Why not enjoy a few laughs and poses with this pretty young lady?

Valentin's wife (Penelope Ann Miller) doesn't seem to agree with that sentiment the next morning, however. Sour-faced and jealous, she paints a portrait of Valentin's life at home that sharply contrasts his carefree life as a movie star. Valentin's home life also shows a lackadaisical attitude on the part of Valentin towards his wife, taking more interest in his dog, and his life-size portrait at the foot of the stairs than her scowl or questions.

Meanwhile, Peppy Miller (Bérénice Bejo), an aspiring extra fresh off the front page from her accidental photo shoot with Valentim, takes her confidence to the casting call for chorus girls. Her confidence pays off, and she's hired to work as an extra dancer on the next-- you guess it-- Valetin picture. When Valentin and Miller meet by chance again, their instantaneous chemistry sparks off the screen once more.

But if the movie were as simple as all that, where would the drama be? The coming of sound pictures acts as the catalyst for drama, and the reactions by Valentin and Miller couldn't be more different. Out with the old and in with the new, John Goodman's movie honcho Al Zimmer says to Valentin after Valentin makes it clear that he's an actor for the silent screen only, and that talking pictures are just a fad. Peppy Miller, on the other hand, is a rising starlet in the talking pictures screen, thanks in part to the beauty spot that Valentin painted on her face. The coming of talking pictures leads them down different paths, and their changing fortunes are simultaneously contrasted over several years. Ultimately, though,Valentin and Miller's fates are intertwined.

This is a quaint film, earnestly acted by all parties involved (and, for the most part not overacted, as one might have heard about the art of silent film in the past). I thought James Cromwell was wonderful as the understated supporting character Clifton, Valentin's chauffeur, especially compared to John Goodman's Sylvester Macaroni-like performance. Uggie the Dog was in a league of his own--I'm almost positive that the majority of the Oscar buzz is because he's so adorable in the movie.

The cinematography is quite pretty, and mimic the style of films from the 1920s for the most part. Like the silent films, the amount of placard dialogue is kept to a minimum, although it's occasionally used to increase dramatic effect. Though primarily a drama, The Artist does have its comedic moments as well, relying on the use of sight gags--mostly with the pup--and assisted by the excellent rhythmic timing of the score.

In all of its ambitions to pay tribute to classic Hollywood, however, The Artist still comes off feeling a little hollow for it. Don't get me wrong, the sincerity of all those involved to make the film is apparent and plentiful. The basic material that the film is presenting-- pride before the fall, love, jealousy, gratitude, inadequacy-- are on their own timeless. It is simply that these themes and the performances that channel these emotions are presented as secondary to the technical aspects of this film. All the sincerity in the world cannot help out a film when it is constructed to use a style more than to tell the story.

As much as I wanted to love this film, I ended up being underwhelmed instead. It could be that I expected too much, but the Oscar buzz that is being generated by The Artist seems to affirm my original hopes. Perhaps I'm just in the minority of viewers who sees the film and longs for a classic silent film in place of a novelty item that takes from better movies. Don't take that to mean that doesn't mean The Artist's lack of creativity costs the movie its entertaining qualities. It's an enjoyable piece of Oscar-bait. I just wish I hadn't gotten the bait-and-switch.

10 Words or Less: Tucker and Dale Vs. Evil (2010)

2012-01-18T12:55:00.000-08:00

Murphy's law was never intended for renovating a summer home.

Review: Contraband (**1/2)

2012-01-17T12:30:00.000-08:00

So, do we have an early Oscar contender already guys?! Yeah… no. Contraband is nowhere near a great movie and not a good one either. But for January (I mean come on critics, IT’S JANUARY!!) it is more than entertaining enough for me, and add in a solid cast to that and you have a decent, yet minor, hit.

Chris Farraday (Mark Wahlberg) was once a smuggler, but after getting married to his wife Kate, (Kate Beckinsale) and having children, he decided to settle down and become a family man, starting his own business in security alarms. But while they are at their best friends wedding, Kate gets a call that her brother, Andy (Caleb Landry Jones) is in the hospital in bad condition. Chris and Kate soon discover that Andy has been smuggling drugs in a cargo ship and had to throw them into the water in order to keep from going to jail. The drugs were worth 700,000 dollars, and Andy is in trouble.

After trying to reason with the man who Andy owes, Chris ends up making things worse and getting his family involved as well in a very dangerous situation. Chris realizes that the only way for him to fix this is to do one last job (of course, what else would he do?) and to smuggle $700,000 of counterfeit money which will hopefully get the job done.

The plot isn’t original, but if you do find it interesting, I suggest you look elsewhere. There are thousands of one-last-job movies and many of them are far better than this. “The Town” is a good recent example. However, if you are like me and have seen all of the one-last-job films, but are just merely looking for an entertaining 2012 film to pass your time, you have come to the right place for sure!

Though I was a little surprised at the lack of intensity in Contraband, for the most part everything was OK across the board. Mark Wahlberg turns in an enjoyable performance that may not be extremely good, but suits the role just fine. Ben Foster was great, every time I see this guy in an action flick I continue to be more impressed with his acting ability, and I hope he continues to work at this pace, the action genre needs people like him.

I am not really a Kate Beckinsale fan, but I wouldn’t say I don’t like her, either. It’s just, why was she even in this movie? I’m sure as big of a name as she is the price wasn’t too cheap, and for so small and easy of a role I think they could have found someone just as good for far less the price. Even so, she did fine when she was in the film.

Final Word – You take a movie that is only OK, subtract points for a really unoriginal plot, add points for it being in January and entertaining, then round up, and there’s Contraband!

Most Valuable Performances: Jeff Bridges

2012-01-15T09:00:00.000-08:00

Bridges' flip-flopped, stoned, modern-day incarnation of a Raymond Chandler detective is his biggest role and also his most fun. Some may say The Dude is also his laziest role, but they weren't paying attention. He is a collection of hazy memories, recollected facts of the world and ninety-seven cent milk. You breeze through a character like this and everyone will sense a note of insincerity. Bridges roots himself in the terrycloth robe and Rayban shades. Any actor that could take a character that—for the most part—does nothing but bowl and get high, and make him compelling? That’s art, man.

Vote for Your Favorite Bond Poster

2012-01-14T13:48:00.001-08:00

Royal Mail and EON Productions are celebrating 50 years of 007. To commemorate the occasion they will be launching a dedicatory sheet featuring labels to sit alongside first class stamps featuring the top 10 Bond posters, as voted for by members of the public.

To vote, visit Royal Mail. Voting closes on the 27th so get out there!

'Skyfall' Reveals Bond's Other Weapon (His Ass)

2012-01-13T21:43:00.000-08:00

EON has released the first official still from the 23rd Bond film, Skyfall. And yes, I am firmly appealing to the female fans of this blog with this post. Shameless, I know, but Daniel Craig pays the bills.

700 With a Bullet

2012-01-13T08:00:00.000-08:00

It took a long time to get here and not without an considerable amount of help. Over the last three years the staff has grown from just Ben and I to five writers now (welcome aboard Matt!). Some days it seemed like too much effort to write a post a day just to have something up, but all in all, it's been worth every second.

I'd like to thank people like Aiden, Hatter and Darren for keeping me motivated, Scott, Andrew, Dan, Rodney, Castor and Ruth for always leaving a comment and letting me know someone is reading all of this.

Thanks all! Here's hoping to 700 more.