Little Fockers, Tron: Legacy, and Others on DVD This Week

Looking at their 9% rating on Rotten Tomatoes... 

On DVD this week, an almost unanimous group of disappointing films. Little Fockers, Tron: Legacy, Casino Jack, and I Love You, Phillip Morris. Each film manages to destroy the hype that surrounded them for months, and leave very little for the viewer to walk out of the theater and praise. Of course, Tron: Legacy is almost immune to any sort of criticism being that it's strictly a film for the fan of the original (which is a masterpiece). But, being that Legacy is also a film that can be seen without seeing the original, that sort of evens the playing field. 

More after the cut --

Limitless

Apparently NZT does nothing for posture...

Limitless is limited. But, it proposes something interesting. Granted, it's proposal is one we've heard dozens of times, a couple of which were to chilling effect (echoes of Flowers for Algernon are plenty), but that doesn't mean it isn't a fun story. The man with nothing suddenly becomes the man with everything. Eddie Morra, played with Bradley Cooper, is given a wonder drug that allows him to use all of his brain, rather than just twenty percent. 

Side effects may include nausea, blackouts, migraines, and Robert De Niro's performance.

More after the cut --

Source Code

FIVE HUNDRED DOLLA.

It has Terry Gilliam's fingerprints all over it. That of Twelve Monkeys. But, here, the closest we get to Brad Pitt's rambling genius is Michelle Monaghan in an adorable outfit. Better, though, is the lead performance of Jake Gyllenhaal, who has grown to have an incredibly commanding screen presence. From back in the days of Donnie Darko up until now, he's steadily been growing on me as an actor. Then, when Brokeback Mountain came around, it all just clicked and I became one of those "insta-fans" never looking back. Donnie Darko still sucks, but at least the guy is watchable now.

More after the cut --

In Theaters This Weekend

Slow dancing in a burning room.

Stumbling their way into the box office this weekend are three major releases. Source Code - a Jake Gyllenhaal time bending thriller, Hop - a live action/CG hybrid about the Easter Bunny's slacker son, and Insidious - a good ol' haunted house movie from one of the original Saw directors. 

Which will be more worth our time and money? I'm willing to bet all three have what it takes to entertain, and I'm willing to bet even more that Insidious will be much better than I'm anticipating. But, I'll be seeing Source Code without fail. 

Let's take a closer look at the three, shall we?

More after the cut --

Sucker Punch

Some of them want to abuse you. Some of them want to be abused.

The thing that makes Zack Snyder such an important director in this day of modern cinema is his fearlessness. Obviously, there are hundreds of fearless directors out there right now. Recently, a film about a psychotic tire was released onto the public. Yes, a tire. Firestone, most likely. But Snyder's fearlessness is a bit different - he can make the films he wants to make, do them how he thinks they should be done, and do so without ever alienating his audience. He's brash, he's all up in your comfort zone, and he takes charges that make me think every time I watch one of his films. 

Except for Legends of the Guardian. But, we don't talk about Legends of the Guardian. 

More after the cut --

Black Swan, Tangled, and Others on DVD This Week

One Grecian urn! Two Grecian urns!

Dancing out onto DVD shelves yesterday, six major releases from last year. Black Swan, Tangled, Made in Dagenham, All Good Things, Fair Game, and Mesrine: Public Enemy #1. 

Let's take a brief look at each, and determine which is most worth your money! 

I'll tell you right now, though - it's Black Swan. 

More after the cut --

In Theaters This Weekend

This... this rocks my socks.

Five years ago, Zack Snyder exploded with 300. But, before that, he gave us a chilling vision of an undead invasion with the remake of Dawn of the Dead. To date, Dead remains his best, brightest, and most important film. In a career full of masterpieces, with the grave exception of Legends of the Guardian, he's cemented his place as one of the most visually apt directors around. And with Sucker Punch, debuting to immense hype this weekend, he's set to only further that cement. 

Greeting Sucker Punch in theaters half way is Diary of a Wimpy Kid 2: Roderick Rules. 

But no one cares about that one.

More after the cut --

Battle: Los Angeles

Flight of the Valkyries wants its iconic images back.

I'm a film nerd from way back. I've been posting on IMDb's Oscar Buzz forum since 2004, and because of that, I've come to do an annual awards show every year, early on, at some point after the Oscars. (note - 2010's show is up and coming) In those awards, I have a category designated for the worst films of the year. I called it "The Flaming Bag of Sh*t". I thought it couldn't get any worse than Sanctum so early in the season, but... well, it did. And just as I have a couple of Best Picture contenders in The Company Men and The Adjustment Bureau, I have a flaming bag of sh*t in Battle: Los Angeles - certainly the loudest movie of the year so far, and no doubt quite possibly the worst of its kind. 

I sat closer to the edge of my seat during Martian Child. 

More after the cut --

The Tourist, Skyline, and Others on DVD This Week

Man, oh *beep* man. These are the weeks I dread - the weeks when everything popping out onto DVD shelves is crap. We have, unfortunately, received The Tourist, Skyline, Yogi Bear, and How Do You Know? as our choices for the next few days. At least until Sucker Punch comes out on Friday. Then everything is forgiven. But, for now, as always, let's take a look at each of these releases and see which will be worth the money you're forking over for them.

Personally, having seen them, I'll let you in on this early on - each of these is going to get a negative write-up. Forgive me if I go overboard, but... I swear, I really hated The Tourist. I'll post a review up of that soon. I have to edit it down from the four-letter word riffing session that I did for an IMDb message board. I want something a bit classier for this site, and others.

*sigh*

More after the cut--

The Adjustment Bureau

John Slattery smells Matt Damon's fear. 

Perhaps the most impressive thing about The Adjustment Bureau is that it marks the beginning of George Nolfi's feature film career. A hopefully long and fulfilling one. And if his later films prove to be anywhere near as affirming and thoughtful as this one, we're all in for one treat after another. Internally, however, the most impressive thing about this film is how few special effects are needed to make this thriller effective. Inception, while a brilliant and beautiful film, is riddled with computer generated imagery. As is The Matrix, just as brilliant and beautiful. What makes this film brilliant and beautiful, on the same level as the aforementioned ones, is that its thrills come from within. There are heavy religious overtones, there are believable relationships amongst the characters, and the most carefully realized hypothesis the film makes isn't whether or not we live in a computer program, or whether or not we can infiltrate dreams to commit crimes, but whether or not we can control our destiny. And whether or not we're wearing the proper hat to do so.

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In Theaters Over the Weekend, and a Blind Buy Conversation

Sorry for the late posting on this. I'm working on a way to schedule my time a bit better so I can get things up when I want them/need them to be up.


But, for the time being - I had an interesting conversation at a Walgreen's with a man who, by his own admission, rarely buys DVDs that he's seen before. He's an avid blind buyer, and he only does it four or five bucks at a time. I, too, blind buy with a vengeance, but I also collect. So, if I know something is worth more than it's selling for, I'll pick it up. And I'm constantly trolling eBay for the same deals. There, though, at a Walgreen's, the selection isn't as extensive as say... eBay. Or even Craigslist. It usually winds up being ten or twelve movies, and then about five or six rows of those ten or twelve movies. It's aggravating, but... I mean, I found a copy of Julien Donkey-Boy for six bucks. I think I win. I'm not sure, but I think I do. The other man walked away with a couple of direct to DVD pieces, sure to enjoy his night and revel in the savings.

Bee Season's cinematographer wants his settlement, please.

Given the quality of releases we were given over the weekend, it's no surprise that this man opted to rifle through the DVD shelves of local mini-marts rather than take the walk of shame and publicly admit to seeing something like Just Go With It. Which, for some reason, too many people have just gone with.

Over the weekend - Limitless, a thriller born from Phenomenon about a man who reaches his full potential, Paul, a comedy with Seth Rogen as an alien with a foul mouth and a really big heart, and The Lincoln Lawyer, Matthew McConaughey's latest (and second) legal thriller. Which did you see? Which will I see? I'll be seeing Limitless and The Lincoln Lawyer for sure. Already saw Paul.

For a full review of Paul, click here.

Let's take a close look at the L squared releases, shall we?

More after the cut --

Drive Angry 3D

Get some. 

I know it's not the most popular opinion out in the world of film right now, but Drive Angry is a work of art. Pure pulp, 70's style exploitative Grindhouse art. In fact, the only thing that could make this film more born of the 70's midnight movies is if Nicolas Cage were played by a Van Peeble and had the word "sucka" in his catch phrase. But, as it stands in 2011, simply being named Milton and having the balls to literally drive out of hell with stolen goods is enough. Milton is a violent criminal serving time in Hell for his bad, bad deeds. He witness his daughter get raped and murdered on Earth, and sees his baby granddaughter get stolen for a ritual sacrifice by the people who murdered his little girl. Naturally, like a bat out of... he takes the fastest car he can, steals the most powerful gun known to any world, and takes the trash out. 

Let me reiterate this - a man escapes from Hell, hunting a satanic cult who is about to sacrifice his granddaughter, and to top it off? He himself is being hunted by Satan's right hand man, known only as The Accountant. And he picks up a hot blonde hitchhiker. And - though this may be a spoiler alert - he has a gunfight with about ten people, while having sex. If this movie got any cooler, my face would have fallen off.

More after the cut -- 

Paul

Eat your heart out, Roger. 

Paul is the simple story of an alien with an attitude, and a heart of gold. In fact, the entire point film is so sweet, that it seems almost impossible to believe that most of the film is crude, and partly cruel. Unlike Shaun of the Dead and Hot Fuzz, which were helmed by Edgar Wright, Simon Pegg and Nick Frost have brought us an eager "who said it" film filmed with countless references and... political poignancy. All this, from Superbad and Adventureland director Greg Mottola. Mottola's filmography is small, but consistent - he's a comedian's director with a lot of his own to say. That's a form of direction I've always appreciated; the ability to let others shine while imbuing your own specific messages into the forefront. But, here, Paul has mismatched its intent with its delivery. And that, in retrospect, hinders a positive reminder of the film. 

More after the cut --

Hereafter, and Others on DVD This Week

Weeks like this, for DVD releases, fascinate me. Three DVDs that match the spectrum of viewership - excellent, middling, and awful. The Fighter, Hereafter, and The Switch. The real question, however, is which is worth the twenty you'll have to shell out to pick one up. Or... the four or five you'll have to toss down to rent one from Blockbuster. Or get for free from Netflix. Or a buck at RedBox.  That in mind, the more important question, which is worth the time?

So, time and money in mind, let's take a look at each release.





In this corner, we have David O Russell's boxing autobiography The Fighter. I remember when the trailer hit the web, and people were immediately divided between love and hate for what Christian Bale's performance promised to be. It was an exercise in pure method gain (and weight loss?). Personally, and the Academy agreed, I found it to be intoxicating and brutal, with moments of hilarity that the actor hasn't had a chance to stretch in years. The performance is legend, and for my money, with the price of admission and certainly worth the time. For a full review, click here.

More after the cut --

In Theaters This Weekend

Back in full swing. Finger is healed. All is right with the world. Except, of course, that Catherine Hardwicke has released another film.

The week we've experienced has been met with tragedy, and a sense of hopefulness the world over. The earthquake and subsequent tsunami in Japan has left families across the globe fearful and worried for those they can't contact, and it's important for all of us to realize the fragility of human life. My thoughts and prayers go out to you, them, and theirs.

In San Francisco, local news kept saying, and I mean kept saying that "this isn't like the movies". Personally, I'm a bit offended by those remarks. As someone whose life is completely inundated with film and effects and stories of tragedy brought to us by the silver screen, I find it redundant and psychologically fanatical to remind your viewers that they are watching something real. I hope, and fully believe, that we as a people have the intelligence to distinguish a film like 2012 from a real life disaster that claimed real lives. In all fairness, this reporter wasn't speaking to me personally, but to me as a collective viewer. A child might not understand the difference. But, a 24 year old with a high school diploma who works in the real world and who is effected by the real world everyday certainly would. Any of us over the age of ten presumably would. Obviously, I don't expect any sort of apology, but I do expect more care and candor from any sort of news team. Less callousness and condescension, in effect.

That's all I have to say about that.

More after the cut --

Inside Job, Jackass 3D, and Others on DVD this week

Apologies for the late posting. Life has been hectic, and my finger is still... incapacitated. But, such is blogging, no?

On DVD this week, five films are being released. A few promising films that turned flop, and a couple of surprises that wound up highlighting the year all the way from left field. Morning Glory, Jackass 3D, Four Lions, Inside Job, and The Next Three Days. The most important thing, however, is which one is worth your money! Let's take a closer look, yeah?

I'd like to start with one of the biggest surprises of last year, for me - Jackass. Admittedly, I'm a fairly big Johnny Knoxville fan. His screen presence is huge, and he's a decently talented actor. I find him compulsively watchable. Even if he's electrocuting his friends, or getting hit in the balls, or vomiting, or getting hit in the balls, or getting hit in the balls. He's just... fun to watch. So, as a fan of the show, and of the last couple of films, I was surprised even at myself at how much I enjoyed this outing of violent and stupid behavior - please note, I'm not one of those guys who tried to perform these stunts when growing up (except for the grocery store jousting. I did that one.) But, I enjoyed it from this perspective: it wasn't made to please anyone but the people involved, and eventually, it became what will surely be a staple in the 3D discussion. Live action 3D is something that isn't used fairly well. And without the over-abundance of computer effects, the 3D in this film is... mind-blowingly impressive. I'll be around for the fourth one. If indeed there is a fourth one.



The special features are as follows, from the film's Amazon page -

MTV Making Of Special
Outtakes
Deleted Scenes
Time Magazine Trailer


The film is on all DVD formats (as well as Blu-Ray), and maintains its 3D structure. So, you went to see a 3D film, you will be buying a 3D film. 


More after the cut --

The Early Days of Taylor Lautner

The pug-faced wonder boy known by teen girls all around the world, and their moms (of course) as Jacob. A Native American Werewolf in Washington. But, before he went to the Matthew McConaughey's Shirt Rehab, he was a music video enthusiast. And not too long ago, either -

That's him. If you read the description of the video, he made this with his high school ex-sweetheart for a class project. Not only does this speak volumes about Lautner, but also for our public education system. 

Why I Love Film - #5

There seems to be a pattern with this series in that every other one is n(ot) s(afe) f(or) w(ork). So in keeping with that coincidental pattern, this one is pretty family friendly. Enjoy with the kids.

It would make sense to assume that a film's advertising has a lot to do with the anticipation of said film. That's just logic. So, it would make sense to also assume that there are certain advertising ventures that have stayed with filmgoer's over the years. Some are tacky, sure - like United 93's senselessly tacky For Your Consideration ad -

sure.

Great film, but not exactly something I, or anyone I know, would consider relevant past 2006. One of two September 11th movies that came out that year (the other being Oliver Stone's surprisingly calm World Trade Center) but this film got all the attention. It's more focused than Stone's, but both are about specific events from that terrible day. Not just that day. Yes, a film can matter. But, a film that matters doesn't presume its importance and just unfolds over time. This came, missed a Best Picture nomination, and went. 

More after the cut --

In Theaters This Weekend

You'll have to forgive the semi-late posting of this, but I'm dealing with a ripped open fingertip while typing this. Note that the wound is covered and I'm not bleeding all over my precious laptop. But, since all is held together by glue (quite literally), we can bask in the glory of the films opening this weekend - Rango - the Johnny Depp animated flick from Gore Verbinski, The Adjustment Bureau - a Matt Damon thriller, Beastly - Alex Pettyfer and Vanessa Hudgens' take on Beauty and the Beast... with Mary-Kate Olsen, and Take Me Home Tonight - Topher Grace's trip back to '88.

This makes me laugh. So hard. 

More after the cut --

God Save the King, Book IV

In conclusion of this series, taking a look back at the contributions that Stephen King has made to the world of cinema, in four parts, from Carrie on down, in anticipation of The Stand being adapted for a feature film... we're at the end. We've covered the good, the bad, and the wtf, and that's just the feature films. We're on to his mini-series, in part four.

"Be gentle."

More after the cut --

The President's Speech - Starring Mike Tyson

And George W. Bush.

I guess that after re-editing The King's Speech for a PG-13 rating... this was the next logical step.

All thanks be to Jimmy Kimmel for that. 

127 Hours, Love and Other Drugs, and Others on DVD This Week

Let the Oscar films begin to roll out! They might have lacked serious chemistry hosting the Oscars together, but James Franco and Anne Hathaway each offer one of their best performances separately onto DVD shelves today. Also, Christina Aguilera and Cher in Burlesque and Dwayne Johnson in Faster. I've seen the first two, but haven't gotten around to the last two yet. But, honestly, my hopes aren't high.


127 Hours wasn't an Oscar winner, but it should have been. Franco gives the performance of his career, and one of the best I've seen in years, as Aron Ralston - the modern adventurer who gets his arm caught underneath a boulder during a canyon exploration. His performance puts us right underneath that boulder with him, but Danny Boyle's loving direction lets us feel as the raven that passes overhead of Ralston every morning. It's a touching, inspirational, and divinely made film. For the full review, click here.

Danny Boyle brings his Slumdog Millionaire team back to the table, with a beautiful musical score by A R Rahman, a delicate and tense screenplay by Simon Beaufoy, and meticulous editing from Jon Harris.

The balance and urgency of that balance between living and dying have rarely felt more tangible in any film that I've seen - and I'm still amazed by how fluid and affable Boyle got the film to feel. It's about a man stuck under a rock, and it's one of the most free movie-going experiences of last year.

More after the cut --

Rest In Peace, Jane Russell and Gary Winick

Very sad news today as screen siren Jane Russell and indie-god Gary Winick have passed away. 

Let's look back at their illustrious careers. 

More after the cut -- 

The 83rd Annual Academy Awards

Anne Hathaway: 1. James Franco: 0.

Or, as it will come to be called, The Kirk Douglas Variety Special. 

For full nominees and winners, click here.


And special thanks to Amanda from America's Next Top Model Addiction for all her help in creating this post!

More after the cut --

The Indie Spirits clash with The Razzies

Probably the most useless award

For those who didn't catch the subtle difference, that, above, is a golden raspberry. That award, commonly known as a "Razzie" is designated for the worst of the worst in film releases and is meant to be the antithesis of the Oscars (which air tonight). Traditionally, or it has been so for the last handful of years, both the Film Independent Spirit Awards and the Razzies are held the day prior to the Academy awards. The Razzies honor what everyone hated, and the Indie Spirits honor - as John Waters once prophetically stated - "the movies that come in sixth at the Oscars". Since the expansion of the Academy's Best Picture category to ten nominees, he was apparently exactly right. Not long before they're relegated to honoring what comes in eleventh.

More after the cut --

Megamind

One of the best posters ever.

The anti-superhero film of last year blasted onto DVD yesterday, so I sat down and took another look at what made me enjoy it so much. And while it winds up being Dreamworks' answer to Pixar's The Incredibles, the film stands on its own as a sharp-witted and fully realized, not to mention wildly funny, piece of escapism. 

More after the cut --

In Theaters This Weekend

I can't say anything but "hell. yes."

I don't know what to make of this week. Five releases as we move toward the end of this month. Drive Angry (which offers Nicolas Cage in 3D), Hall Pass (a sure to be irreverent film by the Farrelly Brothers), two French dramas  (Of Gods and Men and Heartbeats), and The Grace Card (the lastest in a long line of church-produced films).

What makes movies like Drive Angry so much damn fun are that, usually, they are original works. It's like someone answers the challenge that Hollywood can't tell an original story anymore. So, a director or group of directors, decide to shake things up by taking four or five genres, three or four ridiculous stories, two or three of their favorite actors, and make one hell of a movie. Drive Angry is the result of that. For an example - the film is about a man who escapes from Hell to seek vengeance on the satanic cult that murdered his daughter, all while picking up a hitchhiker and being hunted by a man known only as "The Accountant". What makes things cooler? Cage's name in the movie is Milton.

Sadly, this isn't the only movie I can focus this post on. So, we're back to the format, with a trailer for each release -


starting with Drive Angry.


More after the cut --

Due Date, Get Low, and Others on DVD This Week

This week, we seem to be at each end of the spectrum with our major DVD releases - first, the decidedly, and surprisingly, unfunny Due Date comes to shelves, and secondly, so does the tender and heartwarming Get Low. Other releases include Mesrine: Killer Instinct and Leaving (Partir)

Perhaps the most fascinating thing about a week like this on DVD is that it follows a week of spectacular releases, and also contains a separate singular release for a title on the 25th. Megamind comes out that day, and I'll be posting a full review for its release. I saw it quite a while ago, thoroughly enjoyed it, but didn't have the opportunity to review it. This week gives me that opportunity. So, look for that.

The saddest thing about a film like Due Date is that it ignores an eerily similar film that came out before it, much like The Roommate (I swear, I should get a dime for every time I mention that film this year) after Single White Female. Planes, Trains, and Automobiles did it first, and it remains uncredited as inspiration for this slacker comedy. Note - this isn't a comedy about slackers, mind you; it's a comedy about very hard workers caught in a dire situation, but... the people involved are slacking on the comedy part. Thus, it's a slacker comedy.

More after the cut --

Revisiting Single White Female

She's aiming for Leighton Meester

In the wake of The Roommate, I found it all but necessary to take two hours and revisit the mother of all psycho roommate thrillers. The incomparable Single White Female.

Of course, without being an official remake, The Roommate shares more than a few key plot lines with its predecessor. Elements of fashion design, the psycho stalker girl doing something to resemble the obsession, the "high heel" scene is represented in The Roommate, in a head-shakingly similar fashion. I wish they would just come out and say that it's a remake. It wouldn't have been critically bashed as badly. Make no mistake, it still would have flopped. But, at least half of the reviews would have been shorter and a wee bit less scathing.

More after the cut --

In Defense of M. Night Shyamalan

Recently in the Chicago Sun Times website, a letter was published by Roger Ebert - the letter was open and to M. Night Shyamalan from one of the Times' foreign correspondents Omer Mozaffar. In the open letter, Mozaffar explains himself as a student of theology, and a film lover, as well as "a fellow Desi" from the same generation as M. Night. He refers, and defers (in a way) to their shared ethnicity as some sort of common ground and an excuse to open this dialog. 

Thanks for the tip, Jack.

I'm sure M. Night will write him back. Just as I'm sure Omer will read this post and follow my blog.

It is critical to understand something about criticism - it's all subjective. If there is any ounce of objectivity to a film review, it's that we can all agree on the name of the film, the basic plot, and the people responsible for it. 

The open letter is here. 

More after the cut --

The Roommate

She has 99 problems. Being a bitch is one of them.

Rebecca is a misunderstood soul. A torturous, psychotic, closet lesbian soul with detachment issues from hell, but misunderstood nonetheless. And, before I tear this movie apart, I will say this - Leighton Meester is better than she has any right to be in this movie. Past her watchable performance, however, the film is one gigantic (gigandet?) failure. And by 'one gigantic failure', you should read that as 'one gigantic failure after another'. 

More after the cut --

No Strings Attached

Carrots: because she hates flowers.

This is a film that assumes the idiocy of its characters. Ashton Kutcher and Natalie Portman play two friends, complete with benefits, that - over the course of familiar plot devices, and a whopping deus ex machina - fall in love. Of course, that ruins the friendship, and the entire premise of the film. We're posed the question as follows: can two friends have regular and meaningless sex and not develop feelings for each other? 

Of course they can. But, that doesn't leave us with much of a movie. 

More after the cut --

In Theaters This Weekend

Buckle in. This is going to be a long one - three days, eight releases, one of which has a 0% rating on Rotten Tomatoes (you read that right. Zero.). In order, we have:

... is that an Android Market tag?

I Am Number Four, Unknown, Big Mommas: Like Father Like Son, Vanishing on 7th Street, I Am, Immigration Tango, Even the Rain, Brotherhood. Interestingly enough, I Am and Brotherhood are only opening in two random cities - Portland, Oregon and Dallas, Texas, respectively. But, both are opening to noteworthy reviews full of praise. Could there be awards potential? Most likely, I'm thinking.

Perhaps the most frustrating thing about this weekend's releases is not that there are so many, not that I Am Number Four has been advertised since December last year, it's that up until a couple of weeks ago when the film's promotion really took off, I thought that the guy in the poster was Jim Caviezal. It's not. And I feel stupid.



More after the cut --

The Sunset Limited

Primacy.

It is always a trick to adapt theater to a feature film. Easier to do so for television, though that's probably a gross overstatement. HBO might be the best place to do it; they harbor independent film. Even trickier, maintaining a swift and watchable pace with only two actors and heavy religious dialog. Thankfully, Tommy Lee Jones, Samuel L. Jackson, and Cormac McCarthy have no problem with this. The Sunset Limited is engaging, thought-provoking, and sincere. 

Of course, being a McCarthy work, there is a sense of boundless eternity that is tinkered with throughout, and the ending is more of a truce than anything else, but this is usually so of his writing. Things happen, we talk about why, and then we go home. It doesn't matter which side wins, just so long as each side is heard. 

More after the cut --

God Save the King, Book III

For those of you just joining the series, I'm taking a look back on Stephen King's contribution to the world of film. The good, the bad, and the 'wtf'. From the top. In four parts.

Books I and II focused on the good (Carrie, Shawshank, The Shining, etc.) and the bad (Pet Semetary, Dreamcatcher, *cough*thegreenmile*cough*). We're at Book III now, and it's time to ask Hollywood a very serious question on behalf of the King -

Seriously, guys? Guys. Seriously.

More after the cut -- 

Unstoppable and Others on DVD Tomorrow

A small Tuesday, for sure, with only three releases of note. Tony Scott's Unstoppable, the break-out documentary/indictment of America's public education system Waiting for Superman, and Woody Allen's latest You Will Meet a Tall Dark Stranger.

I like it when the week brings me new things to watch - I haven't had the chance (maybe that's a good thing) to see Unstoppable, and I'm chomping at the bit to finally see Waiting for Superman. I watched You Will Meet a Tall Dark Stranger with my girlfriend, and we both loved the hell out of it. But, also, we're both obnoxiously big Woody Allen fans. So, that was probably to be expected.

But, I want to take a look at each DVD release, and see which might be worth my, and what's infinitely more important, your money.







More after the cut --

The Social Network.

"No, I will not accept your friend request."

David Fincher is a technician. In the computer world, he would be a programmer. That might be why he was attracted to such a character in the first place. Much like Fincher, Jesse Eisenberg is a technician (or a programmer) of an actor. Meticulous in detail, and remarkably articulate and precise, both David Fincher and Jesse Eisenberg are a match made in BIOS.

More after the cut -- 

Why I Love Film - #4 (nsfw... at all)

Well, this could be safe for work, if you work at home. But, since I'm going deep into The Texas Chain Saw Massacre (1974, not 2003) here, you might want to read this entry when you clock out.

now you know why.

More after the cut--

In Theaters This Weekend

Travelocity meets Tragedy

Four films, three days, one weekend. Which one will you go see? Adam Sandler's latest romantic comedy Just Go With It, Disney's Gnomeo and Juliet, Channing Tatum's swords-and-sandals epic The Eagle, or... Justin Bieber. 

More after the cut -- 

Sanctum

Richard Roxburgh searches for the point of the film...

The most depressing thing about Sanctum is that, quite literally, it's pointless. And, being a film produced by James Cameron, it's also the most disheartening. But, his involvement was minimal: it flows like a Cameron film, the characters are Cameron-esque characters that speak Cameron-esque dialog, but... it's more like another director doing an impression of a Cameron film. There is no heart, there is no movie magic, just a poor man's version of The Descent, with bad 3D. And no emotional involvement. 

More after the cut -- 

God Save the King, Book II

In preparation for the new adaptation of The Stand, due in theaters... sometime in the next few years (the project has only just been announced), I'm taking a look back at Stephen King's contribution to the world of film - the good, the bad, and the 'wtf'. Last time, we focused on the good: Carrie, The Shining, on down to The Mist. Overlooking... several. 

He's laughing because Maximum Overdrive still makes money.

More after the cut -- 

Life as We Know It, Paranormal Activity 2, and Others on DVD Tomorrow

As the studios keeping pumping out their sure-to-be failures into theaters, sometimes DVD release weeks are a bit... lackluster, rather than blockbuster. #horriblepun

Life as We Know It, Paranormal Activity 2, You Again, My Soul to Take, It's Kind of a Funny Story, and Wild Target all get a release onto shelves tomorrow, but which one is more worth your time and money? Almost unanimously based on the critical reception, you might as well skip this week. And, I  haven't seen any of these, so you can't really take my word for it either. But, we'll look into each release, just to see what we have on our hands. 

At the very least, you can still go see The Roommate, right? 

yeah, no, I didn't think so. 

More after the cut -- 

Why I Love Film - #3

In 2006, a small film came out called Alpha Dog, and I was reintroduced to an actor I came to know when I was a kid watching the Disney channel. Ben Foster was in a goofy "sit-com" called Flash Forward with a girl named Jewel Stait, who went on to achieve her own fame through Firefly. She grew to be the same adorable actress I was used to, but... Ben Foster?

from the Disney channel?!

More after the cut --

Season of the Witch - Part II

In my initial review of Season of the Witch, I promised a second part, after going into detail about why it's not so bad, as long as its not taken seriously. Much like Nic Cage's other outings recently (notably, The Wicker Man) the comic gold mined from the project is invaluable. But, here in this, I want to take a closer look at what it is exactly that makes this film something special. Not something good, but... special.

It's the hair. 

More after the cut -- 

The Mechanic

Victory loves preparation 

The Mechanic, based off of the 1972 Charles Bronson movie of the same name, is an interesting film. In Micheal Winner's original, the storyline is the same, the performances are weaker, and the direction is inept. With this slick remake, however, everything is polished and put neatly into its place. I was reminded of 2008's Taken more often than not, and any movie that can get me to remember that one is solid in my book. Taken, by all means, is a beautiful film. 

However, this is The Mechanic we're talking about. A Simon West film, of which Roger Ebert said "this film is so well made, that one forgets to ask why it even had to be made at all?" To him, I pose another question "why the hell not?" 

More after the cut -- 

In Theaters This Weekend

Single White Meester

There isn't much happening this weekend in terms of releases. We have a Single White Female rip-off called The Roommate, a James Cameron produced underwater (shocker) thriller, a Natalie Portman marriage melodrama, and a mystery experiment from director Aaron Katz called Cold Weather. 

More after the cut -- 

Let Me In, Monsters, and Others On DVD This Week

I do my best to post these entries on Mondays, and sometimes on Tuesdays if Mondays do not permit.

But, I had to work at 4am yesterday, and I woke up about two hours ago. So, ... the DVD's this week have been released, whether or not I blog about them. Let's take a look at what came out, yeah?

Let Me In, Monsters, Conviction, and Welcome to the Rileys were released yesterday. I warmly enjoyed the first three, and have yet to see Welcome to the Rileys. But, now that it's on DVD, I can pick it up and get to it. I love Kristen Stewart, especially her indie work, and the combo of Melissa Leo and James Gandolfini is bound to be intense.

Outside of that, though, which is worth your money? My money will be spent on probably either Monsters or Let Me In, but I want to talk about each.









More after the cut --

God Save the King, Book I

Stephen Takes a "Stand" in Theaters Soon

Petition to bring Molly Ringwald back to the big screen.

It's happening again. Stephen King is letting another one of his books be adapted for the big screen. But, this is a bit different - technically, it's not a remake, by general standards. The Stand has never been a feature film before, but it has been a miniseries. Granted, that was back in 1994.

So, in honor of this King classic being rebirthed for the filmgoers in all of us, I want to take a look back at the man's contribution to the world of film. The good, the bad, and the wtf. From the top. In four parts.

More after the cut --

Let Me In

From the director of... Cloverfield?

In 2008, Tomas Alfredson gave audiences a nervous peek at the life of two lonely people - one, a young boy with an interest in vengeance and knives. The other, a child, who feeds off of human blood. Both children walk through life feeling alone, though seeking very similar things. They both need comfort, they need togetherness, they need each other. In any way they can get it. 

Director Matt Reeves, of Cloverfield misfortune, tackles not just the screenplay by, but also the novel by John Ajvide Lindqvist "Lat den ratte komma in (Let the Right One In)". Lindqvist wrote the 2008 adaptation.

More after the cut --

The Company Men

If Ben Affleck keeps this up, he'll never have to look for work.

When critiquing a film, there are a handful of things you have to consider - the tone of the film, the depth of the performances, how it flows as a whole, key moments that help the film develop an emotional resonance, so on and so forth. At least, that's how I do it. One should judge the story presented, and how it fits into the world the film assumes. The Company Men, for all intents and purposes, is a perfect film. Nothing is out of place. But, even though the film sets out to do what it achieves and has no sense of pretense about it, there is something in the mix that just doesn't ring true. 

More after the cut --

In Theaters This Weekend

Upon his escape from Shawshank

This weekend seems to bring us quite the haul in terms of what to go see. There's our annual exorcism thriller, The Rite, with Anthony Hopkins doing what he does best - intimidating*. There's The Mechanic starring Jason Statham and Ben Foster, and then there are three smaller releases, most likely in larger cities.

Javier Bardem, who recently recieved a Best Actor nomination at this year's Oscars, stars in Alejandro Gonzales Innaritu's Biutiful. A smaller comedy called From Prada to Nada, and Gregg Araki's Kaboom, all in limited release.

More on these films, and their trailers, after the cut -- 

The 83rd Annual Academy Award Nominees

Apparently he has lice or something...

Oh my. What a morning. My alarm clock went off at 5:20am, even though I had nothing to do until around 8:30 or so, for one specific reason - Oscar nomination day. 

Should be its own federal holiday; I swear to God. 

More, and the full list of nominees, after the cut --

RED, Saw 3D, and others on DVD tomorrow.

Retired, and extremely dangerous

It's Monday night. Who knows what that means?

that tomorrow is Tuesday? yes. But, that also means that we get a new shipment of DVD's in to help get us through the week! What are we going to get? Well, we have a choice of five -

Red, The Girl Who Kicked the Hornet's Nest, Saw 3D, Nowhere Boy, and Secretariat.

The real question is "which is more worth my money?". Let's take a closer look at each.






More after the cut --

The King's Speech

G-g-got any k-k-k-kings?

It's the type of film we've all seen before - the "high brow British drama", the man who overcomes adversity, the "buddy" movie, etc. The thing that separates The King's Speech from, say... The Queen, or The Deal, or any Stephen Frears pic, is that this film has no pretense. That isn't to say that a certain amount of pretense is a bad thing (I quite enjoy The Queen and The Deal, and most Stephen Frears pictures), but it's to say that this film most certainly knows where its boundaries are, and there isn't a need to ever cross the lines to make a "movie" out of it. It's a storyteller's film - it's a true story. 

More after the cut --