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.

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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. 

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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.

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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.

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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. 


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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. 

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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. 

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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."

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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.

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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. 

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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!

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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.

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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. 

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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.


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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.

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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.

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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. 

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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'. 

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