The Movies thread!

[njskaguy33]

http://www.cnn.com/2011/US/09/22/wepner.boxing/index.html?hpt=hp_t2

They're making Rocky again, except this time it'll be based on the real guy from Jersey, not some unintelligible fictional Philadelphian.

Reaaallly interesting topic for a movie! Read the whole article and it will be interestign to see which way they take the story. Will they focus on the man who's lived in Rocky's shadow or will they simply tell the "inspiration" story. Should be pretty fascinating, regardless. Good find, DiG!

[Pepperkorn]

One of my FAVORITE movies is on tonight - NOW on TCM... The Uninvited.

and it's Arsnic and Old Lace season now too! but that's not on... OK on to the movie!

Edited October 11, 2011 by Pepperkorn

[njskaguy33]

Great find, Pepperkorn!

If you like old time monster movies, cinemassacre.com is doing their yearly Monster Madness this month. Everyday, he talks about a different monster movie, but this year the theme is sequels. He just finished going through the Universal Frankenstein movies and is now working on the Hammer Dracula films. The guy is most known for being the Angry Video Game Nerd, but he's quite the horror guru. Some really good stuff on there!

[Onddeck]

Saw this premiere a couple weeks back... Pretty good, had everything I expected. Even had a nice Temple University plug about half way through it!

http://www.youtube.com/watch?v=Kl_Zbedn-3Q

[Pepperkorn]

Great find, Pepperkorn!

If you like old time monster movies, cinemassacre.com is doing their yearly Monster Madness this month. Everyday, he talks about a different monster movie, but this year the theme is sequels. He just finished going through the Universal Frankenstein movies and is now working on the Hammer Dracula films. The guy is most known for being the Angry Video Game Nerd, but he's quite the horror guru. Some really good stuff on there!

I love Thrillers in October! I'm a seasonal movie person! I'll check out the website!

[njskaguy33]

New Movie Review

Drive

Ever walk out of a theater and say to yourself, "What the heck did I just see"? More importantly, have you ever taken note of how you said it? Said one way, it could mean disgust after witnessing a convoluted mess and said another way, the sentence could tingle with fascination. Upon leaving the screening of the latest film by Danish director Nicolas Winding Refn, that strange sensation crept over me coupled with some serious self doubt. Much like the townsperson who saw a naked Emperor when the rest of village agreed he was clothed, I looked around to see if anybody else had been a little duped by the rave reviews this film's been getting. Best Director at Cannes, a 93% rating on Rotten Tomatoes and a ranking of 124 on IMDB's Top 250, this film has been universally lauded. So why was I so bored while at the same time so dazzled? How could I be on the edge of my seat while simultaneously yawning and picking sleep crust out of my eyes? The answer is a tricky one, but in the end, Drive is a filmmaking mash-up of decades and genres that does so much right, the missteps that are made make the film that much more disappointing.

Before I even get into story, acting and the rest of it, let's get one thing crystal clear. Ryan Gosling is the best actor currently working in Hollywood. Period. Playing a stunt driver by day, wheelman for the city's undesirables by night, Gosling is simply mesmerizing in an undeniably difficult role. Opening with an expertly tense scene where Gosling plays a game of cops and robbers between himself, two thieves and the LAPD, the nature of the quietly intense Driver is instantly cemented. Coming off cool, calm and unflappable in the most intense pressure, Gosling's Driver is consistently engaging and despite us not having a good reason to root for this anti-hero, we find ourselves doing so anyway. More on that later.

Unfortunately for the film, Gosling doesn't go it alone as he starts to develop a relationship with his next door neighbor, Irene (Carey Mulligan) and her young son Benicia (Kaden Leos). Irene's husband is in prison and when he's released only to find himself dealing with old debts, Driver comes to the rescue. Add to the mix Driver's crippled mentor Shannon (Bryan Cranston), the mafia entwined owner (Albert Brooks) and Ron Perlman as Brook's right hand man, Drive is populated with a strong cast. The problem here is that none of these actors have very much to do. With the exception of Gosling, the cast meanders through the movie, aimlessly going through the motions as they coast from scene to scene. Mulligan is boring, Perlman is jarringly over the top and Brooks is just there. While many people have called these characters "intriguingly ambiguous", their underlying motivations aren't clear and as a result, we really don't care what happens to any of them, really bad considering much of the film is spent with these periphery people.

Which brings me to my introductory question of, "why was on the edge of my seat yet strangely bored"? To answer this, let's play a little game I like to call the "RedLetterMedia.com Challenge". If you've seen Drive, please do this game before continuing the review and feel free to use this trick anytime you're curious as to why a movie bored you death. For the characters in Drive, do the following: Describe each character in the movie WITHOUT saying what they look like, what they did or didn't do in the plot or what their profession or role in the movie was. Describe the character to your friends like they aint never seen Drive.

Go ahead! Once again, I'll wait.

Give up? While you should be able to come up with something for Gosling, I guarantee you won't be able to do this for any of the other cast members. If you did, let me know in a comment below and if I can't pick it apart, I'll mail you a pizza roll.

This is the main reason why Drive is such a disappointment, especially considering there was so much I loved about it. As with Refn's previous work in Bronson and Valhalla Rising, Driver is visually stunning. From the patient camerawork to the nerve tingling score to the interesting choices made in both setting and scenery, Refn is quickly becoming a master of filmmaking techniques. A wild mash-up of 80's excess and 70's grit, the film borrows the best of each decade, creating moments that are nail bitingly tense and amazing to look at. As an addition to the "art house" action genre, a style that was pioneered by the likes of Tarantino and DePalma, Refn succeeds in both pacing and tone. The difference between Refn and those other directors, however, is that Refn hasn't matured as an artist yet. Just like when I saw his first film, Bronson, and had a very similar reaction, there is a brilliant filmmaker being born here. For me, Refn needs to have the courage to inject his characters with real life, real complexity and once he does that, he'll be on the level of the great ones. Without that, his films will remain interesting proofs of concept, but nothing more.

A film buff's action film or a blockbuster junkie's indie, Drive ends up a disappointment despite doing almost everything right in the technical aspects of creating a stylish action/drama. Beautifully paced and carefully shot, the film falls apart every time one character is forced to interact with another. Without Gosling's courageous performance, this movie would have been a disaster. With it, you get just enough to stick it out to the end, even if you find yourself inexplicably bored through much of the feature. Filled with romance that's emotionally unexplained, bit performances that are shockingly over the top and characters that only serve as set pieces for the gorgeous cinematography, Drive is an empty shell of a movie. A beautiful, gripping and at times exciting shell, but a shell all the same.

[Atterr]

Totally agree with you on Drive, Bulletproof. I had such high expectations mainly because of Ryn Gosling, who has quickly become my favorite actor after his turn in Blue Valentine. Unfortunately,Drive was a big disappointment. Thought the story was boring and predictable (I absolutely hated the happy ending), acting mediocre and sometimes over the top (Ron Perlman!) and was not impressed at all by the extreme violence.

Fortunately I saw Warrior quickly after. Although it does not exactly rewrite the rulebook and it's basically The Fighter but with wrestling and kicking, I still enjoyed every second of it. Yes, you have seen this before in dozens of other similar films, and yes, it is predictable but it is very well executed and the ending is really powerful and emotional due to the great cast. Nick Nolte is as dependable as ever, Joed Edgerton was a pleasant surprise as the underdog who you'll be cheering for and after seeing Tom Hardy kick the sh!t out of everyone, I can't wait to see how he and Batman will fight it out in The Dark Knight Rises.

[njskaguy33]

Totally agree with you on Drive, Bulletproof. I had such high expectations mainly because of Ryn Gosling, who has quickly become my favorite actor after his turn in Blue Valentine. Unfortunately,Drive was a big disappointment. Thought the story was boring and predictable (I absolutely hated the happy ending), acting mediocre and sometimes over the top (Ron Perlman!) and was not impressed at all by the extreme violence.

Fortunately I saw Warrior quickly after. Although it does not exactly rewrite the rulebook and it's basically The Fighter but with wrestling and kicking, I still enjoyed every second of it. Yes, you have seen this before in dozens of other similar films, and yes, it is predictable but it is very well executed and the ending is really powerful and emotional due to the great cast. Nick Nolte is as dependable as ever, Joed Edgerton was a pleasant surprise as the underdog who you'll be cheering for and after seeing Tom Hardy kick the sh!t out of everyone, I can't wait to see how he and Batman will fight it out in The Dark Knight Rises.

I'm glad somebody agrees with me on Drive! I'm in the midst of some pretty decent pushback on Rotten Tomatoes concerning my score for the above review, which was 60%. To put it bluntly, it's not boring because it's "slow" or "nothing happens", it's boring because the characters are horribly developed. It's really all style with no substance.

As for Warrior, I'm glad you had a good experience and while I doubt I'll see this in theaters, I'll toss it on the Netflix list for sure!

[Pepperkorn]

Just the ad for Drive had me throwing up a little in my mouth. What garbage that looks like!

[Quinn01]

Just saw a preview for Immortals. Director Zack Snyder, who directed 300. Looks awesome. comes out 11 11 11

[Guest BelieveinBrodeur]

paranormal activity 3 looks pretty goo. Yea to alot of people it isn't scary(not to me) but is great movie to watch.

Insidious 2 sequel being made as well.

[njskaguy33]

Just the ad for Drive had me throwing up a little in my mouth. What garbage that looks like!

Yeah, it's slightly less than good, mostly due to some pretty poorly written characters. Kinda like David Clarkson is to hockey, Refn is a director I really hope puts it together and lives up to the promise his technical skills seem to show.

Just saw a preview for Immortals. Director Zack Snyder, who directed 300. Looks awesome. comes out 11 11 11

While this certainly looks like a Snyder film, this was actually directed by Tarsem Singh whose previous films include the indie thriller The Cell and the seldom seen The Fall. Not sure if Snyder is producing it or something, but according to Rotten Tomatoes, he's not directing. Just may the same kind of mad fun that 300 was, a film I'm critical of, but remains a damn good time.

paranormal activity 3 looks pretty goo. Yea to alot of people it isn't scary(not to me) but is great movie to watch.

Insidious 2 sequel being made as well.

Paranormal 3 looks to be in the same vein as the other films and you know what, if it 'aint broke, don't fix it! Just so long as we don't have another Saw film, which there isn't one for this Halloween, I'll be exceedingly happy.

[njskaguy33]

Review My Collection #12

American History X

Oh Tony Kaye. Why are you so brilliant yet so strangely weird? Critics, audiences and even green men from Jupiter all agree that American History X is pretty damn amazing. A shocking yet brutally honest character study of white supremacists and the lives they impact, American History X plays out more like an even handed documentary than a fictional tale. Full of wonderful performances, fine storytelling and Kaye’s signature cinematography, the film is a technical and emotional marvel. So why did Kaye have a public feud with New Line over the final cut of the movie, a cut done without his supervision? How come Kaye took out full page ads in film trade papers condemning the film? Why did he request his name be replaced with Alan Smithee in the director credit? The reasons run deep and long yet the end result is the same: American History X is an unflinching look into people consumed by hate and the people their anger touches the most.

Telling the story of a Venice Beach family whose life is ripped at the seams by hate and bigotry, X centers around Derek Vinyard (Edward Norton), a thoughtful yet angry young leader of a group of neo-Nazis. After being sent to Chino for the murder of an African American gang member trying to jack his car, Derek spends three years amongst the very people he grew to despise and learns some hard lessons in the process. Luckily the film isn’t all about jail time and sieg heils as much attention is paid to the affect Derek’s life of hatred has on his family, mostly through his impressionable young brother, Danny (Edward Furlong). Danny is following in his brother’s skinhead footsteps and, after a stunt at school sends him to brink of expulsion, is tasked with telling the story of his brother, his history of hate and the affect all of this has had on his young psyche. This inclusion of the family element is one of the film’s greatest successes, creating both the motivation for Derek’s world views and the ending result.

In fact, the element that makes the movie work is how much attention is paid to the back story of Derek, giving his mean spirited character a redeemable edge. This strange dichotomy puts the audience in an uncomfortable position, forcing us to face our own opinions of race relations head on. The film never apologizes for the actions of Derek, rather focusing on the events that led a brilliant yet impressionable youth down a path of self destructive bigotry. Kaye examines everything with a studious yet compassionate eye, never forgiving Derek for his vile ways but never truly condemning him either. To Kaye, Derek is a youth gone awry, led down a slippery slope by weak minded predators and we as an audience almost feel sorry for the Nazi, despite our natural distaste for the message he’s spewing.

All this would be for naught, however, without the brilliant work of the film’s main cast. Edward Norton dives head first into the tricky role of Derek, giving the character plenty of emotional gravitas for us to latch onto. Much like many of his type, his racism is borne from the pain of loss, namely the sudden slaying of his father, told wonderfully via a profanity laced TV interview filmed shortly after his death. Norton plays the role smartly, honestly and emotionally bare, giving one of the best performances of his career. The rest of the cast is wonderfully written and realized, with top marks going to Furlong in the role of Danny and Avery Brooks in the role of Dr. Sweeny, an African American principal who sees a glimmer of good in the eyes of both brothers. And of course, one can’t talk about a Tony Kaye film without mentioning the exquisite cinematography that’s become his trademark. Filming the past in sumptuous black and white and the present day in color, Kaye masterfully tells the story in his signature style. In fact, the black and white portions are so visually gripping, it almost makes the color look weak in comparison. Sure the movie has some uneven moments and the ending is so shocking, it seems tacked on but the piece as a whole balances pain, love and even a splash of humor effortlessly.

Race is a tough issue to tackle and with my recent review of this year’s The Help, it’s a subject that seems to be coming up a lot lately. Despite them both dealing with the subject of race, the two films tell entirely different stories in completely different ways. Where The Help took at a look at those beaten down by a broken system, American History X examines those doing the oppressing in an honest yet brutal fashion. More fable than film, American History X is a thought provoking and powerful piece of filmmaking that cements Edward Norton as one of our finest modern day actors and Tony Kaye as a director of daring and depth. The world needs more Tony Kaye movies and if only the studio hadn’t sparked a firefight with this eccentric yet genius artist, we just might have more of them.

**Check out my RT blog entitled "Review My Collection" for the rest of the series!!**

[Pepperkorn]

What I can never forget just hearing the title American History X is the sound of teeth on pavement -- I can't imagine anything so horrible as that.

[njskaguy33]

What I can never forget just hearing the title American History X is the sound of teeth on pavement -- I can't imagine anything so horrible as that.

That detail has me squirming and cringing everytime I see it! That enamel on concrete sound is heart stopping. Great call out!

[njskaguy33]

Opening This Week – Nationwide

Paranormal Activity 3 – Move over, Saw. There’s a new Halloween franchise in town yet unlike the diminishing returns of the former, the Paranormal Activity machine seems to be humming right along. Directed by the team who gave us last year’s Catfish, there isn’t much being revealed about this installments storyline. What fans can expect is more of the same found footage style storytelling peppered with a decent amount of jump scares and long shots of scary looking hallways. Reviews have ranged from decent to quite good, with most critics saying the film’s success hinges largely on how much the formula has gotten stale for you. As every year Halloween rehashes go, this series seems to be running strong, so give it a watch!

The Three Musketeers (Also in 3D) – Directed by the filmmaking wizard who gave us Mortal Kombat, Alien vs. Predator and Resident Evil: Afterlife comes the modern retelling of the classic Alexandre Dumas tale. Starring Luke Evans, Matthew MacFadyn, Roy Stevenson and Logan Lerman as the swashbuckling foursome, this movie looks to be all flash, bang and 3D with absolutely nothing else of interest going on. Also starring Milla Jovovich as the eventual love interest and Christoph Waltz as Cardinal Richlieu, this movie has none of the charm and panache of the book, leaving a loud, noisy mess.

Johnny English Reborn – Rowan Atkinson returns in this sequel to the 2003 spy spoof of the same name. Featuring a more cunning, more powerful English again employing some wacky gadgets to win the day against an evil adversary, this iteration doesn’t do much to improve on the silly first film. While I actually enjoyed the first movie on a very mindless basis, there’s no need for a second go-round with this character or this franchise.

The Mighty Macs – Standard underdog made good film about the 1971-72 Immaculata College women’s basketball team and their rise to college b-ball’s biggest stage. Blandly acted, poorly written and completely predictable, films of this type need compelling characters to hold out attention and Mighty fails at that as well. Unless you absolutely love women’s basketball, give The Mighty Macs a mighty skip.

Opening This Week – Limited Release

Martha Marcy May Marlene – One of the best reviewed film in a weekend full of good indies, this psychological thriller stars newcomer Elizabeth Olsen as a young woman trying to reclaim a normal life after escaping a cult. Featuring great performances, taught tension and some very strong filmmaking, Martha promises to be this year’s independent thriller. Recommended if Paranormal Activity isn’t your bag of Halloween candy. Showing at AMC Loews Lincoln Square 13 and Angelika

Margin Call – Featuring an all star cast consisting of Kevin Spacey, Jeremy Irons, Paul Bettany, Zachary Quinto and Simon Baker, this ripped from the headlines financial thriller has been getting positive reviews from all over the web. Dramatizing an intense 24 hour period in the early stages of the fiscal crisis of 2008, this film has been getting high marks from its intensity and honesty when dealing with these high profile issues. While the film does tend to pull some punches in places, the film refuses to moralize the oft criticized player it portrays, rather taking a more thoughtful approach. Those burned by this year’s Wall Street sequel will find some good times in Margin Call. Playing at the Angelika, Clearview First & 62nd and Elinor Bunin Munroe Film Center

Klitschko – Documentary about Vitali and Wladimir Klitschko, two brothers who, after moving to Germany in 1996, became the dynamic duo of the boxing world. Tracking the brother’s rise to champions and the struggle to keep that status, this doc has been seeing mostly positive reviews. While it may not be as in depth as true fans of the sport may like, there is plenty to root for in this well received film. Showing at AMC Empire 25 and Cinema Village 12th Street

Le Havre – The best reviewed movie being released this weekend, the latest film by Aki Kaurismaki centers around the unlikely friendship between well spoken bohemian and a young African refugee. Focusing on the power of belief and the simplicity of caring for another, this movie has been hailed as one of Kaurismaki’s finest films, with one critic saying nobody has a more delicate command of poetic potential of cinema. High praise for a must see movie for the indie crowd out there. Playing at Lincoln Plaza Cinemas and the IFC Center

Norman – Stop me if you’ve heard this one. A depressed young boy who after the loss of his mother and impending loss of his father to stomach cancer, feigns that very same illness as a coping mechanism. Yeeessh. Despite the heavy handed story, critics have been cautiously optimistic citing good acting from the entire cast including a great turn by Richard Jenkins in the role of the boy’s father. Still, this is some heavy stuff, making me give this one a See It For Yourself. Playing at the AMC Loews 19th Street East 6 and AMC Empire 25

Oranges and Sunshine – Hugo Weaving and Emily Watson stars in this heartfrelt drama about the uncovering of a mass deportation of children from the United Kingdom to the plants of Australia. While most critics have hailed the work of Watson in the lead role, pacing problems and lack of tension plague the production. Still, most critics have given this a cautious thumbs up, so I’ll give it one as well. Screening at City Cinemas 1, 2 & 3, AMC Loews Lincoln Square 13 and AMC Loews Village 7

Revenge of the Electric Car – First shown at the Tribeca Film Festival, this sequel to 2006’s Death of the Electric Car details America’s renewed interest in gasless automobiles. Lacking in the biting nature of the first movie, this film reveals in the so called triumphs of the electric “revolution” but some critics have said all these niceties fail to make a compelling movie. Still, as a sister act to the first film, it’s nice to see somebody cares about this oft forgotten about piece of the American auto industry. Screening at the Landmark Sunshine Cinema

Opening This Week – Indie, Art House and Small Screenings

Being Elmo: A Puppeteer's Journey – Lovingly told documentary about Kevin Clash, creator of the adorable little monster we know as Elmo. Detailing his entry into puppeteering and the affects this style of storytelling has on impressionable young minds, this doc is a beautiful piece of filmmaking. Featuring narration by Whoopi Goldberg and interviews with the likes of Frank Oz, Rosie O'Donnell, Cheryl Henson, and Joan Ganz Cooney, this film is a quick but delightful doc that’s definitely worth checking out. Showing at the IFC Center

My 3 To See

Paranormal Activity 3 – The spooky season is in full swing and what better way to celebrate than this well received entry into the Halloween franchise.

Le Havre – There are a bunch of good indies coming to theaters this weekend but when 29 critics all give a film positive reviews, you know you can’t go wrong. Charming, emotional and poetically beautiful, the latest film by Aki Kaurismaki looks to be one of his best.

Martha Marcy May Marlene – Almost gave it to the Elmo doc, but it is October, so why not give it to one of the best psychological thrillers this year. Detailing a young girls escape from a ravenous cult and her attempts to get her life back in check, this film has the right blend of action, suspense and intrigue to keep even the most picky of film fans happy.

Confused by the colors? Here’s the guide!

Green means that reviews are great, the trailer looks great, so this is definitely worth seeing!

Orange means reviews have been mixed but there’s enough here for me to say, “See It For Yourself”.

Red means this film should be avoided at all costs! Run, Devil fans, run!!

[njskaguy33]

Review My Collection #13

American Movie

Ever try to make a movie? Sure, not many of us have done it on a professional level before but we all make films of some sort. Be it a documentary about a family vacation or a record of some milestone birthday, we all incorporate movie making in our everyday lives. Some of us now even do a little iMovie editing and if you’re one of those people, you know how time consuming the process can be. American Movie, a prize winning documentary about the filmmaking aspirations of Wisconsin native Mark Borchardt, tell the story for the rest of us. Knee deep in the production of Northwestern, his latest low budget project, Mark runs out of a cash and in a last ditch attempt to fund his feature, he decides to finish his short film Coven. With the help of his scratch off addicted friend Mike Schank, Mark plunges head first into the world of independent filmmaking, creating a fascinating and hilarious doc about the drive needed to see your dreams through.

At first glance, Mark looks like a psycho. Long hair, thin build and a mouth that goes a mile a minute, Mark is pure energy. Sure he may not have the vision of a Spielberg, but he has the guts and in the documentary, that’s more than enough to keep the audience interested. Mark’s likability is infectious and within fifteen minutes, you can’t help but root for him, even when he’s borrowing money from his grandfather or pestering his mom to help with set design. The people in this Wisconsin town are rooted in reality and it’s a real treat to see Midwestern life so honest portrayed. The characters around Mark are all skeptical of Mark’s skill yet despite that worry, nobody dares to discount his heart. The filmmakers give the family space to genuinely interact and do a wonderful job of never mocking Mark or his cadre of crew members. That’s not to say the film isn’t brilliantly funny. American Movie is one of the most quotable films I’ve seen in quite some time, so if you ever want to score points with your film buff buddies, classic quips like, “sucking down peppermint schnapps and trying calling Morocco at 2 in the morning” and Mike’s feelings on the lottery will go a long way in doing so.

My one knock against the movie is that it does seem fairly padded, especially towards the end. Some critics have also derided the film for being exploitive, but I strongly disagree. Sure, at first we’re all laughing at Mike’s blank stare or Mark’s wild mannerisms but the film allows both characters to build, creating real people that are complex and interesting. With American Movie, director Chris Smith deftly captures not just the weirdness of Mark but the person inside, creating a film that’s balanced, engaging and at times, hilarious. Mark may never make his opus to 70’s horror but he’ll always have the drive, never wavering even when the world conspires against him. A film that’s just as inspiring as it is humorous, American Movie reminds us all that following our true passions is what makes life worth living, regardless of where that drive takes us.

**Check out my RT blog entitled "Review My Collection" for the rest of the series!!**

[Pepperkorn]

Bulletproof -- check out Dr X. It is an oldie but it's really interesting. It must be a classic - I hadn't heard of it before though.

[njskaguy33]

Bulletproof -- check out Dr X. It is an oldie but it's really interesting. It must be a classic - I hadn't heard of it before though.

I'll have to give that a look, Pepper! Thanks for the recommendation!

New Movie Review

Take Shelter

What the difference between a prophet and a lunatic? The smelly guy who sits on the S train screaming about the end of the world sure looks crazy but what if he was really clairvoyant. As we move through our day to day routine, we hear things people are saying but through fear, arrogance or simple personal protection, we never let those scary notions sink in. But what if that wingnut is right? What if he sees something we don’t, tapped into an invisible stream meant to warn us of our end. How would we treat this screamer in the streets? How do we treat them now? This is the exact notion explored in Take Shelter, a smarty written film about one man’s premonitions and the effect it has on his friends, his community and his family.

Character actor Michael Shannon stars as Curtis, father of a financially strapped family living in working class Ohio. In the caring of his supportive wife (Jessica Chastain) and their deaf daughter (Tova Stewart), Curtis works as a construction manager, enjoying a life of hard work in a loving family. However, after having a series of visions and dreams of an impending apocalyptic storm, Curtis becomes obsessed with the protection of his family. In the role of Curtis, Shannon cements himself as an actor of depth and range. Shannon expresses a range of emotions in a startlingly stoic way, creating a character that is stern and fixed in his belief. All of Curtis’ actions are in defense of his family and it’s this love that helps the audience through the subsequent consequences. The town doesn’t take lightly to Curtis’ increasingly manic behavior and the question of how far will you go to protect your family, even when that very family has their doubts, comes into play. The result is a tense and at time exhilarating series of events that take place in a patient way, a real treat to watch.

In the role of his wife, Chastian continues her rise as one of the best actresses in Hollywood despite the character having little depth. The role of Samantha only exists to cement the family dynamic and while Chastain does a fine job with the responsibility, I would have liked a little more development from her character. In the end, this film is all Shannon and he pulls it off beautifully, all building up to a pivotal scene at a community dinner where the frustration of being seen as a psycho boils over in explosive fashion. Shannon does some remarkable work here and should be considered for a couple of awards this coming February.

All the good work by the cast would be in vain without a smartly written script and lovely direction from writer/director Jeff Nichols. Brimming with tension, the arc of Shannon’s mindset is full of suspense and intrigue. While the main portions of the film are filmed in a bland yet honest way, the real visual treats arrive when Curtis falls asleep. His dream worlds are frightening and filled with terror, bringing the audience to the edge of their seats. There are some heart stopping moments in Take Shelter and full marks need to be given to Nichols for balancing the stark realities of working class life with beautiful imagery. In the director’s chair, Nichols never betrays the a-ha ending, letting the audience decide for themselves on the mental state of Curtis. The result is a film that immediately absorbing and quietly powerful.

In the end, Take Shelter is a love story, not in a romantic sense but a personal one, a story of family trying to pull together in the hardest of moments. Curtis’ obsession pulls his loving family to the breaking point, and thanks to some excellent direction, we care every minute about the state of this small sampling of American life. Filled with lovely performances, gripping intensity and an underlying warmth that supports the mounting terror, Take Shelter is unabashed triumph. Maybe the yahoo on the S train isn’t a prophet but after watching the story of Curtis and his lovely family, I’ll at least lower the iPod a bit to hear exactly what he has to say. Not because I think he’s right but at least he cares enough to yell out loud in the first place.

[DaneykoIsGod]

Reading Quinn's post in the TV thread reminded me ... I watched Conan O'Brian Can't Stop the other day on Netflix, a documentary that follows Conan on his "Legally Prohibited From Being Funny On TV" tour after getting the boot from the Tonight Show. It's pretty crazy. He's totally addicted to performing live. The crowd's adoration is a drug to the guy. And I don't mean that as a knock. In his field, it's great to see a guy who feeds off the crowd instead of becoming some stuck up dickhole. He's constantly cracking wise, busting his staff's chops and putting on a show.

The only part that seemed kind of off was during a backstage moment when Conan was expected to entertain an unholy sh!tload of people, and among them was the guy who plays Kenneth on 30 Rock. In typical Conan fashion, he busts his chops relentlessly. But it seems to actually hurt the guy's feelings. And Conan just keeps going and going and cutting deeper. It's a brief moment in a full length documentary, but it kinda left a sour taste.

But that minute aside, the whole thing is an eye-opening and entertaining look at Conan. Definitely recommend it for any Conan fans out there.

[Atterr]

Tin Tin: The Secret of the Unicorn

As a kid I was a huge fan of the Tin Tin series, so I got really excited when a movie adaptation was planned with none less than Steven Spielberg directing and Peter Jackson producing. I was disappointed though to find out that it wasn't live action but motion captured. After seeing the movie though, I can only say that it was absolutely the right decision as the action is sometimes so over-the-top that this couldn't have been done with live action.

After seeing Raiders of the Lost Ark, Tin Tin creator Herge apparently said that Spielberg was the only one who could bring his books to life. It's easy to understand why as Tin Tin is very reminiscent of Raiders, both in terms of storyline and action. The biggest difference and major flaw of the Tin Tin movie is that, unlike Indy, the main character is very boring and uninteresting and you actually don't really care what happens to him. This actually makes Tin Tin an exercise in style over substance. But regardless, this is the most fun movie Spielberg has had making a movie since the final Indiana Jones film (not Kingdom of the Crystal Skull but the real final one - The Last Crusade)

One final note, if you are watching this movie in the cinema, please go see it in 3D. This is finally a movie where the 3D has an added value.

[njskaguy33]

Opening This Week – Nationwide

Tower Heist – Ever imagine what the Occupy Wall Street folks would do if they actually had the initiative to bite back against the banks that wronged them? Well, the latest fil by director Brett Ratner tries to answer that question and while it may not be cutting political commentary, it does seem to be stupid enough fun to make it worthwhile. Ben Stiller stars as a disgruntled condo manager who, after learning one of the fancypants living on the top floor has defrauded the entire staff, decides to get back by breaking and stealing what he thinks is rightfully his. Going along on the heist is Casey Affleck, Matthew Broderick and, in what critics are calling a return to form, Eddie Murphy as an ex-con hired to help the team out. While everyone admits this is pure schlock, the concession is that it’s damn entertaining schlock. Featuring some nicely drawn action scenes, a very funny Eddie Murphy and enough likability in the main cast, Tower Heist may not be a brilliant film, but if you’re looking for some good times this November, you could do much worse. A very tentative See It!

A Very Harold & Kumar Christmas (Also in 3D) – Christmas? In November?? Evidently so, as Harold, Kumar and the rest of the collegic stoner crew return this weekend in the third installment of the Castle Craving franchise. This film finds our heroes trekking through New York City on the search for the perfect replacement Christmas tree. What happened to the original you may ask? According to the synopsis, it has something to with a certain flammable illegal substance. The first Harold & Kumar was a surprising success and a film I openly enjoyed when I saw it not too long ago on DVD. Depsite the law of diminishing returns, this film has been getting some reluctant praise form critics, with most saying if you enjoy the sophomoric humor, you’ll get all you need and even a bit of a soft side from the dazed duo. Not exactly Miracle on 34th St, but a movie that just may sate the appetites of viewers itching for some holiday cheer.

Opening This Week – Limited Release

Young Goethe In Love – Period piece about an 18th century love triangle between a poet Johann Goethe, a fair damsel and the man she is promised to be wed to. Critics have said despite a strong director and some good actors, the story is so riddled with clichés, the film sinks under the weight. Unless you’re a huge fan of 1700’s era poetry, give this yawner a miss. Showing at City Cinemas Paris Theatre and Landmark Sunshine Cinema

Charlotte Rampling: The Look – Documentary about legendary actress Charlotte Rampling as told through conversation with friends and fellow artists. While the movie does make an effort to show you why she’s so revered in the acting community, if you’re already a fan, there’s not much more to say. That said, the pure energy of the films subject shines through the narrative, making this a critical favorite this weekend. Showing at Lincoln Plaza Cinemas

Killing Bono – Irish comedy about two brothers trying to make their way to rock and roll stardom in the 1980’s music scene. However, when a certain band called U2 makes it big, it casts them deeper into the shadow of the limelight. Critics have been mixed on this with half saying it’s a charming look into the drive for success and the other half saying the protagonist is annoying in his ineptitude. I’d recommend seeing a trailer or two before running out to catch this. Screening at AMC Loews Village 7

The Son of No One – Channing Tatum, Al Pacino, Juliette Binoche, Ray Liotta and Katie Holmes star in this gritty crime thriller. Oh, did you stop reading at Channing Tatum? Good, because despite a varied and interesting cast, critics have been flagging this film as an incomprehensible mess. What’s the story about? Who knows as the one line synopsis seems just cornball as critics have said. Enough blabbing…skip!! Playing at City Cinemas Village East

Opening This Week – Indie, Art House and Small Screenings

The Last Rites of Joe May – Homage to the gritty crime films of the 1970’s this film stars Dennis Farina as a two bit hustler who, after a brief stint in the hospital, comes home to find his apartment rented to a single mother. She agrees to share the place as Joe plots his comeback to the underground life. Critics have been giving both the film its star high praise, saying the performance is deep, engaging and strangely moving. Recommended! Screening at Quad Cinema

The Other F Word – Every wonder what happens when punk rock grows old? They become daddies! Taking some the stars of mid nineties punk, including Mark Hoopus, Tim Mcllrath (Rise Against), Ron Reyes (Black Flag) and Fat Mike (NOFX), this tribute to punk rock grown ups have been getting mixed reviews from critics. While the filmmaker manage to get some emotion from the usually bratty rockers, critics don’t really know where the film is going and in a documentary, that’s a bad omen. Still, fans of the Bay Area punk scene may still find something to enjoy in this doc. Screening at the Film Forum

Dragonslayer – A documentary dictating the trials of living in economically depressed America through the eyes of a disenfranchised skate punk. Featuring a great independent soundtrack, and some interesting characters, critics have praised this doc as fascinating and timely. Showing at Cinema Village 12th Street

My 3 To See

Tower Heist – Silly, stupid and mindless, this Ben Stiller vehicle overcomes the shtick thanks to a great performance by Eddie Murphy.

The Last Rites of Joe May – This well received film about a hustler regaining his groove has been getting fine reviews, especially concerning the work of star Dennis Farina.

Puss In Boots – Really? This is the best reviewed film out in wide release? I need to take my medication…

Confused by the colors? Here’s the guide!

Green means that reviews are great, the trailer looks great, so this is definitely worth seeing!

Orange means reviews have been mixed but there’s enough here for me to say, “See It For Yourself”.

Red means this film should be avoided at all costs! Run, Devil fans, run!!

[njskaguy33]

New Movie Review

The Rum Diary

Turning a book into a film is one of the trickiest tasks a filmmaker can tackle. The pitfalls are endless: you have to deal with the book’s ardent fans, while appealing to those who’ve never read it. A book can tell you what a character is thinking where a film has to show you visually. People spend much more time with novels, 8 hours on average, than they do watching a 2 hour film, creating a deeper connection with the story. Even the issue of, “that’s not what the lead looked like in the book” will cause nightmares for directors, simply because they can’t compile a cast that will match everybody’s imaginations. So, when director Bruce Robinson set out to make a film based on Hunter S Thompson’s second novel, The Rum Diary, I was skeptical at best. The only other Thompson book to make it to the screen was 1998’s Fear and Loathing in Las Vegas, and thanks to the near maniacal mind of director Terry Gilliam, became an instant cult classic. The Rum Diary, on the other hand, is a much more subdued affair and I was curious how Robinson would take on this unique challenge. The answer? Simply ignore the novel’s plot almost entirely and use choice elements from the book as a back drop to tell the origin story of a literary revolutionary. It’s a fine idea, one that I appreciate as a huge fan of the late novelist. Too bad the film itself is a poorly made mess.

For those who don’t know, The Rum Diary stars Johnny Depp as Paul Kemp, a rum soaked New York journalist who finds himself in 1960’s Puerto Rico working for a struggling newspaper. At the paper, Kemp meets the jaded editor Lotterman (Richard Jenkins), the habitually intoxicated Moberg (Giovanni Ribisi) and Bob Sala (Michael Rispoli), a fellow drinker/journalist who Kemp ends up staying with. Money is tight at the newspaper, so when a high powered land merchant by the name of Sanderson (Aaron Eckhart) offers Kemp a job writing brochure material for a fantastic new Puerto Rican hotel, Kemp jumps at the chance. Puerto Rico, however, is not without hypocrisy and as Kemp delves deeper into the good life of the island’s nouveau riche, he discovers just how full of s**t the whole place happens to be. Fans of the book, beware: while the plot has a passing resemblance to the novel, the similarities end at the synopsis. Literally 85% of the film is the invention of Mr. Robinson who reassigns character roles, makes up strange situations from thin air and removes entire characters from the screenplay. More on that later.

Playing the Thompson-esqe lead character, Depp’s reprisal of the role he played in Fear and Loathing is much more restrained this time around. While still a good performance, he doesn’t get the opportunity to come as unhinged as Gilliam allowed, so fans expecting Fear and Loathing Part 2 will be a bit disappointed. The rest of the cast ranges from welcome surprises to flat out awful. Both Jenkins and Rispoli do fine jobs in their respective roles, giving the film a much needed dose of comic timing while Eckhart is believable yet one noted as the opportunistic land baron. The only blemish in the cast is Amber Heard as Chenault, lover of Sanderson and object of affection for Kemp. While undeniably beautiful, Heard is woefully miscast in the role, a character changed dramatically for the film and not for the better. The result is a strangely plotted love triangle that never gets off the ground or generates any heat.

As a whole, the cast has their moments but much of the work is lost in bland pacing and boring direction. Robinson is a competent director but doesn’t have the visual imagination to inject the type of energy the source material requires. Sure that material is lacking in its own plot, but the scenes Robinson conjures up to make a cohesive story only detracts from the final product. From the cockfighting angle to an uncomfortable scene featuring a witch doctor to Depp’s ridiculous meeting of Chenault, nothing connects properly to the scenes straight from the novel. As a result, the film comes off disjointed and episodic. In fact, the best scenes in the movie are those pulled straight from the book, such as Sala and Kemp’s escape from the burger shop and Chenault’s Carnival dance. The rest of the film suffers from poor pacing and head scratching plot devices, making the end product a fitfully entertaining mixed bag.

All that said, I can’t be too hard on Robinson for the final product. The work of beat writers like Thompson, Kerouac and Ginsberg are often difficult, if impossible to bring to the screen. Not reliant on narrative, beat writing tells the story through the energy of the language. These authors were literary revolutionaries, casting aside traditional form and structure for a mad, freewheeling joyride, saying whatever they want, however they wanted. The Rum Diary is no different, making Robinson’s task an exceedingly difficult one and in the end, I greatly appreciate his efforts. This is the film version of The Rum Diary Thompson himself would have liked to see, a brash strike against commercialism and a triumphant cry for journalist honesty. Problem is, the film itself has so many holes, problems and pratfalls, I have to label it a disappointment, despite my respect for the director’s intentions. Not a good film, but not a miserable one either, The Rum Diary should be seen by those not familiar with the original novel. For those who are already fans, this adaptation is just going to annoy you.

[DaneykoIsGod]

BP, I can't thank you enough for reviewing this movie.

As a HUGE Thompson fan, I've been among the many clamoring for a Rum Diary film adaptation ever since the first time we read the novel. I remember reading years ago that Depp planned on doing a film adaptation, but it would have to wait until after he was done with all of the Pirates movies. (Sidenote: That's actually why I hate those movies so much. Not because they're bad. I haven't even seen them. But they delayed something I wanted so badly.)

HST nuts like myself have been clinging to the rumor mill for years because of that. I remember reading that Benicio del Toro was set to play Sala and Josh Hartnett would play Yeamon, and shooting was practically underway. Then nothing. For years. Several agonizing years.

So now that the film is done, I've been anxious to see it. But, like you allude to, fans of the novel always hope to see the pictures that played out in our mind's eye as we read it, and that's rarely what we get.

I'm disappointed to hear the film is a let down. I was also shocked to see that Yeamon wasn't even included as a character, but it sounds like they combined him with Sanderson, a move that I could see making sense for a film.

Maybe I won't rush to see this in theaters, and the fact that I'm considering that saddens me. But so much anticipation is extremely difficult to live up to. If I'm going to be disappointed, I might as well be disappointed from the comfort of my own home.

Thanks again for the review, and keep up the great work!

[njskaguy33]

BP, I can't thank you enough for reviewing this movie.

As a HUGE Thompson fan, I've been among the many clamoring for a Rum Diary film adaptation ever since the first time we read the novel. I remember reading years ago that Depp planned on doing a film adaptation, but it would have to wait until after he was done with all of the Pirates movies. (Sidenote: That's actually why I hate those movies so much. Not because they're bad. I haven't even seen them. But they delayed something I wanted so badly.)

HST nuts like myself have been clinging to the rumor mill for years because of that. I remember reading that Benicio del Toro was set to play Sala and Josh Hartnett would play Yeamon, and shooting was practically underway. Then nothing. For years. Several agonizing years.

So now that the film is done, I've been anxious to see it. But, like you allude to, fans of the novel always hope to see the pictures that played out in our mind's eye as we read it, and that's rarely what we get.

I'm disappointed to hear the film is a let down. I was also shocked to see that Yeamon wasn't even included as a character, but it sounds like they combined him with Sanderson, a move that I could see making sense for a film.

Maybe I won't rush to see this in theaters, and the fact that I'm considering that saddens me. But so much anticipation is extremely difficult to live up to. If I'm going to be disappointed, I might as well be disappointed from the comfort of my own home.

Thanks again for the review, and keep up the great work!

Thanks for the compliment! It's funny, I remember when you first broke the news about this movie about a year and half ago and knowing you're a big fan, I kept you in mind when writing the review! Whenever I would get lazy on it I'd think, "Keep going, DiG needs to know not to run out for it". Yeah, the changes and omisions were shocking but I didn't mind them so much because the book has a very loose narative as it is. Problem is, everything Robinson wrote into the film to make it work just didn't connect up to the scenes pulled straight from the book. You're a big fan and while I recommend you check it out, I wouldn't pay the 12 bucks to do so.

Problem is, and I think I allude to it in the review, is that style of writing doesn't lend itself to standard filmmaking techniques, which is why Fear and Loathing worked so well. Gilliam filled the movie with manic energy but still allowed the central theme to shine through, which is why it worked so well. This film has none of that energy, leaving a very fabricated story that has great intentions but simply doesn't work.

Sorry to report it, DiG!!!