Here is a trailer for “Spring Breakers”, starring Selena Gomez, Ashley Benson, Vanessa Hudgens, Heather Morris and James Franco. When I first clicked play, I was expecting a lighthearted teen comedy with hot actresses in bikinis as eye-candy. However, it turns out to be a little more than that… and I think the film might be a surprising hit.Continue Reading... Post a comment (0)
In “Silver Linings Playbook”, a heartwarming and original romance forms between two very eccentric oddballs who have stability issues and quirky charm in equal measures. Bradley Cooper and Jennifer Lawrence both deliver their best work to date in what is absolutely one of the best “date movies” of 2012.
I have not been a huge fan of director, David O. Russell’s recent films. “Three Kings” was good, but “I Heart Huckabees” and “The Fighter” were both disappointing. I was tentatively fearing the same with this movie. However, it was a truly pleasant surprise — a tender and intimate romance with more than enough humor to satisfy the die-hard rom-com crowd.
Robert De Niro delivers some of his best work over the past decade as the overbearing father. Jacki Weaver and (amazingly) Chris Tucker also hit the nail on the head in supporting roles. It is one of the strongest casts of the year, full of energy and enthusiasm for the witty and intelligent screenplay.
The stars of the show, however, are Cooper and Lawrence. Despite their characters’ major flaws, they manage to create sympathetic people whose vulnerability and reluctant honesty make them some of the most memorable in any film this year. This is a refreshing and fast paced movie that will have you begging for a happy ending.
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Here is one of the first clips of Amanda Seyfried in the upcoming drama, “Lovelace”. The film is playing now at the Sundance Film Festival and will be released later in 2013. Seyfried stars, along with Peter Sarsgaard, Juno Temple, Sharon Stone, James Franco & Wes Bentley (among many others in a fine cast), as Linda Lovelace — the porn star who became a legend in the “Deep Throat” films of the early 1970′s.Continue Reading... Post a comment (0)
There are moments of absolute grandeur in this film — scenes and songs with emotional crescendos high enough to make your soul soar. Unfortunately, those moments seem to always be cut short by a director intent on boring the hell out of his audience.
This 2012 version of “Les Misérables” is one that drove me nuts with inconsistency. I loved parts and hated parts in equal measure… The film, in the end, reducing itself to just a shade above mediocrity. My three-star rating generously awarded because of the stunning performances from Hugh Jackman, Anne Hathaway and Amanda Seyfried. Each of them sing and act wonderfully as they utilize the rich source material to deliver Oscar nomination worthy efforts.
However, director, Tom Hooper, fails in much the same way that I thought he did with “The King’s Speech” — another movie with good source material and a stellar cast, but was lessened by pedantic direction and an utter lack of momentum or skillful framing.
Sometimes, merely good feels not nearly good enough.
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Jessica Chastain gives one of the best performances of 2012 as a young CIA operative on a ten year manhunt for Osama Bin Laden in “Zero Dark Thirty” — the latest film from director, Kathryn Bigelow.
It is as intense a film as you are likely to see all year – packed from credits to credits with blistering tension and ferocious dialogue. Every scene crackles as we navigate the maze toward the final raid on the compound. We may know the outcome, but it is damn near impossible to stop yourself from inching forward in your chair, peering into the darkness, as the inevitable moment approaches.
The film is a masterclass of technical filmmaking excellence, and while it may not deliver any characters of emotional depth or meaning to the viewer, the true-life material is easily engaging enough to merit a massive recommendation.
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I’ve been putting off finalizing my 2010 Top 10 List because of this movie. I had a feeling it would pop up somewhere on that list. It does. It is the best film of 2010.
“Blue Valentine” shows the two ends of a relationship — the blossoming of love in the first few months and the disintegration of a marriage a few years later. We are not privy to the time in between. It doesn’t matter. Anyone who has lived life can fill in the gap with their own experiences.
Director, Derek Cianfrance, interlaces the two timelines, elegantly painting the picture of Dean (Ryan Gosling) and Cindy (Michelle Williams) from their initial momentary glance to their final acceptance of failure. We get to know this couple so intimately and so completely that our emotions are engaged as if we are actually experiencing the relationship.
Consider the most memorable scene of the year, when Gosling sings “You Always Hurt the One You Love” and Williams tap dances in her biker boots. It is such a simple cinematic moment, but it recreates one of “those” moments. We all have one or two in our lives. They are the moments that first come to our mind when we think back on the happiest times.
Gosling and Williams left me speechless. Their performances are extraordinary in every way. At no point does it seem like actors acting. They filmed the early part of the story first, often using one take to capture a line or an improvised moment. They then went on hiatus for six months while Gosling and Williams actually lived together 24 hours a day in an effort to capture the familiarity required for the other half of the story. For the scenes where the marriage is floundering, they shot many takes until they found the weariness and exhaustion needed to capture the necessary tone. This is a method film with method actors.
“Blue Valentine” is an epic life story that feels so much more profound than its intimacy would suggest. It recognizes the truth of complex human relationships. It knows we are flawed. It accepts that what can often start off as a perfect union will sometimes crumble beneath the weight of our flaws. I haven’t seen a movie this observant since “Lost in Translation”. I haven’t seen a more beautifully realized motion picture in 2010. I loved every single moment of it. I loved the love. I loved the heartbreak. And I filled in the six year gap with all of my own stories, both happy and sad.
Sometimes, when someone dies young, the general public over-emphasizes their greatness. It is a natural human reaction born out of some semblance of respect for the dead. However, the reality is often far more unglamorous than the memory.
I mention this specifically in the case of Ayrton Senna because of the huge marketing campaign for the documentary that was recently released about the life and times of the Brazilian Formula 1 driver. The film is called “Senna”… and it is an intriguing one with many recommendable qualities. I would tell anyone with an interest in competitive sports to watch it.
However!!! The documentary makes the same mistake that many in the media over the years have made — It deifies Ayrton Senna to such an extent that it proclaims him as the undisputed greatest driver of all time. Something which is far from the truth. In reality, he wasn’t even the best driver of his era. That honor belongs to the unglamorous and still very much alive Frenchman, Alain Prost.
The facts are irrefutable… When faced with the below statistics, even Senna’s mother would have to put her hands up and say, “Yeah, that’s hard to argue with.”
They raced together, head to head, 141 times. In order to be fair to both drivers, we will only consider head to head races (which benefits Senna, because Prost was great before anyone had even heard of Senna).
Generally, Senna was faster in qualifying (where he gained his legendary status), winning 60 pole positions to Prost’s 23. This, of course, is due to two reasons — Senna was a reckless risk taker… and more often than not, he had the better car.
However, as soon as the race began… everything changed.
Despite Senna’s qualifying speed, Prost devoured him in terms of fastest race laps — 33 to 19.
Of the 141 races, Prost finished 111 times and Senna 101. This again was primarily due to Senna’s proclivity to crash into walls and other drivers with reckless actions behind the wheel.
Prost finished in the points 102 times. Senna 88.
Prost had 88 podium finishes. Senna 73.
Prost had 41 wins. Senna 37.
World Championships… Prost 4. Senna 3. Although, Prost should have won the 1988 season over Senna, but Formula 1 was fiddling around with that ludicrous points system where only certain races counted. If all races counted, Prost would have won easily, making the actual World Championship count 5-2 to Prost. Oh, and Prost came within half a point of winning in 1984, when the F1 committee ludicrously only awarded half points at the Monaco Grand Prix. This cost Prost his 6th title. So the actual count is Prost 6 and Senna 2.
When the lights went out and the chequered flag waved, Prost dominated Senna in every category that mattered. Even the edge that Senna had in Poles gives more credence to the idea that Prost was actually better at racing the greatest cars around the greatest circuits.
Listen, Senna was a fabulous driver… He probably ranks behind only Prost, Fangio and Schumacher on the All Time Greatest Driver List.
He was never the best… only the most obsessed… only the most charismatic… only the most reckless… only the most exciting… only the most dirty… only the most jealous… only the most paranoid… only the most over-praised.
Now he is the most nostalgic. And that is why people confuse him for the best of all time.
The facts prove otherwise.
Alain Prost, “The Professor”, was superior in every way that mattered on the track. His only flaw is that he isn’t charismatic enough or dead enough to have a gushing documentary made about him. I would still love to see one made though.
Prost was a winner.
Senna was a celebrity.
Here’s a really interesting film that completely flew under my radar. I missed the trailers, the poster, the press coverage and the actual cinema release. I had no idea it even existed until a couple of days ago. “The Joneses” stars David Duchovny, Demi Moore, Amber Heard and Ben Hollingsworth as a perfect upper-class American family who are moving into a new neighborhood. However, there is something odd about them… perhaps they are a little too good to be true.
You see, they are actually a sales team, arranged by a massive marketing firm who places “ideal” families into new communities in order to sell specific products. They are hired to integrate themselves into the community in order to subversively suggest new purchases to all of their new friends and neighbors. They sell the American dream to those who are still seeking it. The wife sells everything from dining room furniture to frozen hors d’oeuvres to jewelery to designer clothes. The husband sells his buddies cars and golf clubs. The daughter targets her high school friends with make up and perfume. You get the picture. They live a full time lie.
The movie has a lot to say about consumerism and the often conflicted morality of marketing. “The Joneses” is a smart film that never quite feels too far beyond the boundaries of plausibility. I could actually imagine this occurring somewhere in the USA as I write this review. It is well written and acted and absolutely deserves a look if you were as oblivious to its existence as I was.
There are some big inconsistent swings in this independent film from writer-director Lisa Cholodenko. It ranges from heartfelt relationship drama to light comedy. Most of the time, it works well — only occasionally drifting into the realm of indie-cliches. The strength of the movie lies in the terrific performances from the entire cast.
Annette Bening and Julianne Moore are a married lesbian couple with two teenage children. They all seem to be living a relatively peaceful and normal existence until the kids decide that they would like to find their biological father. Each of the mothers had been artificially inseminated by the same guy, played by Mark Ruffalo. Soon after the initial meeting, he becomes an integral part of this family’s life. However, it all gets a little complicated and his involvement leads to some awkward consequences.
I did find the film to be slightly forced in parts. It can feel like a lesson in “Indie Filmmaking 101″. Still, it manages to avert disaster with terrific acting and a willingness to take risks. “The Kids are All Right” went to places I did not expect it to go. It was daring and original. I doubt anyone will gush over the project as a whole… but there are definitely some worthy aspects worth checking out.
Denzel Washington almost never disappoints. Sure, he has done a few duds in his time (“John Q”, “Virtuosity”)… but he generally chooses interesting material and always gives a good performance. He remains one of the safest bets in Hollywood.
In “The Book of Eli”, Washington plays a lone drifter, in a post-apocalyptic America, doggedly making his way out to the west coast. He has run-ins with bandits, thugs and cannibals. He trusts no one and is clinging to a sole possession, a book, that he keeps tucked away in his back pack. Gary Oldman plays the obligatory bad guy who is tracking Eli down in order to obtain the book. Mila Kunis plays a young woman who feels compelled to follow Eli on his journey.
Despite some absurd twists and turns, the story is mildly interesting throughout. It may not hold up to repeat viewings because it is ultimately a rather thin plot. The most memorable thing about the movie is the stunning cinematography and eerie landscape of a post-nuclear setting. I have never been a huge fan of The Hughes Brothers as a filmmaking duo. Their visuals are spectacular and tend to overshadow the more important aspects in movies — screenplay, pace, direction etc. However, I cannot begrudge their obvious aesthetic strength.
I can safely recommend this film. It is absolutely worth watching… but I fear only once.